Cultural Activism

Fırat, Begüm Özden; Kuryel, Aylin

doi:10.1163/9789042029828

Cited by 6 publications

(3 citation statements)

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“…We explored public events, media appearances, blogs and online groups organized by Generation 1.5 as a form of cultural activism (Firat and Kuryel, 2010; Melucci, 1996). These new forms of self-expression make a unique contribution to the cultural public sphere, that is, a place where private citizens come together to debate the issues of public and national significance.…”

Section: Theoretical Framingmentioning

confidence: 99%

Subversive identity and cultural production by the Russian-Israeli Generation 1.5

Remennick

Prashizky

2018

European Journal of Cultural Studies

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This article belongs to the series presenting our ongoing ethnographic project on the Russian-Israeli Generation 1.5. It discusses the nexus between immigrant identity, civic activism and cultural production among young adults born in the (former) Soviet Union, who migrated to Israel as older children or adolescents. We examine the new, protest-driven activism among young Russian Israelis while drawing on the concepts of reactive ethnicity and cultural public sphere. This identity quest occurs at the intersection of their Russian, Jewish and Israeli identities that often clash with each other. Moreover, the ethnic awakening among these young immigrant adults has been clearly gendered, with mostly female leadership emerging out of its cultural avant-garde. We present and discuss examples of the media discourse, artistic and creative events organized by Generation 1.5 leaders, focusing on the recent Russian–Hebrew poetry festival in Jerusalem.

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Section: Theoretical Framingmentioning

confidence: 99%

Subversive identity and cultural production by the Russian-Israeli Generation 1.5

Remennick

Prashizky

2018

European Journal of Cultural Studies

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“…Such community-based, interactive arts practices are not always complicit in urban revitalization efforts; “sometimes artists and activists performatively and playfully push back” at the multiple exclusions entrenched in creative city policies, “and these acts contribute to broader efforts to contest exclusionary urban development” (McLean 2014, p. 670). Artist activists intervene in urban political and economic processes (e.g., Felshin 1995; Firat and Kuryel 2011, and also use their subjective and collective agency to become involved in policy activity (e.g., Landau 2016; Woddis 2014). While much critical urban scholarship has focused on how artists have contributed to the creation, transformation, and maintenance of urban places through their physical presence and artistic practice, “there is a scarcity of sustained or in-depth discussion of arts organisations and artists as participants in the policy process” (Woddis 2014, p. 496).…”

Section: Understanding the Role Of Artists In Place-makingmentioning

confidence: 99%

Artists, Temporality, and the Governance of Collaborative Place-Making

Bain

Landau

2017

Urban Affairs Review

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Place-making is a policy exercise rooted in a politics of both space and time. By examining the temporal sequencing of discursive relations and governance networks in the cultural redevelopment of Güterbahnhof Moabit in Berlin, this article demonstrates the fallacy of place-making via artist proxy. It documents the hidden expectations of artist stakeholders and the overextension of their capacities in their municipally delegated and self-assumed roles as “strategic” and “collaborative” partners with local government in place-making processes. It argues that contrary to collaborative and participatory governance ideals, artists are often singularly responsibilized by civic leaders to realize place-narratives for a community rather than with them, which creates a fundamental barrier to community engagement.

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“…Rather, we take individual artistic projects as illustrative of specific sensory engagements with the air, but do not mean to stretch or overgeneralize their contextual or historical scope, or impact on myriad audiences. Without claiming to know the actual ‘effectiveness’ of the experiences or feelings the discussed pieces might evoke, we aim to enrich ongoing debates about artistic-activism (de Cauter et al., 2011; Firat and Kuryel, 2011; Laister et al., 2014; Weibel and Altay, 2015) or activist-art in the Anthropocene (Demos, 2017; Grindon, 2014; Klingan et al., 2015) with regard to the specific threats of air pollution. 3 In this sense, we fully subscribe to Rancière’s (2013: 147) claim that politics set out to invent “new forms of collective enunciation”:it [politics] re-frames the given by inventing new ways of making sense of the sensible, new configurations between the visible and the invisible, and between the audible and the inaudible, new distributions of space and time – in short, new bodily capacities.Inspired by Rancière’s sensory, affective, non-prescriptive understanding of politics, we are mainly interested in critical, counter-hegemonic art practices that invoke political engagement.…”

Section: Introduction: Stimulating Action By Stimulating the Sensesmentioning

confidence: 99%

Towards a sensory politics of the Anthropocene: Exploring activist-artistic approaches to politicizing air pollution

Landau

Toland

2021

Environment and Planning C: Politics and Space

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In this paper, we investigate five activist-artistic approaches to argue for a sensory politics of the Anthropocene. Our aim is to highlight the affective and speculative potentials of art by examining how artists engage with the senses to make air pollution and its political implications visible, tangible, or otherwise experiential. The paper touches on widerreaching discourses on the politics of sensing, sensible politics, and sensory studies. Rather than situating air pollution within a policy framework, such as that of the international sustainable development goals, we locate our arguments within recent scholarship on postpolitics and the Anthropocene. Despite its epistemological slipperiness, we consider the Anthropocene to be a potent heuristic as well as a rich resource of ideas, data, and collaborative and antagonistic potential for artists working on issues of air pollution. The five case studies are each grounded in an explicit engagement with at least one of the five basic senses and include works by Amy Balkin, Hanna Husberg, Zane Cerpina and Stahl Stenslie, Lingling Zhang, Kitchen Budapest and Baltan Laboratories (NL). Clustered into three lines of argumentation, we demonstrate the ways in which these works contribute to the politicization of air: first, by framing air as a contested common good that problematizes the commodification of clean air; second, by integrating artistic research and environmental communication strategies; and third, by providing sensory experiences of the complicated constellations of agency and perception in the interscalar phenomenon of air pollution. Although our analysis is not exhaustive, three particularities could be identified in the works: an openness to other forms of knowledge and communication; a potent critique of the Anthropocene; and a radical questioning of ‘the political’. In conclusion, we argue that art can mobilize a sense of urgency and empowerment towards a multi-sensory politics of the Anthropocene.

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Cultural Activism

Cited by 6 publications

References 0 publications

Subversive identity and cultural production by the Russian-Israeli Generation 1.5

Subversive identity and cultural production by the Russian-Israeli Generation 1.5

Artists, Temporality, and the Governance of Collaborative Place-Making

Towards a sensory politics of the Anthropocene: Exploring activist-artistic approaches to politicizing air pollution

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