[photo credit: KANIEN’KEHAKA ONKWAWENNA RAOTITIOHKWA CULTURAL CENTER]

TAKE’s Space issue (May 2010) considers the spatialities of digital and lived environments. Videoconferencing collapses geography and shifts social spaces from offices to screens, making one more aware than ever before of the different layers and modalities of interaction which flatten and collapse, or expand and extrude space. TAKE covers original art work and poetry, interviews, municipal anti-panhandling regulations that push the poor into specific areas, life in and out of prison, space versus place, the performative creation of olympic space during the 2010 Vancouver Winter Olympics, the mobile spatialization of aboriginal ironworkers who specialize in construction at extreme heights, theatrical versus cinematographic space, the space of the signature, and the Canadian-New Zealand experience of living next to more powerful states and being dwarfed by them, by landscape or by the sea. An appraisal of the 2010 American Association of Geographers Conference rounds out this issue.

TAKE has a ‘zine aesthetic but is in effect an academic journal. At its best it uses novel formats to present critical analysis couched in its contributors’ lived experience. Life as theory. Its format varies to suit its topics.

A new issue of this limited edition journal on the miniature (pdf) is already out. Previous issues have covered flora and fauna, chaos theory, DIY, love and beyond.  More information can be found here.

-Rob

Survivall at MAM Salvador by A. Lemos, M. Fiorelli and R. Shields (Photo copyright A. Lemos and M. Fiorelli)

An update to our previous post on “locative art” using Google Maps and our collective article in Wi – Journal of Mobile Media (Hexagram Institute) – where Andre Lemos recently discussed locative media in Brazil.  Survivall is a locative art piece online here and there.

-Rob

Reviewed by Andrea Mubi Brighenti, Department of Sociology, University of Trento (IT)

“Marching Piece” performance by George Maciunas. Flux Snow Event, New Marlborough (Massachusetts), 1977.

Contemporary artworks have addressed space in a variety of ways, often subtly and thought-provokingly, yet these important interconnections between art and spatial conceptions have not always been adequately recognised or explored in depth. As both an art critic and an art practitioner, Marta Traquino advances an original reflection on the construction, use and meaning of space in contemporary art. Indeed, Ms Traquino’s book illuminates a series of significant visible and invisible similarities between, on the one hand, a series of geographic and social theoretical conceptions of space and place and, on the other, a series of artworks belonging to the traditions of installation, performance, site-specific artworks and what is commonly, although vaguely, referred to as ‘public art’. In this context, the notion of ‘public’ plays a crucial role. Examining quite a few art exhibitions and events, one notices in them a complex co-presence of a ‘space of the public’, i.e. the space occupied by the audience (which includes how the artwork ‘reaches out’ the audience, and how the latter relates or reacts to the artwork), and a ‘public space’, i.e. the heterogeneous, visible and living space that hosts the art event, in which the artwork locates itself and upon which it seeks to act.

In order to explore the interweaving of art and space, Marta Traquino brings together a scholarly genealogy of spatial theorists and some of the most important art movements of the second half of the 20th century and early 21st century. By doing so, she reveals how a fruitful dialogue between these two streams of thought and practice might be developed. In the first part of the book, she draws on the spatial theories of Henri Lefèbvre, Marc Augé, Anthony Giddens, Yi-Fu Tuan, David Harvey and John Urry, stressing how the elements of ‘excess’, ‘compression’ and ‘mobility’ transform contemporary spatio-temporal experience. However, these same characteristics also seem to confirm the centrality of experience in the definition of social spaces and places. From this point of view, art and experience form a well-established couple. Yet while theoretically this intimate connection had been already noticed by pragmatists philosophers, it is in art movements such as Fluxus that the integration of the spectator into the process of creation of the artwork itself reaches its logical end-point.

The experiential perspective thus enables us to observe the inherent dynamism in the constitution of social space. A series of artworks from the late 1950s through the 1960s, which include for instance Allan Krapow’s ‘environments’ (1957-58), Dan Graham’s Homes for America (1966), Douglas Huebler’s Location Piece #2 (1969) and Vito Acconci’s Following Piece (1969), are discussed in details by the author, who notices that these artists reflexively highlighted how space is performatively produced and discursively represented. Other recent artists who have critically worked on what Lefèbvre used to call ‘spaces of representation’, specifically through large-scale artworks, are also reviewed: these include for instance Lawrence Weiner (Smashed to Pieces, 1991), Krzysztof Wodiczko (The Tijuana Projection, 2001), Susan Hiller (The J-Street Project, 2002-05) and Beat Streuli (with his late 1990s and early 2000s series of huge photographs of ‘strangers’ in public places).

One of Traquino’s central claims in her book is that place corresponds to an inhabited and lived type of space where the body represents the measure of an emplaced subjectivity always imbued with memory. A range of artists have elaborated on such an insight, focusing on either the body at a small scale, like Bruce Nauman in Square Dance (1967-8), or outdoor interventions on a larger scale, like Ian Hamilton Finlay at his Little Sparta garden (1966) and Gordon Matta-Clark with his famous house cuts (Splitting: Four Corners, 1974). According to Traquino, the Fluxus movement in particular has set an ‘open path’ in contemporary art as regards the reflection on the experience of emplacement. Fluxus’ motifs of ‘globalism’, ‘experimentalism’, ‘humour’, ‘simplicity’, ‘specificity’ and ‘presence’ all seem to revolve around a relational and phenomenological take on the artistic event. In particular, Fluxus artists such as George Maciunas, Dick Higgins, Alison Knowles, George Brecht, Mieko Shiomi and Ay-O instantiate the search for new types of ‘relations in public’ – to employ Goffman’s category – which question official and institutional definitions. This way, Fluxus art was designed to operate inside ‘social interstices’ which would challenge the common – and, mostly, taken for granted – ordering of space.

Contemporary artists such as the Istanbul-based Oda Projesi collective and the Dutch artist Jeanne van Heeswijk inherit many of the Fluxus’ early insights and resolutely proceed along a trajectory Traquino describes as ‘from public space to lived places’. But the institutional context in which contemporary artists operate and the public funding of site-specific artworks, installations and performances also give rise to contentious actions, in some cases even self-defeating ones. In the last sections of the book, Traquino critically reviews a series of cases in which some more or less pronounced ‘detachment between theoretical presuppositions and actual practice’ became visible. The case of Lisbon’s Expo ’98 is extensively discussed. In this as well as other cases, the limits of contemporary public art’s self-legitimation can be ascertained. As the artist Krzysztof Wodiczko acutely put it: ‘To attempt to “enrich” this powerful, dynamic art gallery (the city public domain) with “artistic art” collections or commissions – all in the public’s name – is to decorate the city with a pseudo-creativity irrelevant to urban space and experience alike; it is also to contaminate this space and experience with the most pretentious and patronizing bureaucratic-aesthetic environmental pollution’.

About the author as critic:
História da Arte: Marta Traquino
Da Construção do Lugar pela Arte Contemporânea I
Da Construção do Lugar pela Arte Contemporânea II – Do espaço ao lugar: Fluxus
Da Construção do Lugar pela Arte Contemporânea III – A arte como um estado de encontro

About the author as artist:
Que cor tem agora o céu?
Guest Artist – Marta Traquino
What colour has the sky got now?

Carspace (Thanks to cool design site yatzer.com)

The department for urban structure and transport planning of Technical University of Munich/Germany and the Institute for Mobility Research (ifmo), a research facility of BMW Group, are pleased to announce an international call to researchers for up to 6 post-doctoral fellowships within the strategic field of “Mobility Cultures in Megacities”.

Duration of Fellowship: 6 months (extension of 2 months possible)

Location: Munich, Germany

Academic Partners: Technische Universität München, Goethe-Universität Frankfurt

Disciplines: Urban transport and mobility; social sciences with a specialization in mobility and transport research; other fields of study directly related

BACKGROUND AND OBJECTIVES

The major objective of the program is to generate a profound understanding of mobility patterns and mobility cultures in megacities in different parts of the world. Fellows with a regional background in these cities are asked to collaborate on a set of research questions in an attractive, interdisciplinary and intercultural environment. The characteristics and challenges of the cities shown in the map have already been analysed – those places are of specific interest for the fellowship program. Please contact us for further details and background on the current research approach.

KEY RESEARCH INTERESTS INCLUDE

- Identifying the characteristics, opportunities and constraints of the megacity studied like demographic, social, economic and regulatory conditions

- Analyzing long-term mobility decisions like location choice/urbanization, motorization,…

- Studying every-day mobility patterns like activity-chains, mode and destination choices in function of spatial structure and transport supply as well as underlying social motivations

- Investigating mobility cultures, lifestyles, perceptions and attitudes in the respective cities and their “points of entry” in order to learn if and how they might change over time

- Assessing stakeholder interaction, local planning and policy discourses and their cultural background in order to develop perspectives for “good governance“

- Identifying challenges and developing strategies for the future of urban mobility

CONCEPT

The fellowship addresses post-docs in the following disciplines:

- urban transport and mobility

- social or cultural sciences with a specialization in mobility or transport research

- other fields of study directly related

Fellows from different parts of the world will be working on these topics at mostly the same time in Munich, Germany. They are asked to contribute substantially to the interdisciplinary collaboration on mobility from the perspective of one specific megacity. This should include previous research work and where appropriate additional in-depth investigations. Scientific exchange between the fellows is an integral part of the program in order to learn from the respective experiences and results in a transdisciplinary approach. Research results must be documented in a well-founded research paper including documentation of data, methodology and interpretation of results and should contribute to a transfer of knowledge enabling to tackle the global challenges of future urban mobility in megacities.

Candidates should have a cultural background in one or several of the cities listed in the map above. They do not necessarily need to be residents of the cities; also scientists with an outstanding knowledge about a special city are welcome. Fellows will be asked to collect and analyze relevant data and material regarding their research before their stay in Munich.

The fellowship program will be accompanied by scientific supervision on behalf of Technische Universität München (TUM), Prof. G. Wulfhorst, Dr. S. Kesselring and Goethe-Universität Frankfurt/Main, Prof. M. Lanzendorf and Guest Prof. J. Kenworthy. Additionally the program is incorporated into a broad international expert network of scientists and practitioners from several disciplines.

Conclusions will be drawn in a closing conference and related international publications.

FACTS AND DATES

The research grant at TUM is funded by ifmo und comprises a monthly fellowship of 2500 Euro, travel expenses and additional research funds / family support (in function of individual proposals). Fellows will be asked to work in Munich, the relocation services of BMW Group and TUM will assist accommodation issues.

Applications are to be submitted to ifmo (by e-mail to the address below) by August 31st 2010.

The following documents need to be submitted (in English) with the application:

- Letter of motivation

- CV and list of publications

- Summary of own research work on related topics (2 pages)

- Earliest potential date of starting the fellowship stay in Munich – expected to be in 2011

- 2 letters of reference

Principal selection criteria are thematic qualification, interest in intercultural and interdisciplinary scientific exchange as well as relevance of previous work. Candidates will be invited to an international expert workshop taking place from November 17th to 19th 2010 in Munich.

FURTHER INFORMATION AND ADDRESS FOR SUBMISSION OF APPLICATION

Institute for Mobility Research (ifmo)

A Research Facility of BMW Group

80788 München

Germany

E-mail: irene.feige@ifmo.de

Website: http://www.ifmo.de/

Find this information and download the paper on our website http://www.sv.bv.tum.de/index.php/de/aktuelles/94-post-doctoral-fellowships-mobility-cultures-in-megacities.

[image credit: Christoph Gielen]

China’s Instant Cities

“This year China will add more than 17 million people to its urban population. To house this unprecedented wave of migration from the country side, cities like Shanghai and Guangzhou are building countless high-rise residential towers at breakneck speed. The construction sites, surrounded by concrete walls, are almost impossible to enter without a guide who knows how to get past suspicious guards. But once inside, it’s like entering a science fiction novel. Even in the middle of the night, bulldozers, cement trucks, and workers swarm the sites as muscular cranes hoist cargo to ever-greater heights. Bamboo scaffolding and mesh encase the partially built residential high-rises, giving them the appearance of gargantuan cocoons. Entire neighborhoods arise within months of groundbreaking…”

Reviewed by Nurri Kim, Do Projects

My first significant personal exposure to Mexican culture (and Mexican people) was after I moved to the United States in 2003. As a Korean educated in Japan, and with no previous experience of America beyond what I knew from popular media, I remember wondering what these bright yellow “Piso Mojado” signs were supposed to mean and, from there, slowly unfolding the enormous significance of this culture for Californian and American life. I was especially fascinated by those Mexican men with big cowboy hats I saw standing in groups by the side of the highway, waiting stoically for day jobs that might or might not come.

Five years of living in New York have taught me that these men and the millions of other Mexican men and women in similar positions are an indispensible part of the American economy. The flows of the city are hugely dependent on their delivering, making, operating, or fixing things, in a way that reminds me of Do-Ho Suh’s sculpture series. It’s hard to imagine passing through any commercial service in New York that doesn’t depend on these efforts in some way. You name it: even the most downhome-looking Korean restaurant in Koreatown, with the ajumma cooking handmade tofu in the storefront to show off its authenticity, has a line of Mexican guys busy in the steamy hot back of the kitchen cooking and delivering the bulgogi and kimchijigae to the tune of salsa music. But especially as compared to their ubiquitous contributions to the culture, they’re virtually invisible in it — the mainstream, anyway, will never help you understand who these people are, where they’re from, how they got here and how they survive on the interface of two (or more) cultures.

[cc image credit: Nathan Gibbs]

That’s why I was so curious to discover Fiamma Montezemolo, René Peralta and Heriberto Yepez’s “Here Is Tijuana!” Of course, Tijuana is literally and figuratively an edge case within Mexico, but as a node of transition between cultures and the first place on Mexican soil physically encountered by many visitors, I thought a book about the city would be an excellent place for me to begin my investigations, its title announcing the reader’s arrival like a tollgate traffic sign at the borderline.

The format of the book and the content

“Here Is Tijuana!” is organized in three chapters (”Avatars,” “Desires,” and “Permutations”) written by authors from three disciplines (an anthropologist, an architect, and a writer/psychotherapist) with three different relationships with the city (having either been born, studied, or currently living there). I can only imagine how difficult it must have been to write this book. From the preface:

“One afternoon three friends were discussing nothing else, but Tijuana. The three of them conducted one of those discussions that ultimately tend to abolish friendship. At the end of the discussion, there were two very clear issues: one, that the three of them would never be in agreement about Tijuana; and the other, that it was necessary to produce a book that would reunite the different postures about the city in order to extend the conflict to others as well.”

And so it seems that the process of making the book itself reflected the nature of its subject. Instead of writing an anthology with separate signed contributions, they apparently decided to let the city tell its own story through a succession of static images juxtaposed against quotations, statistical data and other figures, short interviews, and correspondence (e-mail, letters, notes, etc.). It’s very ambiguous as to whose viewpoint is being expressed at any particular moment, or if the authors even wish to endorse a specific viewpoint at all, and the overall effect is to emphasize that whatever opinions or impressions one holds about Tijuana, however jumbled or even contradictory, they might all simultaneously be true.

Emerging codependences

Often this use of supposedly neutral “data” requires some knowledge of origins — the name of an institution, for example, or a URL — to decode the meaning apparently intended by the authors. At first I had a hard time reading between the lines, often helped where an image added texture and flesh to the flattened “facts” and figures (a price list of services provided by prostitutes in Tijuana, a schedule of assembly-plant salaries, counts of inbound and outbound passengers at the airport and bus depot, and so on). I certainly don’t think you have to read this book linearly, but I followed the conventional page order, and by the time I was reading the “Permutation” section, all of these fragments had slowly built up, connected with one another and developed a weave that resembled narrative.

And something else slowly revealed itself, too: Tijuana’s conjoined twin city across the border. San Diego emerges from the trip into Tijuana like the other surface of a Möbius strip. It’s not simply that the Mexican city becomes the site of displaced industries and repressed desires, though this is inarguably the case. It’s that the two places depend on one another, each place made possible by certain kinds of flows across this most extreme of borders. And while voice after voice here are entirely correct to insist on the place’s singularity (”It’s not even Mexico, it’s Tijuana”), in the end it’s also clear that like the countries they belong to, both cities are part of a single binary system. And that is something I’ll remember the next time I catch a glimpse into a Korean-restaurant kitchen in Manhattan.

Raymond Depardon

Ramond Depardon’s photography, known for his depictions of street life, includes a new and compelling exhibition of photos of first impressions of the world’s most populous cities. Nicely presented in the Guardian.

Johannesburg

Adam Pańczuk – Karczeby (2008-2009)

“In one of the dialects spoken in the east of Poland, which is a mixture of Polish and Belorussian, people strongly attached to the soil they had been cultivating for generations were called ‘Karczeby’. With their bare hands Karczeby cleared forests in order to grow crops. The word karczeb was also used to describe what remains after a tree is cut down — a trunk with roots, which remains stuck in the ground. This also applied to people — it was not easy for the authorities to root them out from their land, even in the Stalinism times. The price they paid for their attachment to their soil was often their freedom or life. After death, buried nearby their farmland, a karczeb himself became the soil, later cultivated by his descendants.”

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Parkour Motion Reel by saggyarmpit

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YIN XIUZHEN
Portable City: Jia Yu Guan, 2009
Courtesy Beijing Commune

“While Beijing has been the focus of inspiration for much of Yin Xiuzhen’s work, documenting the process of deconstruction and reconstruction, Yin has since installed her work worldwide, examining cultural changes in different locales. Investigating the repercussions of globalization, with the massive changes brought about by mass transportation and communication, where physical distances have decreased by massive leaps and bounds—she examines how the cultural fabric that identifies individual cultures are either reinforced or broken down by change. In addition to examining the effects of globalization, Yin also draws heavily from her personal experiences. In her work, Portable Cities, Yin recreates her personal images/memories of a city, and experiences of ‘living out of a suitcase’, into miniaturized cities.”

YIN XIUZHEN
Portable City: Melbourne, 2009
Courtesy Beijing Commune

“Taking found fabric and clothing from the city in question (i.e. Vancouver, Berlin etc.), Yin sews together little buildings, bridges, and greenscapes inside suitcases, manufacturing transportable cities. With landmark buildings recreated on a miniaturized scale in the likes of gingham cloth, corduroy, and cotton, and recorded soundscapes of the city in question, the pieces are at once humorous, nostalgic and poignant. With their hand-crafted appeal and use of old clothing, they infuse the anonymity of city-living with the personal. While globalization and the increased openness of China has allowed the possibility for more people like Yin to travel and visit all the cities within her suitcases, ironically it has also meant that the cities themselves have incurred a certain proclivity to becoming increasingly indistinguishable. Confronting the notions of increased homogenization of cultures and environments, versus the conflicting stratifications of wealth distribution and access to commodities and exchange, Yin’s work brings about questions concerning the desire for rapid modernization and globalization.”

YIN XIUZHEN
Portable City: Shenzhen, 2008
Courtesy Beijing Commune

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