Abstract:Culture‐led projects have long been part of strategies to regenerate cities in advanced capitalist economies. In recent decades those projects also have become a focal point of urban development in post‐socialist cities. This study argues that an attempt to reimage(in)e the city of St Petersburg through its culture‐led flagship project, Mariinsky Theatre–2, has generated significant changes not only to its built fabric, but also to its social fabric. In the context of a post‐socialist city, this study examines… Show more
“…St. Petersburg is known as a "Northern Venice" and "cultural capital," whose space is perceived as an embodiment of the illustrious history and culture and recognized as a world heritage site under UNESCO protection. 4 This urban landscape is represented as a value that was preserved and restored after the Second World War due to the valiant efforts of the inhabitants of the city (Trumbull, 2014) and should be preserved in the future. The so-called museumification of urban space supported by the strengthening of protective politics leads to the formation of a city whose public space is not intended for discussions or protests but cultural consumptionit should "be observed, but never touched or lived" (Zhelnina, 2013, p. 58).…”
Section: The Conservative "Museumificated" Citymentioning
The article approaches belonging using the conceptual tool of urban imaginary to demonstrate how a certain place can be represented in different ways, offering different scenarios for the emergence, explanation, and experience of belonging. Urban politics in St. Petersburg and Russia, in general, generate controversial imaginaries of the city and attach different meanings to belonging, forcing street artists to strike a balance between the hegemonic structures of governance and capitalism, local (national) and global (western), rebellion, and dependency, notably, to fulfill their ideas of belonging. Using sticker artists in St. Petersburg, based on ethnographic data, the article shows how young people assimilate several urban imaginaries and, following the logic inherent in each of these, position themselves and their activity in the city. Sticker artists are described as urban agents, who, by participating in place-making and transforming urban space using stickers, find their subjectivity and opportunities to wield microscale power.
“…St. Petersburg is known as a "Northern Venice" and "cultural capital," whose space is perceived as an embodiment of the illustrious history and culture and recognized as a world heritage site under UNESCO protection. 4 This urban landscape is represented as a value that was preserved and restored after the Second World War due to the valiant efforts of the inhabitants of the city (Trumbull, 2014) and should be preserved in the future. The so-called museumification of urban space supported by the strengthening of protective politics leads to the formation of a city whose public space is not intended for discussions or protests but cultural consumptionit should "be observed, but never touched or lived" (Zhelnina, 2013, p. 58).…”
Section: The Conservative "Museumificated" Citymentioning
The article approaches belonging using the conceptual tool of urban imaginary to demonstrate how a certain place can be represented in different ways, offering different scenarios for the emergence, explanation, and experience of belonging. Urban politics in St. Petersburg and Russia, in general, generate controversial imaginaries of the city and attach different meanings to belonging, forcing street artists to strike a balance between the hegemonic structures of governance and capitalism, local (national) and global (western), rebellion, and dependency, notably, to fulfill their ideas of belonging. Using sticker artists in St. Petersburg, based on ethnographic data, the article shows how young people assimilate several urban imaginaries and, following the logic inherent in each of these, position themselves and their activity in the city. Sticker artists are described as urban agents, who, by participating in place-making and transforming urban space using stickers, find their subjectivity and opportunities to wield microscale power.
“…For example, one of the city's flagship megaprojects has been the half‐billion‐euros construction of the second stage of the Mariinsky Theatre in 2004–13. As Trumbull (: 18) observes:cultural policy among policymakers in the city is still based on an understanding of culture as an exclusive domain that refers to high culture, whose functions rarely reach beyond cultural production and by no means include broad cultural activities for the public and city neighbourhoods.…”
Section: Cultural and Creative Spaces In St Petersburgmentioning
confidence: 99%
“…St Petersburg's status as a city of high culture significantly dominates its cultural landscape (O'Connor, ). Trumbull (), reflecting on the nexus of cultural venues and urban development in St Petersburg, demonstrates the state‐led institutionalization of, and control over, the city's cultural landscape. For example, one of the city's flagship megaprojects has been the half‐billion‐euros construction of the second stage of the Mariinsky Theatre in 2004–13.…”
Section: Cultural and Creative Spaces In St Petersburgmentioning
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