By Nicolas Whybrow
To Henri Lefebvre, the distance and ""lived everydayness"" of the inter-dependent, multi-faceted urban produces manifold probabilities of identifiction and realisation via usually imperceptible interactions and practices. Art and the City takes this remark as its cue to envision the function of artwork opposed to a backdrop of worldwide emerging city populations, taking into consideration the newer performative and relational ""turns"" of artwork that experience sought of their urban settings to spot a engaging spectator -- an implicated citizen.
In exploring how artistic endeavors current themselves as a method during which to navigate and plot the town for a writing interlocutor, Nicolas Whybrow discusses varied examples, representing 3 key smooth modalities of city arts perform. the 1st, jogging, contains works by means of Richard Wentworth, Francis Alÿs, Mark Walllinger and others, the second one, play, comprises paintings by means of Antony Gormley, Mark Quinn and Carsten Höller. The 3rd, cultural reminiscence, Whybrow addresses throughout the debatable city holocaust memorial websites of Peter Eisenman's memorial in Berlin and Rachel Whiteread's in Vienna.
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Additional resources for Art and the city
In truth, the supposed lines of separation are nowhere near as clear. For example, artists such as Vito Acconci and Ilya Kabakov have produced work under the auspices of both Percent for Art and Public Art Fund initiatives. What remains significant, for this study at least, is the conceptual as well as actual tendency of such work – regardless of categorisation – to revolve around the city. In the London-based Institute of Contemporary Arts’ (ICA) 2006 Becks Futures exhibition, which presents – annually and in competition – the work of selected, emerging UK-based practitioners, the contextual German artist Stefan Br¨uggemann’s installation Show Titles (2000–) amounted to a ‘live archive’ of over 700 hypothetical exhibition titles listed in neat columns on four walls of a temporary room.
24 At the same time, actual cities have been recreated virtually, again for a range of reasons whether that be to replicate or enhance the tourist experience, as backdrop for game-playing scenarios, or for archaeo-historical research purposes. As we have already witnessed, Paul Virilio is nothing if not one of the foremost visionaries of our time, who – as is the fate of visionaries – has met with criticisms of exaggeration, utopianism, pessimism or simply incomprehension in the period of time in which it has taken the rest of us to catch up with him.
For Deutsche urban space is – and here she clearly takes a leaf out of Lefebvre’s book16 – not only socially produced but agonistic. Thus, the practices of urban societies – what its various constituencies do or are allowed to do – define or create the space of the city,17 and such space is dependent for its very condition of existence on that which is produced by ‘conflicting interests’. As Lefebvre himself puts it with regard to the abstract space of modernism and capital: ‘Inasmuch as [such space] tends towards homogeneity, towards the elimination of existing differences or peculiarities, a new space cannot be born (produced) unless it accentuates differences’ (1991: 52).
Art and the city by Nicolas Whybrow