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Gunners and runners

‘When you first arrive to Highbury, you are saying, “Where is the stadium? Where is the stadium?” and then suddenly you are in front of it. You do not know why it is in the middle of the city. You are used to that here, but on the Continent we are not used to that – you see the stadium from three miles away. What I always like in England is that you feel the club belongs to the population around there – you can go out of the door and go to a football game. That does not exist anywhere else’. Arsène Wenger (Manager of FC Arsenal, The Independent, 3 May 2006)

‘When it comes to our essential values – belief in democracy, the rule of law, tolerance, equal treatment for all, respect for

this country and its shared heritage – then that is where we come together, it is what we hold in common. It is what gives us the right to call ourselves British’. Tony Blair (The Guardian, 9 December 2006, extract from a speech by the British prime minister to an invited audience at 10 Downing Street)1

On 12 May 2006, Arsenal, a London football club steeped in tradition which is also known as the Gunners, played its last home game at Highbury Stadium, a venue equally rich in tradition. The name Gunners stems from the site on which the club was founded, the former Royal Arsenal munitions factory in the London suburb of Woolwich near the Thames, which in the nineteenth century was one of England’s most important armaments production facilities. Its riverside location led to the Royal Arsenal becoming the most important military supply centre for the expansion of the British Empire. The factory workers’ football team, which was founded in 1886 at the height of the expansion of the Arsenal into Europe’s largest military industrial complex, represented an extension of military rivalry into civilian rituals of domination. Highbury Stadium, the home of the Gunners from 1913 to 2006, grew up around a playing field situated between gardens and backyards and was integrated seamlessly into the small-scale contours of a Victorian residential neighbourhood, where, on match days, kiosks, take-aways and souvenir stands were unceremoniously set up in front gardens and driveways. Every home game at the ‘Home of Football’ thus constituted an extravagant sta ging of the homeland: an opulent theatre of British culture that spilled out from the stadium into the neighbourhood and was perpet u-ated in numerous myths and legends.

In the weeks leading up to the closure of the stadium, British newspapers such as the Evening Standard and The Guardian devoted entire extra supplements to wist-ful obituaries for this historic London venue: ‘Highbury wasn’t just any stadium, Highbury was a cathedral of football’. The end of ‘Highbury’ also brought to an end the sacral practices with which the stadium was staged as a representation of British community. In Ashburton Grove, 500 metres away from the old venue, there is now a new stadium complex equipped with VIP lounges, luxury restaurants and a multi-media infrastructure that has been co-financed by Emirates, the Saudi Arabian state airline. The switch to the Emirates Stadium was ‘necessary’ in order to be able to continuing competing in the premiere league of global media presence. This transi-tion from a cathedral of football to a cathedral of consumption marks not only a local but also a cultural change: from community-based pubs and fish-and-chip stalls to the comprehensive commercial use of multifunctional stadium structures, from a locally oriented, English working-class culture to a globalized world of flows. The upper end of this transformation is served by the flows of capital, the lower end by the flows of migration. Thus, two geographies of upheaval meet directly at the intersection point constituted by North London’s Finsbury Park: the world of football and the post-colonial world of Islamic cultures in Europe. If the demolition of Highbury Stadium

was mourned as the loss of a piece of British culture, it also constituted the loss of a monument that helped mask the realities around the stadium that had long

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exhibited a different image of ‘Britain today’. Arsenal’s move to the Emirates Stadium did not simply mean that a local population lost ‘its’ urban backyard stadium but that a stadium also lost ‘its’ population.

This atomization of an unambiguous relationship between sociality and space is taking place on two levels simultaneously. One level involves the confrontation of a locally shaped football culture with globally operating finance capital; this includes the purchase of naming rights for the stadium by the Dubai-based Emirates airline as it does the expectations linked with the stadium relating to London’s claim to a place in the league of global cities. The other level concerns the intermixing of an introspective English residential neighbourhood with the networks of the global jihad. Nearby the stadium stands the Finsbury Park Mosque, which was opened in 1990 by Prince Charles and King Fahd of Saudi Arabia, and which, between 1997 and 2003, served as a gathering point for supporters of Islamic extremism inspired by the teachings of the resident radical cleric Abu Hamza al-Masri. It was during the run-up to the Football World Cup in Paris in 1998 that calls were first heard for Abu Hamza to be banned from the Finsbury Park Mosque due to fears of possible terrorist attacks.2 9/11 accelerated the investigation of possible subversive activities connected with the mosque. In January 2003 a raid by British anti-terrorist units uncovered not only fake passports and credit cards but also CS gas, hunting knives and hand guns. Conservative newspapers reacted by describing the mosque as a ‘honey pot for terrorists’ and as an ‘arsenal for Islamic terror’.

After being stripped of his status as an imam, Abu Hamza continued to preach to his supporters in front of the mosque on St. Thomas’s Road, on the very stretch of street used by Arsenal fans on their regular pilgrimage to their stadium. In the spring of 2006, recordings of these street sermons led to Abu Hamza’s arrest and conviction for incitement to racial hatred and incitement to murder. Now under new leadership, the Finsbury Park Mosque – which was renamed the North London Central Mosque in 2005 – currently enjoys a high level of attendance, and the local network of busi-nesses and facilities for immigrants from various parts of the Islamic world is growing rapidly. On match days the Arsenal fans now make their way to ‘their’ club through a multi-ethnic neighbourhood in which more than 120 languages are spoken, passing mosques and Muslim welfare houses, Halal butcher shops, internet cafés, Maghrebi snack bars and cafés with names like Salam, Aladdin and Paradise, specialized travel agents and bed-sit agencies, Islamic bookshops and scarf shops. These concentrated financial and migratory links with the Mahgreb and the Near and Middle East in Finsbury Park have led to a cultural and economic coexistence of religion and football, prayer rituals and pre-match anthems, international financial operations and local street culture. In the encounters and intermixing of English football fans with the migrant population, the urban space becomes a stage for the ambiguities of prosper-ity, legality and security with which the neo-liberal transformation of western society operates. The path that these encounters take is never prescribed, for outside an accidental confrontation on the street there are no roles or channels of coalescence for these separately existing spheres. Rather than generating a field of clear identitary positions, the different flows of cultural affiliations in Finsbury Park mark a departure from the belief in a stable concept of Britishness.

It is not only football but culture that is no longer, as the 1996 football hymn Three Lions put it, ‘coming home’. The mourning of Arsenal’s Highbury Stadium opened up a space for a more reaching farewell, a farewell to the idea that access to the understanding of culture is to be found in identitary configurations. The wistful final salute to the old Arsenal stadium marked a transformation that all European cultures are experiencing: a shift from an unambiguous socio-cultural belongingness and security experienced as familiar and homelike to a fragmented, kaleidoscopically refracted world in which our living spaces are no longer defined and shaped ‘by our-selves’ but in an interplay with the conditions and prescriptions of global capital. This process is proceeding hand in hand with a transformation of that which presents itself as community. This is a form of social upheaval that does not lend itself to mapping in terms of distinctive social events such as revolutions, demonstrations or political

marches. Rather, it is taking place as a drama within the everyday and the insig-nificant, at the innumerable sites of the overlooked and the ignored. The uncon- G

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a model of language as a means of eluding the rational calculation of a thoroughly marketized life. An incessant speaking in order to incessantly renew the framework in which exchange can take place; a speaker who redefines him or herself through the act of speaking; talk as an instrument for a process of renewed signification.5

The potential of idle talk lies in its capacity to mobilize a force field the effective range of which extends beyond what is spatially manifested as a site of communication. As Paolo Virno emphasizes, it represents the raw material

of post-Fordist virtuosity; as a fundamental principle of the performative it fulfils an important role in contemporary social production. Rather than referring to an existing, external condition, idle talk constantly creates this condition anew.6 It invents and implements, while its communication breaks into the functional refer-ence between words and things, into the relationship between the order of words and that of the body. On the one hand, this creativity of idle talk seems to serve the global instabilities fostered by capitalism, while, on the other, it also lays claim to the circuits of production as a source of dissent and disruption that takes effect not in an externally extant model but in the global flows of late capitalism itself: in its dubious business zones and in its politics of the commodity and the subject. Here lies one of the fundamental levels of communication that exhibits both artistic and economic organization – the inventive capacity of art together with the economic compulsion to subjective ‘reterritorialization’ (Guattari) in new frameworks of social power.7 With his concept of the ‘distribution of the sensible’ (Le Partage du sensible), Jacques Rancière traces this back to a common mode of production that foregrounds the relationship between the production of modalities of experience and the possibilities of experiencing something. This distribution entails inclusions and exclusions in that it establishes what constitutes the horizon of the perceptible.8 A space of action can be developed out of this argumentation by seeking alternatives to available forms of coexistence not via a recasting of stabile relationship patterns – via role reversal, altering features or reversing power relations – but via a reconfiguration of the topography of the possible. This expansion of the political sphere consists in the production of referential worlds within which decisions can be made.9

The words formulated by the different speakers in Oliver Ressler’s video project Alternative Economics, Alternative Societies constitute the cells of such worlds – not only because they propose alternative models of production and co-existence but because they enter into a dialogic relationship with the words of others: the words of the Paris Commune, the words of the workers’ movement or the words of radical political communities. This series of dialogues can be extended to many other groups and movements that, within the very wide field of radical alternatives to the dominant form of societal and economic production, help to form a theoretical context and trace a common engagement – from educational alternatives such as the Barefoot College in Rajasthan, India to more recent initiatives such as the anti-state No Border network and the digital open source movement. Hearing these presented talks, assimilating their terminology, tone and voices, creates a site of encounter with many parallel worlds. In Mikhail Bakhtin’s concept of ‘dialogism’ words constitute subjectivity by generating a social space that is fundamen-tally interpersonal and thus facilitates a constant appropria-tion and transformation of the voice of the other. The radi-cal directness of the voice and the polyphony of narrations shape a community of possibilities that enables speaker and listener to become co-producers of the community.10 Temporally and spatially distant models of alternative sociality thus open themselves to a platform that facilitates

trolled acting out of this drama, with all its potential for deviation from prescribed patterns of behaviour, is not taking place in organized rallies on London’s Trafalgar Square but in marginal actualities such as the encounters of massing football fans with radical Muslims praying on the street in St. Thomas’s Road in Finsbury Park.

articuLations of community

The case of Arsenal provides an example of an increasingly expanding geography of parallel worlds that are organized via networks and that become interwoven with other networks through situative opportunities. The dependence of such net-works on the interests of the global market raises the question as to whether the dynamics of diffusion, segmentation and splintering in the contemporary ‘space of flows’, as Manuel Castells argues, are in fact increasingly rendering it impos sible to share cultural codes or whether life in parallel universes is capable of generating new forms of sociality. According

to Castells, an enforced global logic is preventing any kind of cultural, political and physical bridge being built between the different characteristics of this space. The distortion of different temporalities in different dimensions of a social hyperspace is driving apart social worlds that mutually imply one another without offering new con-tact points.3 A search for forms of convergence can begin by looking at what emerges beyond the focus of this critique of the lack of a global sphere of connectedness, at the many self-organized situations of social praxis in which the dispersed spheres are bundled in different subjects and redistributed via them – a praxis of rich and varying textures of translocal sociality that present a range of possibilities for creating new sites of commonality. These sites can be located in close proximity to one another or far apart; they correspond to a fabric of complex temporal structures, of a ‘time as lived, not synchronically or diachronically, but in its multiplicities and simultaneities, its presences and absences’.4 While the heterogeneity of these temporalities may as a whole have a centrifugal effect, this does not prevent them from flowing together at what are often the most unexpected places and generating something new.

In what follows, we want to explore the potential of this spatially generative praxis and the possibilities for art and architecture to participate in shaping such a praxis. How can civil-societal solidarities be conceived of when the marketization of all existential contexts means that there is no apparent provision of spaces for the arti-culation of social coherence and cultural exchange outside the framework of the eco-nomic? What forms of reciprocity can be generated beyond the ideologies of global economic dependency? What alternatives can experimental forms of social and eco-nomic organization develop and what is the relationship between these alternatives and the production and distribution networks of the contemporary economy? Oliver Ressler’s video project Alternative Economics, Alternative Societies, a continually aug-mented series of interviews with advocates of a diverse range of concepts, currently presents more than a dozen alternative social and economic models. These range from Takis Fotopoulos’s ‘Inclusive Democracy’ and Michael Albert’s ‘Participatory Economics’ to the Yugoslavian model of self-management and the workers’ collec-tives during the Spanish Civil War and provide an outline of historical and contempo-rary blueprints that run counter to the logic of global capitalism. The logic of Ressler’s work itself operates via a generation of communication rather than an idealistic plan. The incomplete speeches and narratives of the different speakers combine to produce a polyphonic permeation of a loosely connected sphere of economic and societal possibilities and a renewed ‘market launch’ of these ideas. The videos insist on the power inherent in the mobilization of language as a fundamental capacity to generate every type of statement without substantiation and thus unconstrained by economic pressures. Rather than foregrounding the examinatory function of language, they show how language can become a means of empowerment. Such a reclaiming of the possibilities of economy and society coalesces with the function of talk in the babble of voices at secret meeting points, improvised sites of exchange and makeshift sites

of commerce. Rather than absolute knowledge, they cultivate an increased level of attention regarding an expanded linguistic capacity. Together they establish

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out of what Maurice Blanchot describes as ‘unworking’: an active renunciation of the activity of creating and completing in favour of disturbances, fragmentations and interruptions.14 These pauses represent the creative moment of a community that does not realize itself by way of the belief in a collectively producible work – buildings, monuments, institutions, symbols – but via a repeatedly exercized resistance to immanent power.15

The shift from ‘working’ to ‘unworking’ also moves attention from the production of objects and contexts to the qualities of a situation and the possibilities that emerge from it. Instead of working on embedding qualities in objects or contexts, a current field of potentiality opens up whose autonomous existence is able to realize or hold back configuration. In the past, architecture, art and urban design have too often allowed themselves to be seduced by the apparent remedial power of a detailed plan of social utopias. However, the rigid structures of such a plan’s operation cannot match the dynamically aggressive movements of fragmentation and deregulation in the globalized city, nor do they offer a field of engagement that could provide space for a fair competition between heterogeneous forces. But what if instead of simply putting aside the concept of utopia we were to redirect it and relate it to the potential of the present? If we anchor it in the midst of the everyday manifestations of social and cultural phenomena, utopia ceases to be positioned as an ideal blueprint and product of a distant future and becomes a communicative praxis that draws on the potentials of the present. Utopia thus becomes a process that negotiates its condi-tions and boundaries in the societal field of the present and effects transformations

a sharing and experiencing of parallel environments. What emerges at another level is not merely a reproduction of self-contained worlds but a complex map of intensities whose distribution, rather than according with a predetermined logic, develops out of reciprocal points of contact: out of a dispersed encounter between interest groups, out of models of other movements, networking processes and spontaneously co - ordinated actions. None of the links appearing between the models is required to be part of an overarching plan, part of the grammar of a common ‘language project’. The networking process takes place in the acts of speaking and hearing not in the planning of a common language. This process avoids the limitations of a planned community and its instatement in the utopia of modern planned languages such as Esperanto, Ido, Interlingua and Volapük, which have all emerged from the desire to produce a

new, global community by way of a consciously and systematically elaborated language project.11 In this case the utopia of community refers to a far distant future that is tied to the pedagogical project of the acquisition of a shared planned language. The clearly recorded steps in the development of commonalities thus perpetuate a preconceived idea of community. They articulate community as a utopian product that is built on common goals the pursuit of which aims at the consummation of community. By contrast, a platform of speak-ing as seen in the case of Alternative Economics, Alternative Societies and many other projects in artistic and urban contexts localizes the utopia of community in a contemporary process. It is a manifestation of the community in the making.

communication is not a Bond

If communication is not a product of work, then the communication between those who share a common horizon does not rest on a fixed alliance between contained enti-ties. When Jean-Luc Nancy argues that ‘communication is not a bond’,12 he is referring precisely to a form of communication that is not tied to the process of working towards a common goal but that rather emerges from the sharing of an ontological ‘sociality’. This communication challenges the principles of shared economic identity because it does not proceed from an exchange between previously created subjects but rather sees the constitution of its community in the exchange itself, in a common exposition. The sharing of this exposition evokes a reciprocal and boundless interpellation, a com-munication without end. Such an evocation of communicative intertwinements and arrangements decouples the concept of networking from the economic sphere and the exclusive orientation to efficiency, progress and growth. It liberates the concept from the clasp of goal-orientation, professionalism and all that which Samuel R. Delany has characterized as ‘the amount of need present in a networking situation’13 and allows it to emerge from the question of community. Outside the attachment to work, on the everyday level of network migration and network support, relationships between networks and communities become discernible with which the separate discourses of contact as social interaction and networking as economic interaction begin to mesh.

In our search for such a structure in the interaction of artistic and spatial praxes, we want to move beyond a functionality that refers back to the operational character of ‘community creation’ and the ideological value of ‘community achievements’. An architecture of coexistence that operates within the spatial without objectifying the spatial requires a different concept of commonality from which to proceed. Here, Jean-Luc Nancy’s The Inoperative Community provides us with a useful critique of the ideological and economic project of the functional community. Nancy locates the weak point of this project in the concept of intersubjectivity and the principle anchored within it of reciprocal social recognition, in the fact that these ideas presume separately existing subjects in order to overlay them with the hypothetical reality of a

social bond. Nancy counters this concept by maintaining that community is not founded on a work-based organization of separate existences but is constructed B

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specifics of all individual languages nor an equitable dissemination of a universally planned language. It requires a project of speaking that does not distinguish between a common nature of words and the spoken word. The displacements and frameworks that art can offer here facilitate a distancing from the old community and the cultivation of new connections, ‘a space open to each individual and under the protection of all’.17

netWorked aGency

A fundamental reference point in the formation of these worlds relates to the ques-tion of how collective agency can develop – how the plurality of dispersed forces can coalesce in forms of coordinated action and how these forms can gain relevance for the structuring of decisions, including in a political sense. Here, the model of the net-work can offer us a referential framework for the location of agency in so far as we discern the efficacy of action in the emergence of a new social form, in the transfor-mation of organization in the sense of an expansion of reference points that links the different levels of economic, cultural and social activity to one another. Put another way, agency refers to a morphological process of comprehensive and continual net-work formation. The goal does not consist in finding the enterprise models that show how such a process acquires efficiency and how this efficiency can be applied to many spheres of everyday life. The difficulty consists in demonstrating how a certain autonomy of concrete action can establish itself within the structure of this process and how political possibilities thereby emerge. The task we face entails sketching a track that runs across the traditional separation of agency and structure, micro and macro levels, individual and collective in a way that reflects Manuel DeLanda’s thesis that small autonomous organizational entities are reflected on a larger scale in other organizational entities, which in turn act autonomously. In this view, cities emerge from the interactions between the networks that form in the communication between individuals. Geopolitical structures in turn result from the interaction of cities, of net-works and of individuals. DeLanda argues that even in a world shaped by alliances and connections the subject – as is the case on every other level of decisions regarding action – is not completely defined via its relationships to others.18 At every scale level there are zones of self-organization that can generate resistance to other scales and form their own operational environment on the basis of this autonomy. Decisive here is the fact that the process in which this environment is configured cannot be explained in terms of its relationships to other spheres of influence but rather de velops internal logics in the way it operates that allow for change. ‘Autonomy within a community will not be realized by disciplinary regulation imposed by power, but by internal displacement, shiftings, settings and dissolutions that constitute a process of self composition: the self-regulation of a living society.’19

Spontaneously emerging architectures, intermediate uses, occupations, utilizations, self-organized meeting points and other temporary markings of communities, as well as the encounters between persons associated with them, are part of a route and a process, but they constitute neither the logical format nor a relationally defined goal of development. The concept of ‘temporary architecture’ frequently leads to the mistaken understanding of a certain aesthetic of improvised spaces as a desideratum of a community in the making and a corresponding staging of sites of the community. However, if we do not localize temporality in the aesthetics of constructional sub-stance but rather in the different temporal rhythms of individuals, groups and commu-nities, in the flowing movements of societal praxis itself, then we gain an insight into the extent to which the potential for the actualization of communities is spread across

the individual zones of the city and roams across the different scales of social organization. Spaces that generate societal self-understanding thus take shape

within it. This shift of a distant ideal state into the here and now of the physical world presents not only a challenge to the ideational construct of the community but also a fundamental challenge to architecture as a planning discipline. It is confronted with two interrelated questions. What can architecture offer the community if community is not a project and therefore also not an architectural project? And how can it con-tribute to the constitution of community if the forces driving the latter are in principle non-spatial? The current crisis in the relationship between architecture and commu-nity indicated by these questions and the corresponding proliferation of spatial con-trols are both fundamental aspects of the search being conducted for architectures of coexistence. However, in the face of the excessive formation of obstacles to a utopian community of the present, how can a focus be brought into the debate around the formation of spatial coexistence that aims at more than exposing the negativity of domination?

This search for architectures of possibilities forms a guiding principle for many of the praxes and projects brought together in this book, including the two projects based in Paris that have intervened in the politics of urban planning via the articulation of communities. One project involves the creation of a place of retreat from the many ethnic and religiously determined groups in Sevran-Beaudottes, which was initiated by the Campement Urbain collective with its project Je&Nous. The other is the community garden ECObox by atelier d’architecture autogérée in La Chapelle. Both initiatives have been engaged over the long term in instigating a process of cultural appropriation of urban space and citizenry from the periphery. Numerous meetings, discussions and collectively organized events have been devoted to the modelling of structures within which spatial self-determination can take place. Who decides on the design of a collectively used space? Who controls access? Who takes responsibility for mainten ance? Who is permitted to enter? Here, instead of healing the physical city, architecture expands and invents the means that it deploys: it uses a bricolage of art, propaganda, city policies and social relationships in order to intervene mani-pulatively in the context intended for urban renewal. Outside this context prescribed by authorities, hierarchies and by-laws, unplanned and self-empowered formations have emerged whose architecture is accorded a subsidiary role because it only takes on efficacy in connection with a network of participants – with the gatherings of residents; with collective actions; with the extension of the space of action in inter national exhibitions of the project; with the utilization and transformation of the created structures; with the myths that enable a community to emerge and the myths in which the community continues to exist.

Here, rather than producing an experimental model that is abstracted from one situ-ation and can be transferred onto another, or an experiment that can be extrapolated if it proves successful, art practices engage in an experiment that is simultaneously its own outcome – one of many parallel worlds that represent the formation of new communities. It produces, as Giorgio Agamben formulates it, an indifference of the common and the respectively individual: ‘Taking-Place, the communication of singu-larities in the attribute of extension, does not unite them in essence, but scatters them in existence.’16 Its potential lies in enriching the location of a community of congrega-tion amidst the decay of a single utopian society and the conflict of many essential communities. This ‘common’ occurs in the forsaking of the old communities shaped by ethnicity, religion, origin and social stigma with their respectively specific and uniform characteristics; in the opening up of ever new worlds that facilitate new forms of congregation in relation to shared horizons. The sharing of the horizon results from the production of a solidarity that consists neither in an appropriation and individualization of the com-mon nor in the universalization of singular characteristics. Its reference point lies outside the characteristics that are anchored in the different expressions and communications of essential communities. The articula-

tion of such solidarity requires neither an integration of the C

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at every scale level of societal organization as an imprint of different temporalities that coalesce in the local and effect local shifts. That which is manifested spatially in these shifts can have many different qualities. It can be a sought-after form of expression, a camouflage, an object of defence, a contested placeholder, a point that provokes community or a mechanism in the discussion of the political question of spatial organization. All these spatial constructs refuse a clarification of the outlines of their field of action and introduce ambiguity to the classification of individuals and places. By operating against the unambivalent consolidation of constructional, social, historical or everyday-practical connections, they keep space open for what could be and at the same time reveal it to be a political question, a matter of community. In Homo Sacer, Agamben proposes conceiving of the politics of community beyond its connections to actualization: as the autonomous existence of a potentiality that can counter imposed systems and restrain such a structured form of community while at the same time maintaining its capacity to become community elsewhere.20 If we relate this capacity for the self-determined rearrangement of communities to the migrations of people, products, work and thought, then it would seem that mobility and parallelism are today the fundamental forms of expression for spatial distribution. The simultaneity of static and dynamic sites, the concurrence of zones of exception and regulated spheres, the overlapping of contradictory spatial systems – all this complicates the liminal spheres in which the transition from one organizational level to another takes place and obfuscates the reciprocal cognition of these spheres, not least the subject’s self-knowledge. At the same time, as Judith Butler argues, a certain opacity of the subject constitutes a necessary part of its sociality. It is precisely due to this fabric of relation-ships that the subject can never give a full account of itself. Both levels can move in relation to one another, are open and can be used for change.21 The relationships lying between these levels do not constitute an absolute dimen-sion that infers the subject but rather an autonomous field that facilitates divergent action. Autonomy is thus not to be found on the level of a subject entirely known to itself but in the engagement with an unclear meshing of social relationships that shape and hold the subject. The state of not being completely representable to oneself, of being inconsistent or split, positions the space for a critique of norms that demand a certain behaviour of us in the field of the articulation of community with others – in a dispute over values, aesthetics and practices.

There is thus also no perfect environment shapeable via art and architecture which could eliminate the pain associated with the experience of otherness. Exposure to the unknown and the uncertain is a basic experience that cannot be purged by aes-thetic formation. Even if architecture is today endeavouring to meet the economic demands for the greatest possible degree of flexibility and situative adaptability, it cannot elude the confron-tation with uninvited guests. Architecture can neither circumvent nor plan this experience just as it cannot produce an ideal site of coexistence. Coexistence is not a state that can be planned and therefore is available not as a blueprint but only as a political possibility.

As such a potential, coexistence, as Jean-Luc Nancy emphasizes, is particularly sharply defined at a point ‘when there is no longer a ‘city’ or ‘society’ out of which a regulative figure could be modelled, at this moment being-many, shielded from all intuition, from all representation or imagination, presents itself with all the acuity of its question, with all the sovereignty of its demand. This question and demand belong to the constitution of being-many as such and, therefore, belong to the constitution of plurality in Being. It is here that the concept of coexistence is sharpened and made

more complex’.22 The community formulated as coexistence does not emerge via a staged merging of difference but rather reveals itself as a dispersed form

based on changeable spatial configurations that interrupt this staging: spatial appropriations and take-overs, smug-gling, counterfeiting and piracy. This moment of disruption becomes most explosive at the level where a common field of articulation is most lacking: in the thinking of coexistence on the scale of the global public sphere – its multiple fields of communication, its ailing forces and its indivisible common terrain. Addressing this form of community is a performative act.23 It refers to the entire project of politics in a globalized public sphere in which the incongruity of dif-ferent communal interests compels each group to creatively expand itself. Herein lies the difficulty for art and architec-ture: in the search for possibilities of revealing these expan-sions, of engaging with them and assessing them positively so that reciprocal concatenations and incorporations can form, levels of communication for a creative overlapping of different multiplicities.

In order to further develop such a concept of global coexistence and the global public sphere – one which refers to disruption and expansion – we would like to return to an idea we have already discussed in relation to the question of dealing with conflict, the idea of provisionality as compensation. What makes such an idea useful in this context is its shift in direction from the originality to the futurity. It replaces the mere tolera-tion of contradictions and incongruities with an active moment of change. Sigmund Freud develops a psychoanalytic notion of Ersatz (substitute) in relation to magic and myth in his essay ‘Totem and Taboo’, where he suggests that art replaces an un -attainable real object through an illusory one.24 Aesthetic production and the pleas ure obtained through it are in this way characterized by the figure of Ersatz in which the artist subscribes to a fantasy world rather than finding gratification in the real world. Freud sees no point in healthily sustaining the function of the surrogate throughout adult life. Rather, he thinks that the substitution operates as a retreat into compen-satory gratification. But what if we were to recognize conflicts and disruptions in a sphere of connectedness and allow for a climate of sustained and permitted conflicts? This would constitute a step towards a possibly imperfect yet perfectly appropriate model of development. Such a model breaks with a clear separation of the world of fantasy and the world of reality.25 It advocates a transformatory experi-ence that localizes an experimentation with possible worlds in the world of existing relational structures. Competing systems and their construction of discontinuity are replaced by a shared praxis of maintained contradictions, a simultaneity of several worlds that creates space for change. ‘To ask for recognition,’ writes Judith Butler, ‘or to offer it, is precisely not to ask for recognition of what one already is. It is to solicit a becoming, to instigate a transformation, to petition a future always in relation to the Other.’26 Although the tension of perpetual contradictions may be accompanied by irritations, intrusions and exhaustion, what really matters is the capacity to repair and reconstitute relationships. The rejection of the concept of clear breaks and separations and a preference for perpetual contradictions point to an understanding of connectedness not as a model of enduring harmony but as an arc of tension that is maintained and altered by constant disruptions and repairs. In this model there is no normative ideal of balance that equates rifts with failure. Rather than acceding to the obsession with perfect realizations of a particular form of organization, it advocates a space in which the disordered and contradictory sides of creativity can act out their generative force and in the process precisely revise the conditions of growth.

This argumentation finds a dual echo in the often used relational construct of the multi tude, as outlined by Paolo Virno in A Grammar of the Multitude. One aspect concerns the way in which the subject represents a zone of dispute between differ-

ent forces that leave individuation incomplete and fragmentary. The mesh-like, amphibious subject of this confrontation is always tied to the force of the pre-

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individual. The other aspect concerns the way network action acquires new models of social expression and interaction from a revision and redefinition of prevailing ideas and not from a transition from one point to another.27 This assessment of the appropriation and reconfiguration of the network society thus rests on a concept of the substitute that has less to do with the principle of closure than with the practices of continued contradictions. This is a substitute that does not elude external reality. It neither represses this reality nor emulates it with the aid of a surrogate. It simply operates from the inside. This form of substitute is neither parasitic nor unfathomable. It is a structural mode that is conditioned by the same forces that have generated it, and it therefore shares their operational logic.

The most pressing challenge facing architecture today is that of creating possibilities for the emergence of dialogic forms of coexistence. This requires a reassertion of politics in the configuration of space and a new reoccupation of architecture as a field of collective action. Both aspects require a fundamental politicization of space as opposed to a classification of specific spaces for the conducting of politics, whether as a parliamentary forum, a public meeting or an activist group. Urban and geocultural configuration must be understood as a space of politics, and collective access to the utilization of this space must be facilitated. This in turn requires tools and means that are not bor-rowed from an existing repertoire but that can only be acquired within a framework of prevailing everyday realities, continually and anew. The devel-opment of such tools in dispersed experimental situations makes use of spatial and societal transi-tion as an ‘incomplete’ yet ‘completely appropriate’ working model in order to constitute new forms of access. Here, community is not the goal of plan-ning but rather the changeable and multifariously existent site of the acquisition of access.

The approaches generated by the artistic and architectural practices brought together in this book can contribute to the further conceptual development of ways of deal-ing with a politics in which the maintenance of a state of exception becomes the predom inant doctrine of a transformation that conforms to certain interests. They test a praxis that implants itself in this state of exception and provokes its own state of exception in order to develop and appropriate a potential for decision-making in an unregulated space of action and to reclaim the potential for transformation associated with it. Through their engagement with the predetermined material of the present, with momentary situations and with people who find themselves in a particular role, they are compelled to become inventive and to produce their own models of conflict negotiation without the security of being able to trust in expert models. It is precisely not in the application of existing expertise that their strength lies but in a constant renewal of the here and now. In this way dispositions to action can develop that are not based on new hardening of identity traits but rather conform to a model of performative politics. Such an understanding of praxis does not invoke the role of opposition to a central power but rather breaks out of the imposed dualism of internal and external worlds and utilizes the fundamental dynamic of the network for itself – the dynamic of trans-formation in order to devise new relationships to the vis-à-vis. This performative praxis establishes contact and, in the process of exchange, pioneers compensa-tory paths that facilitate a transgression of the partitions and exclusions within the hege monic order. Experimental spatial practices shape the substitute, the symbolic gesture that undercuts the exclusion of conflict. By giving space to lived subjectivities they facilitate the reintroduction of society in the negotiation of space. These project forms are thus not a secondary illustration of a political conflict but the terrain of the

conflict itself.

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1 ‘Radical Muslims must integrate, says Blair’,

The Guardian, 9 December 2006, 4.

2 Sean O’Neill and Daniel McGrory, The Suicide

Factory: Abu Hamza and the Finsbury Park Mosque

(London: Harper Perennial, 2006).

3 Manuel Castells, The Information Age: Economy,

Society and Culture, vol. 1, 2nd edition (Blackwell:

Oxford, 2000), 458f.

4 Achille Mbembe, On the Postcolony (Berkeley,

CA: University of California Press, 2001), 8.

5 Marina Grzinic, ‘Performative Alternative

Economics’, in Alternative Economics, Alternative

Societies, ed. Oliver Ressler (Frankfurt a.M./Novi

Sad: Revolver/kuda.org, 2005), 24f.

6 Paolo Virno, A Grammar of the Multitude: For an

Analysis of Contemporary Forms of Life (New York:

Semiotext(e), 2004), 90f.

7 Félix Guattari, ‘Du post-modernisme à l’ère post-

media’, in Cartographies schizoanalytiques (Paris:

Galilée, 1989), 54. See also: http://brianholmes.

wordpress.com/2007/07/21/swarmachine/

8 Jacques Rancière, The Politics of Aesthetics: The

Distribution of the Sensible (London and New York:

Continuum, 2004).

9 Jacques Rancière, ‘The Abandonment of Demo-

cracy’, in Documenta Magazine, no. 1-3 (2007),

ed. documenta (Cologne: Taschen, 2007), 459.

10 Mikhail M. Bakhtin, Problems of Dostoevsky’s

Poetics, ed. and transl. by Caryl Emerson

(Minneapolis, MN: University of Minnesota Press,

1984).

11 In this connection it is interesting to note that

the steady expansion of the international Esperanto

movement since the 1980s has not been based on a

belated embrace of its original goals but on a com-

plete transformation of its founding idea. The origi-

nal goal of the Esperanto movement was to develop

tools that would facilitate a better understanding

between different cultures. However, contempor-

ary supporters of the movement are now united by

a ‘conspiratorial’ interest in the cultivation of their

own ‘Esperanto culture’, i.e. in a form of communi-

cation employed in international congresses, online

forums and personal meetings, hidden archives,

politically oriented art circles and anti-globalization

initiatives, the vehicle of which is Esperanto.

12 Jean-Luc Nancy, The Inoperative Community

(Minneapolis, MN: University of Minnesota Press,

1991), 29.

13 Samuel R. Delany, Times Square Red, Times

Square Blue (New York and London: New York

University Press, 1999), 136.

14 Nancy, ibid. note 12, 31.

15 Ibid., 35.

16 Giorgio Agamben, The Coming Community

(Minneapolis, MN: University of Minnesota Press,

1993), 19.

17 Campement Urbain, ‘The I & Us Project’, in The

[Un]common Place: Art, Public Space and Urban

Aesthetics in Europe, ed. Bartolomeo Pietromarchi

(Barcelona: Actar, 2005), 206.

18 Manuel DeLanda, A New Philosophy of Society:

Assemblage Theory and Social Complexity

(London and New York: Continuum, 2006).

19 Doina Petrescu, ‘Losing Control, Keeping Desire’, in

Architecture and Participation, eds. Peter Blundell

Jones, Doina Petrescu and Jeremy Till (London

and New York: Spon Press, 2005), 55.

20 Giorgio Agamben, Homo Sacer: Sovereign Power

and Bare Life (Stanford, CA: Stanford University

Press, 1998), 47.

21 Judith Butler, Giving an Account of Oneself

(New York, NY: Fordham University Press, 2005).

22 Jean-Luc Nancy, Being Singular Plural (Stanford,

CA: Stanford University Press, 2000), 43.

23 Susan Buck-Morss, Thinking Past Terror: Islamism

and Critical Theory on the Left (London and New

York: Verso, 2003), 22.

24 Sigmund Freud‚ ‘Totem und Tabu (Einige Über-

einstimmungen im Seelenleben der Wilden und

der Neurotiker)’, in idem, Studienausgabe, vol. IX,

Fragen der Gesellschaft/Ursprünge der Religion

(Frankfurt/M.: Fischer, 2000 [1912/1913]), 287-444.

25 A developmental model of conflictual praxis is

sketched for example by Jessica Benjamin in

‘Recognition and Destruction’, Like Subjects,

Love Objects: Essays on Recognition and Sexual

Difference (New Haven, CT: Yale University Press,

1995).

26 Judith Butler, Precarious Life. The Powers of

Mourning and Violence (London and New York:

Verso, 2004), 44.

27 Virno, ibid. note 6, 80.

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257

Par

alle

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s In

terv

iew

the

nex

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inve

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situ

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cit

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loo

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us

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up

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qu

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le a

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pes

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to

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trad

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rea

din

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task

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arch

itec

ture

is to

co

me

up

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tain

sp

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d vi

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co

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on

e th

at is

ab

le to

su

pp

ort

a p

arti

cula

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rm o

f so

cial

org

aniz

atio

n. D

o yo

u

see

way

s fo

r ar

chit

ectu

re to

en

gag

e in

so

cial

dyn

amic

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ther

than

by

con

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wit

h ae

sth

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pro

du

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an

a d

zoki

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he

pre

occ

up

atio

n o

f ar

chit

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wit

h th

e ae

sth

etic

s o

f bu

ilt

ob

ject

s is

so

met

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e d

on

’t fin

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very

inte

rest

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. Whi

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on

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e w

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scin

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by

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do

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log

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ban

tran

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ucc

ess

or

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re. N

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very

si

tuat

ion

wo

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l – s

om

e w

ere

qu

ite

pro

ble

mat

ic, b

ut o

ther

s w

ent f

ar

bey

on

d o

ur p

ro fe

ssio

nal

imag

inat

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.

mar

c n

eele

n: F

or

a w

hile

dur

ing

M

od

ern

ism

, th

ere

was

the

idea

that

ar

chit

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hav

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mo

no

po

ly o

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spac

e an

d it

s ae

sth

etic

s. T

his

per

iod

is

defi

nit

ely

over

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pea

k ab

ou

t th

e si

tuat

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in E

uro

pe.

Co

ntr

ol o

f wh

o d

e-ve

lop

s sp

ace

is n

ow

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trib

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d am

on

g

man

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revi

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sly

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stat

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mo

st

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set t

he

con

dit

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s. In

man

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rast

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te in

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o-i

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nte

rven

tion

s. If

this

is,

ind

eed

, th

e co

nte

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e’re

no

w d

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en th

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are

mo

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bo

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yo

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avig

ate

dev

elo

pm

ents

in s

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co

nd

itio

ns.

To

som

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ten

t yo

u h

ave

to

rein

ven

t ho

w y

ou

pra

ctis

e ar

chit

ectu

re.

To b

e ef

fect

ive,

yo

u n

eed

to c

oo

per

ate

wit

h o

ther

s. O

ne

of t

he

mo

st im

po

r-

Pm

/Hm

: Mar

c an

d A

na,

as

mem

ber

s o

f ST

EA

LTH

.un

limit

ed y

ou

’re

curr

entl

y b

ased

in R

ott

erd

am, b

ut i

t see

ms

that

th

e ci

ty o

f Bel

gra

de

has

als

o p

laye

d

a fo

rmat

ive

role

for

the

gro

up

. Wh

at

is th

e st

ory

beh

ind

this

tran

slo

cal

traj

ecto

ry?

an

a d

zoki

c: In

dee

d, i

t all

star

ted

wit

h

Bel

gra

de

and

the

mid

-199

0s, w

hen

to

get

her

wit

h a

few

frie

nd

s I i

nit

iate

d

an in

dep

end

ent a

sso

ciat

ion

calle

d

Pro

jekt

X. W

e w

ere

all s

tud

ents

of

arch

itec

ture

at t

he

time,

an

d in

199

6 –

a

per

iod

of d

eep

cris

is in

so

ciet

y –

we

org

aniz

ed a

n in

tern

atio

nal

eve

nt i

n an

ab

and

on

ed s

ug

ar fa

cto

ry, w

ith

300

art-

ists

, arc

hite

cts

and

stu

den

ts. T

hro

ug

h

this

pro

ject

I b

egan

to r

ealiz

e th

at if

yo

u re

ally

wan

t to

mak

e an

imp

act a

nd

m

ove

thin

gs,

a s

ing

le p

erso

n’s

eff

ort

s ar

en’t

eno

ug

h. I

n 19

98, M

arc

and

I go

t in

tere

sted

in th

e tr

ansf

orm

atio

n o

f th

e ci

ty o

f Bel

gra

de

and

ho

w, i

n le

ss th

an a

d

ecad

e, a

pla

nn

ed s

oci

alis

t so

ciet

y h

ad

turn

ed in

to s

om

ethi

ng

com

ple

tely

new

an

d d

iffi

cult

to d

escr

ibe.

We

star

ted

to

co

llab

ora

te w

ith

ano

ther

co

lleag

ue,

M

ilica

To

pal

ovic

, on

a re

sear

ch p

roje

ct

calle

d W

ild C

ity.

It fo

cuse

d o

n th

e m

assi

ve, n

on

-reg

ulat

ed d

evel

op

men

t o

f an

urb

an e

nvir

on

men

t mad

e b

y ‘o

rdin

ary’

peo

ple

bu

t ig

no

red

or

even

co

nd

emn

ed b

y p

rofe

ssio

nal

arc

hite

cts.

It

all b

egan

as

rese

arch

at t

he

Ber

lag

e

Inst

itu

te in

Am

ster

dam

. Bei

ng

in th

e N

eth

erla

nd

s, w

e fo

und

it in

trig

uin

g to

d

raw

a c

om

par

iso

n to

the

Du

tch

pla

n-

nin

g co

nte

xt, a

s w

ell a

s to

the

on

-go

ing

d

ebat

e o

n V

inex

an

d H

et W

ilde

Wo

nen

(‘

Wild

Liv

ing

’) a

nd

its

inst

itu

tion

aliz

ed

ple

a fo

r fa

r-re

achi

ng

der

egul

atio

n o

f h

ou

sin

g. T

o h

ave

an a

ctu

al c

on

nec

tion

w

ith

Bel

gra

de,

we

app

roac

hed

a fr

ien

d

of o

urs,

Ivan

Ku

cin

a, w

ho

was

teac

hin

g

at th

e Fa

cult

y o

f Arc

hite

ctur

e th

ere.

W

ild C

ity

bec

ame

mu

ch m

ore

than

a

thes

is p

roje

ct. I

t sh

aped

our

way

of

thin

kin

g, o

ur a

pp

roac

h an

d cr

eate

d a

con

text

in w

hich

to o

per

ate.

Pm

/Hm

: Th

ere’

s en

orm

ou

s in

tere

st

in th

e ‘B

elg

rad

e p

hen

om

eno

n’.

Ho

w

do

you

spre

ad th

e kn

ow

led

ge

you

ac

qu

ired

whi

le w

ork

ing

on

your

thes

is

and

dig

gin

g d

eep

er in

to B

elg

rad

e’s

situ

atio

n? A

nd

ho

w d

o yo

u co

nn

ect i

t al

l in

to a

n ar

chit

ectu

ral d

isco

urse

?

an

a d

zoki

c: O

ne

of t

he

dri

vin

g fo

rces

b

ehin

d th

is p

roje

ct w

as to

fin

d o

ut

ho

w to

dev

elo

p a

colla

bo

rati

ve a

p-

pro

ach

and

crea

te a

dat

abas

e o

n ur

ban

in

terv

entio

ns

by

invo

lvin

g 80

stu

den

ts,

whi

le a

lso

hav

ing

an in

flu

ence

on

th

e d

iscu

ssio

n in

Bel

gra

de.

Th

e to

tal

dis

crep

ancy

bet

wee

n th

e si

tuat

ion

in

Bel

gra

de,

wh

ere

the

wh

ole

sys

tem

fa

iled

and

con

tro

l of s

pat

ial d

evel

op

-m

ent w

as la

rgel

y ab

and

on

ed, a

nd

in

the

Net

her

lan

ds,

wh

ere

each

sq

uar

e ce

ntim

etre

of l

and

is p

lan

ned

an

d

giv

en a

fun

ctio

n, b

ecam

e vi

tal.

Wh

at

we

find

inte

rest

ing

is n

eith

er th

e o

ne

no

r th

e o

ther

, bu

t act

ual

ly th

e si

tuat

ion

in

bet

wee

n. W

e’re

no

t on

ly in

tere

sted

in

bo

tto

m-u

p d

evel

op

men

ts a

nd

wh

at

peo

ple

do,

bu

t in

the

inte

ract

ion

of

inst

itu

tion

s w

ith

wh

at p

eop

le d

o. I

s th

ere

som

ethi

ng

that

evo

lves

wh

en

they

inte

ract

co

nsc

iou

sly

or

sub

con

-sc

iou

sly,

so

met

hin

g fr

om

whi

ch w

e ca

n g

ain

kno

wle

dg

e an

d th

at c

an b

e in

teg

rate

d in

to o

ur p

rofe

ssio

n? W

e’re

n

ot i

nte

rest

ed in

cat

alo

gu

ing

wei

rd

ph

eno

men

a in

ord

er to

exo

tici

ze is

sues

exis

ting

in th

e B

alka

ns,

bu

t to

acq

uir

e kn

ow

led

ge

fro

m B

elg

rad

e’s

‘lab

ora

tory

co

nd

itio

n’.

A c

hal

len

gin

g o

utc

om

e o

f W

ild C

ity

was

that

we

bec

ame

awar

e o

f th

e p

oss

ibili

ty o

f tra

nsl

atin

g th

e ur

ban

(p

hysi

cal)

com

ple

xity

into

the

dig

ital

re

alm

, of u

nd

erst

and

ing

and

pla

yin

g

wit

h th

e p

roce

sses

that

sh

ape

the

phy

sica

l rea

lity

of t

he

city

, whi

le a

t th

e sa

me

time

get

ting

to k

no

w th

e p

oin

ts

wh

ere

we

mig

ht e

nte

r th

eir

traj

ecto

ries

in

ord

er to

inte

rven

e. B

y co

nn

ectin

g u

p

wit

h M

ario

Cam

pan

ella

, an

aero

nau

tics

en

gin

eer

wit

h a

mas

ter’

s d

egre

e in

ar

tifi

cial

inte

llig

ence

, we

dev

elo

ped

steaLtH

Cu

t fo

r P

urp

ose

Mu

seu

m B

oijm

ans

van

Beu

nin

gen

, Ro

tter

dam

, 200

6S

pac

e cu

t ou

t an

d u

sed

by

par

tici

pan

ts

(Wen

del

ien

van

Old

enb

org

h)

Cu

t fo

r P

urp

ose

Mu

seu

m B

oijm

ans

van

Beu

nin

gen

, Ro

tter

dam

, 200

6S

TE

ALT

H, p

roje

ct b

y M

ario

Cam

pan

ella

, An

a D

zoki

c,

Mar

c N

eele

n

Wild

Cit

y, B

elg

rad

e, 1

999

-200

1S

TE

ALT

H, p

roje

ct b

y A

na

Dzo

kic,

Ivan

Ku

cin

a, M

arc

Nee

len

, M

ilica

To

pal

ovi

c

Wild

Cit

y, B

elg

rad

e, 1

999

-200

1V

illag

e ar

chit

ectu

re d

ensi

fies

to

p

flo

or

of a

cit

y ce

ntr

e h

ou

sin

g b

lock

258

Par

alle

l Wo

rld

s In

terv

iew

259

Par

alle

l Wo

rld

s In

terv

iew

tan

t asp

ects

of S

TE

ALT

H’s

wo

rk is

the

co-a

uth

ori

ng

of u

rban

sp

ace.

As

the

city

is a

pro

du

ct o

f a m

ulti

tud

e o

f in

ter-

actio

ns,

it’s

imp

ort

ant t

o ta

p in

to th

ese

ener

gie

s –

on

e si

ng

le a

pp

roac

h w

on

’t

wo

rk. H

ence

, wo

rkin

g in

a n

etw

ork

is

vita

l to

our

pro

fess

ion

.

an

a d

zoki

c: O

ne

of t

he

pro

ject

s w

her

e th

is is

bei

ng

test

ed –

an

d w

e’re

sit

ting

in

it n

ow

dur

ing

this

inte

rvie

w –

is th

e p

roje

ct C

ut f

or

Purp

ose

, mad

e o

n th

e in

vita

tion

of t

he

Mu

seu

m B

oijm

ans

van

Beu

nin

gen

in R

ott

erd

am. T

hree

yo

ung

cura

tors

fro

m it

s C

ity

Edit

ori

al

Bo

ard

wan

ted

to p

ush

thei

r ac

tivi

ties

bey

on

d th

e in

stit

utio

n an

d b

rin

g th

e d

ynam

ics

of t

he

city

into

the

mu

seu

m:

wit

h th

e R

ott

erd

am a

rt s

cen

e an

d it

s ci

ty a

ud

ien

ces.

So

we

dec

ided

to in

stal

l a

gri

d o

f 2,0

00 s

hee

ts o

f car

db

oar

d

that

wo

uld

fill 4

00 s

qu

are

met

res

of

mu

seu

m s

pac

e. O

ver

a p

erio

d o

f nin

e w

eeks

an

d w

ith

ou

t any

pre

arra

ng

ed

layo

ut,

a n

um

ber

of g

rou

ps

hav

e

bee

n in

vite

d to

exc

avat

e sp

aces

for

thei

r ac

tivi

ties

wit

hin

it. T

o se

t off

the

pro

cess

, five

sim

ple

sp

atia

l gu

idel

ines

w

ere

pro

vid

ed. H

ere

our

too

l has

no

t b

een

rese

arch

, bu

t th

e p

rovi

sio

n o

f a

real

phy

sica

l str

uct

ure

as c

om

mo

n

gro

und

– a

‘larg

er-t

han

-hu

man

’ to

ol

for

co-a

uth

ori

ng

.

Pm

/Hm

: Ho

w w

oul

d yo

u d

escr

ibe

th

e m

oti

vatio

ns

that

form

ed th

e b

asis

fo

r at

elie

r d

’arc

hite

ctur

e au

tog

érée

(a

aa) a

nd

wh

at in

flu

ence

did

thes

e h

ave

on

the

stru

ctur

e o

f yo

ur w

ork

, fo

r in

stan

ce o

n th

e EC

Ob

ox p

roje

ct y

ou

in

itia

ted

in y

our

ow

n n

eig

hb

our

ho

od

o

f La

Ch

apel

le?

co

nst

anti

n Pe

tco

u: T

wo

of t

he

init

i-at

ors

, Do

ina

Petr

escu

an

d m

ysel

f, ar

e fr

om

Ro

man

ia, a

nd

wh

en w

e ca

me

her

e w

e d

idn

’t kn

ow

any

thin

g ab

ou

t lib

eral

arc

hite

ctur

al p

ract

ices

. An

d

may

be

just

bec

ause

we

wer

e n

ew

to th

e W

est,

we

had

the

illu

sio

n w

e w

oul

d fin

d so

met

hin

g m

ore

pro

mis

ing

an

d vi

sio

nar

y.

We

wer

e q

uit

e d

isap

po

inte

d to

dis

-co

ver

that

lib

eral

pra

ctic

es in

arc

hite

c-tu

re d

idn

’t h

ave

real

po

litic

al a

nd

soci

al

con

cern

s. W

e kn

ew th

at in

the

UK

an

d

the

US

, wh

ere

ther

e w

as m

uch

less

w

ork

at t

he

time,

a fe

w a

rchi

tect

s w

ere

tryi

ng

to d

evel

op

oth

er s

trat

egie

s. S

tep

b

y st

ep w

e at

tem

pte

d, i

n th

e 19

90s,

to

dev

elo

p an

oth

er a

pp

roac

h, o

ne

that

w

as m

ore

po

litic

al b

ut i

nd

epen

den

t fr

om

po

litic

al lo

bb

ies

and

exp

eri-

men

ted

wit

h o

ther

way

s o

f pro

du

cin

g

spac

e. W

e st

arte

d to

dev

elo

p st

rate

-g

ies

and

tact

ics

for

pro

voki

ng

mo

re

fro

m a

use

r’s

per

spec

tive

an

d ac

ting

as

a ‘c

atal

yst’.

We

trie

d to

re-

po

sitio

n

our

selv

es –

nei

ther

at t

he

top

no

r at

the

bo

tto

m, b

ut s

om

ewh

ere

in b

etw

een

. Li

ke g

rass

, in

Del

euzi

an te

rms.

An

d it

w

as fr

om

this

po

sitio

n th

at w

e tr

ied

to

crea

te tr

ansv

ersa

l net

wo

rks.

Th

e cl

as-

sic

sho

rt-t

erm

, ab

stra

ct a

nd

top

-do

wn

as

sig

nm

ent d

oes

n’t

real

ly w

ork

wh

en

on

e w

ants

to in

ven

t pra

ctic

es e

mb

ed-

ded

in u

rban

rea

litie

s an

d ad

dre

ss th

e co

mp

lex,

mo

bile

, tra

nsc

ultu

ral d

ynam

-ic

s o

f eve

ryd

ay li

fe in

a b

ig c

ity.

In a

way

it’s

dif

ficu

lt to

say

wh

en a

ll th

is s

tart

ed. I

t act

ual

ly b

egan

bef

ore

o

ur

exp

erie

nce

s w

ith

aaa:

in th

e 19

90s

w

e h

ad tr

ied

to d

evel

op

som

e p

roje

cts

in R

om

ania

. All

the

rad

ical

ch

ang

es

had

left

a le

gal

vo

id in

the

po

litic

al s

ys-

tem

of E

aste

rn E

uro

pe.

So

we

too

k o

n

a b

rico

lag

e ap

pro

ach

to o

ur

pro

ject

s.

We

star

ted

aaa

wit

h th

e EC

Ob

ox

pro

ject

in P

aris

, an

d fo

r th

ree

year

s it

w

as a

bo

ut t

he

on

ly a

aa p

roje

ct, b

e-ca

use

it to

ok

all o

ur

ener

gy.

We

wer

e in

volv

ed in

this

pro

ject

in a

n ev

eryd

ay

kin

d o

f way

, bec

ause

we

wer

e al

so

inh

abit

ants

ther

e. In

oth

er w

ord

s, w

e liv

ed in

the

area

, wh

ich

mea

nt i

t was

n

ot a

n ex

tern

al p

roje

ct. I

t was

a v

ery

inte

rest

ing

exp

erie

nce

bu

t als

o ve

ry

inte

nse

an

d m

ore

or

less

a f

ull-

tim

e ac

tivi

ty. W

e cr

eate

d th

e p

reco

nd

itio

ns

for

the

pro

ject

an

d at

the

sam

e ti

me

for

the

gro

up

usi

ng

it. O

ur

stra

teg

y w

as to

p

rom

ote

sel

f-m

anag

emen

t. T

he

firs

t th

ree

year

s w

as a

form

ativ

e p

erio

d fo

r

the

gro

up

. Wh

en w

e h

ad to

mo

ve a

nd

th

e p

roje

ct d

isap

pea

red

as a

‘pla

ce’,

it

lived

on

as a

gro

up

and

this

gro

up

was

ab

le to

cla

im a

no

ther

sp

ace.

To

day

EC

Ob

ox

has

a n

ew s

pac

e an

d h

as b

e-co

me

ano

ther

sel

f-m

anag

ed, d

ynam

ic

pro

ject

. Fo

r a

few

mo

nth

s n

ow

, it h

as

bee

n ru

n b

y a

use

rs’ o

rgan

izat

ion

cr

eate

d b

y th

e p

eop

le in

volv

ed in

the

pro

ject

. We

keep

in c

on

tact

an

d tr

y to

m

ain

tain

so

me

kin

d o

f syn

erg

y.

Pm

/Hm

: Reg

ard

ing

the

invo

lvem

ent

of v

ario

us

com

mun

itie

s an

d d

iffe

ren

t p

rofe

ssio

ns

or

dif

fere

nt k

ind

s o

f act

iv-

ist g

rou

ps,

ho

w d

id th

e EC

Ob

ox p

roje

ct

bec

om

e a

real

co

mm

unal

pro

ject

an

d n

ot j

ust

a fo

rm o

f co

llab

ora

tion

b

etw

een

dif

fere

nt p

rofe

ssio

nal

s o

n

a te

mp

ora

ry a

rt p

roje

ct?

co

nst

anti

n P

etco

u: O

ur t

acti

c is

to

wo

rk o

ver

time

wit

h ve

ry lo

ng

-ter

m

com

mit

men

ts a

nd

som

ethi

ng

like

an

aaa

Wild

Cit

y, B

elg

rad

e, 1

999

-200

1S

emi-

leg

al c

om

mer

cial

act

ivit

ies

occ

up

y th

e p

avem

ent;

th

e u

pp

er fl

oo

r is

use

d as

a li

vin

g sp

ace

Wild

Cit

y, B

elg

rad

e, 1

999

-200

1A

pri

vate

, on

e-m

an b

usi

nes

s an

d a

pu

blic

tra

nsp

ort

co

mp

any

run

the

sam

e b

us

line

(wit

h b

use

s o

f dif

fere

nt

typ

e, s

ize

and

colo

ur)

No

mad

gar

den

Th

e p

rog

ress

ive

con

stru

ctio

n o

f th

e EC

Ob

ox

gar

den

bet

wee

n 20

02-2

004

in t

he

yard

of H

alle

Paj

ol,

in L

a C

hap

elle

are

a o

f Par

is. D

ism

antl

ing

, dis

pla

cin

g an

d

tem

po

rary

rei

nst

alla

tio

n o

n an

oth

er v

acan

t plo

t in

the

sam

e ar

ea in

200

5.

260

Par

alle

l Wo

rld

s In

terv

iew

261

Par

alle

l Wo

rld

s In

terv

iew

op

en tr

ansl

oca

l pla

tfo

rm. A

nu

mb

er

of c

on

dit

ion

s ar

e n

eces

sary

for

such

a

pro

ject

to s

urvi

ve, a

nd

the

first

o

ne

is to

giv

e it

time,

to w

ait a

nd

no

t to

pro

po

se a

nyth

ing

spec

ific

at th

e b

egin

nin

g. I

n th

e ca

se o

f EC

Ob

ox, w

e tr

ied

– fo

r p

olit

ical

an

d p

rag

mat

ic b

ut

also

eco

log

ical

rea

son

s –

to in

itia

te a

se

lf-m

anag

ed s

pac

e. A

pre

con

dit

ion

fo

r th

is w

as to

giv

e o

urse

lves

a lo

t of

time

to b

uild

up

peo

ple

’s c

on

fid

ence

in

us,

wh

eth

er th

ey w

ere

fro

m E

uro

pe,

C

entr

al o

r N

ort

h A

fric

a, In

dia

or

else

-w

her

e –

peo

ple

wh

o h

ad d

iffe

ren

t cu

ltur

al b

ackg

roun

ds

and

, I w

oul

d ev

en

say,

dif

fere

nt v

alu

e sy

stem

s. W

hat

was

m

ore

, th

ey a

ll h

ad d

iffe

ren

t no

tion

s o

f an

inst

itu

tion

, lo

cal l

ife,

co

llect

ive

spac

e, e

tc. S

o, w

e h

ad to

giv

e p

eop

le

tim

e to

un

der

stan

d a

nd

ag

ree

on

w

hat

kin

d o

f (n

on

-) in

stit

utio

n, g

rou

p

or

org

aniz

atio

n w

e w

ere,

bec

ause

it

was

no

t po

ssib

le to

cla

ssif

y u

s w

ithi

n

exis

ting

on

es. A

nd

bit

by

bit

, as

peo

ple

st

arte

d to

tal

k to

eac

h o

ther

, a lo

t of

oth

er p

eop

le a

rriv

ed a

nd

beg

an d

oin

g

thin

gs,

bec

ause

so

meb

od

y h

ad to

ld

them

that

ther

e w

as th

is p

lace

. Th

at

was

ho

w it

wo

rked

, th

ou

gh

no

t wit

ho

ut

con

flict

s, o

f co

urse

. We

trie

d n

ot t

o

com

mun

icat

e to

o m

uch

thro

ug

h th

e m

edia

, bec

ause

it w

as m

uch

bet

ter

to

let t

he

info

rmat

ion

circ

ulat

e th

rou

gh

a

phy

sica

l net

wo

rk, o

ne

that

had

a

cert

ain

pro

xim

ity.

Th

us,

ove

r tim

e, w

e su

ccee

ded

in e

stab

lishi

ng

a p

hysi

cal

net

wo

rk th

at w

as b

oth

tran

scul

tura

l an

d -s

oci

al. T

ho

ug

h so

meh

ow

the

net

wo

rk c

reat

ed it

self

; we

did

n’t

ac

tual

ly d

o an

ythi

ng

dir

ectl

y. W

e ju

st

enab

led

the

situ

atio

n, a

po

ssib

ility

, an

d

peo

ple

gen

erat

ed th

e d

ynam

ics

them

-se

lves

. So

this

was

on

e p

reco

nd

itio

n.

A s

eco

nd

on

e h

ad to

do

wit

h cl

aim

ing

sp

ace

and

mak

ing

it av

aila

ble

for

ex-

per

imen

tatio

n w

ith

wh

at w

e m

igh

t cal

l a

tran

slo

cal p

latf

orm

. By

chan

ce, w

e m

anag

ed to

ob

tain

a h

ug

e sp

ace,

an

d

this

sp

ace

– p

lus

all t

he

mo

bile

infr

a-st

ruct

ure

we

esta

blis

hed

(e.

g. a

ser

ies

of m

ob

ile m

od

ules

wit

h m

icro

-in

fra-

stru

ctur

es fo

r co

oki

ng

, so

und

& m

edia

, re

adin

g &

wri

ting

, jo

iner

y, c

om

po

stin

g,

rain

wat

er) –

cau

sed

peo

ple

gra

du

ally

to

pro

po

se c

erta

in a

ctiv

itie

s: c

ultu

ral

even

ts a

nd

eco

no

mic

act

ivit

ies,

po

li t-

ical

mee

ting

s an

d d

ebat

es.

In fa

ct, w

e d

idn

’t d

o m

uch

bu

t rat

her

le

t thi

ng

s b

e, c

reat

ing

a p

oss

ibili

ty fo

r th

ing

s to

ap

pea

r o

r h

app

en, e

nab

ling

a

cert

ain

mo

men

tum

, so

met

hin

g th

at

do

esn

’t h

app

en in

a ‘n

orm

al’ i

nst

itu

tion

o

r ur

ban

str

uct

ure.

No

bo

dy

exp

ects

p

eop

le to

pro

po

se a

n ac

tivi

ty a

nd

, fo

r u

s as

art

ists

, thi

s w

as v

ery

inte

rest

ing

.

Of c

our

se w

e al

so h

ad o

ur o

wn

net

-w

ork

of f

rien

ds

and

con

nec

tion

s, w

hich

w

as im

po

rtan

t at t

he

star

t an

d g

ave

us

som

e in

itia

l ori

enta

tion

, bu

t eve

ryth

ing

af

terw

ard

s d

epen

ded

on

the

peo

ple

in-

volv

ed. T

hey

bu

ilt u

p an

oth

er n

etw

ork

, w

ho

se d

ynam

ics

wer

e m

ulti

-lay

ered

: fo

r ex

amp

le, l

ast y

ear

this

net

wo

rk

focu

sed

mo

re o

n m

edia

, i.e

. tac

tica

l m

edia

. Bef

ore

that

, th

e n

etw

ork

had

b

een

ori

ente

d m

ore

tow

ard

s ar

chi-

tect

ural

eco

-des

ign

and

alte

rnat

ive

ener

gy,

bec

ause

thes

e w

ere

com

pat

-ib

le w

ith

the

inte

rest

s o

f th

e p

eop

le

invo

lved

. So

it h

as a

ll b

een

div

erse

an

d

flex

ible

. Eve

ryth

ing

dep

end

s o

n w

ho

g

ets

invo

lved

– u

ltim

atel

y I t

hin

k w

e ca

n sp

eak

her

e o

f tem

po

rary

net

wo

rks

that

cre

ate

last

ing

pro

ject

s.

Pm

/Hm

: Ho

w c

an o

ne

shar

e th

e ex

-p

erie

nce

of s

uch

a n

etw

ork

ed p

roje

ct

wit

h a

mo

re tr

ansl

oca

l au

die

nce

, be

it

thro

ug

h ex

hib

itio

ns,

su

ch a

s th

e b

erlin

b

ien

nia

l fo

r co

nte

mp

ora

ry a

rt, a

s in

yo

ur c

ase,

or

arch

ival

str

uct

ures

?

co

nst

anti

n Pe

tco

u: O

ur s

trat

egy

is n

ot

just

‘arc

hite

ctur

al’ –

it’s

als

o p

olit

ical

. A

nd

in a

way

, th

e p

roje

ct is

bo

th s

oci

al

and

arti

stic

. Wh

en I

say

arti

stic

, I m

ean

‘a

rt’ a

s a

‘fre

e sp

ace’

for

arch

itec

ture

. Fo

r an

‘arc

hite

ct’,

way

s o

f pro

du

cin

g

spac

e ar

e ve

ry s

tan

dar

diz

ed a

nd

re

stri

cted

by

no

rms

and

reg

ulat

ion

s,

wh

erea

s fo

r an

‘art

ist’,

ther

e’s

mu

ch

mo

re fr

eed

om

to d

o th

ing

s. S

o w

e w

ante

d to

go

bey

on

d th

e n

orm

s o

f ar

chit

ectu

re b

y o

pp

ort

unis

tica

lly u

sin

g

ano

ther

mo

de

of s

pat

ial p

rod

uct

ion

, i.e

. an

‘art

isti

c’ o

ne.

Bu

t su

ch tr

ans-

fere

nce

can

be

crit

ical

. We

kno

w, o

f co

urse

, th

at a

n ar

t sp

ace

or

com

mis

-si

on

can

also

be

rath

er li

mit

ing

at

times

, bu

t wh

at w

e w

ante

d fr

om

it

was

the

op

po

rtun

ity

to c

riti

cize

bo

th

arch

itec

ture

an

d ar

t pro

du

ctio

n b

y d

oing

thin

gs

in a

dif

fere

nt w

ay. I

n th

is

sen

se o

ur a

ppro

ach

is b

oth

inte

rdis

cip

-lin

ary

and

extr

adis

cip

linar

y. W

e tr

y to

be

extr

adis

cip

linar

y as

arc

hite

cts

and

crit

ical

ly p

ush

the

limit

s o

f our

pro

fess

ion

, whi

ch is

, I g

ues

s, o

ne

of t

he

reas

on

s w

hy w

e’re

invi

ted

to e

xhib

it,

to s

ho

w in

su

ch s

pac

es. I

n re

alit

y,

ho

wev

er, w

e d

on

’t sh

ow

any

thin

g

in a

usu

al w

ay. R

ath

er w

e u

se th

e ar

t sp

ace

to p

rod

uce

pro

ble

ms

and

to

sh

are

them

wit

h o

ther

s. T

his

was

th

e ca

se w

ith

the

ber

lin b

ien

nia

l an

d

the

GA

K (G

esel

lsch

aft f

ür A

ktu

elle

K

unst

) in

Bre

men

, as

wel

l as

oth

er a

rt

even

ts a

nd

ven

ues

wh

ere

we

use

d th

e ex

hib

itio

n to

cre

ate

a w

ork

spac

e fo

r a

self-

org

aniz

ed te

am, a

nd

the

inst

itu

-tio

nal

fram

ewo

rk a

s an

op

po

rtun

ity

for

peo

ple

wit

ho

ut m

ean

s to

do

crit

ical

w

ork

an

d h

ave

visi

bili

ty: t

he

spac

es w

e h

ave

crea

ted

flu

ctu

ate

bet

wee

n b

ein

g

Par

tici

pat

ion

and

self

-man

agem

ent

Th

e co

llect

ive

pro

gra

mm

ing

of a

ctiv

itie

s w

as b

ased

on

a fl

exib

le u

se o

f sp

ace

and

the

use

rs’ p

arti

cip

atio

n

in it

s m

ain

ten

ance

. Th

is h

as p

rog

ress

ivel

y co

nd

uct

ed t

o th

e se

lf-m

anag

emen

t of t

he

pro

ject

.EC

Ob

ox

gar

den

, Par

is, 2

002-

2004

No

mad

gar

den

262

Par

alle

l Wo

rld

s In

terv

iew

263

Par

alle

l Wo

rld

s In

terv

iew

Pm

/Hm

: Yo

u’r

e co

ord

inat

or

of t

he

A

LMO

STR

EAL

pro

ject

at t

he

Euro

-p

ean

Cul

tura

l Fo

und

atio

n (E

CF)

in

Am

ster

dam

. Wh

at a

re th

e m

ain

go

als

of t

his

net

wo

rkin

g p

roje

ct a

nd

ho

w d

o

they

rel

ate

to th

e EC

F’s

mis

sio

n m

ore

g

ener

ally

?

igo

r d

ob

rici

c: T

he

ECF

is a

cul

tura

l fo

und

atio

n, w

hich

mea

ns

we’

re n

ot a

n

art f

oun

dat

ion

and

we’

re n

ot f

und

ing

‘a

rt fo

r ar

t’s

sake

’. S

o w

e’ve

a c

erta

in

soci

al a

nd

cult

ural

ag

end

a fo

r fu

nd

ing

ar

t, an

d th

is in

volv

es s

earc

hin

g fo

r a

spec

ial k

ind

of a

rt th

at h

as s

oci

al

rele

van

ce. B

ut w

e h

ave

no

tice

d th

at

fun

din

g p

olic

ies

oft

en c

reat

e a

par

ticu

-la

r ki

nd

of a

rt in

stea

d o

f dis

cove

rin

g

it. F

oun

dat

ion

s in

vest

in w

hat

they

co

nsi

der

‘en

gag

ed a

rt’ a

nd

by

do

ing

so

mak

e th

is a

rt p

oss

ible

. Esp

ecia

lly

in e

aste

rn E

uro

pe

a lo

t has

hap

pen

ed

that

has

mad

e ar

tist

s ch

ang

e h

ow

they

w

ork

in o

rder

to g

et f

und

ing

– th

is is

an

en

tirel

y un

sati

sfac

tory

dev

elo

pm

ent.

A

s a

fun

din

g b

od

y, o

ne

sho

uld

n’t

cr

eate

an

art

sce

ne

thro

ug

h t

he

way

o

ne

inve

sts

mo

ney

, bu

t rat

her

fig

ure

o

ut h

ow

to id

enti

fy a

spec

ts t

hat

ar

e es

pec

ially

so

cial

ly r

elev

ant i

n

exis

tin

g a

rt p

ract

ices

. Fu

nd

s sh

ou

ld

no

t be

allo

cate

d to

par

ticu

lar

kin

ds

of

pra

ctic

es, b

ut t

o p

ract

ices

ind

ivid

ual

ly

sele

cted

for

thei

r sp

ecifi

c ch

arac

teri

s-ti

cs. A

LMO

STR

EAL

mar

ks a

n h

on

est

atte

mp

t – h

ow

ever

clu

msy

it m

igh

t se

em –

to m

ove

away

fro

m in

stru

men

-ta

lizin

g th

e ar

ts v

ia f

und

ing

po

licie

s an

d to

war

ds

fun

din

g th

ose

pro

ject

s in

ar

t wh

ose

rel

evan

ce is

n’t

dep

end

ent

on

thei

r so

urce

s o

f fin

anci

al s

up

po

rt.

Wh

at’s

mo

re, t

he

resu

lts

of f

und

ing

o

ften

are

n’t

sust

ain

able

in th

e lo

ng

run

. Le

t’s

say

you

’re

fun

din

g a

cert

ain

acti

v-it

y an

d yo

u’r

e d

oin

g th

is s

om

ewh

ere

in E

uro

pe

wh

ere

few

er r

eso

urce

s ar

e av

aila

ble

. Wel

l, th

e m

om

ent y

ou

pul

l ou

t, th

is a

ctiv

ity

bre

aks

do

wn

, b

ecau

se th

ere’

s n

ob

od

y to

tak

e ov

er.

So

our

maj

or

stra

teg

y w

ith

resp

ect t

o

this

pro

ble

m is

to s

timul

ate

allia

nce

s,

colla

bo

ratio

ns

and

par

tner

ship

s, a

nd

th

e cr

eatio

n o

f a s

pec

ific

net

wo

rk –

or

a n

um

ber

of o

verl

app

ing

net

wo

rks.

T

hes

e n

etw

ork

s d

evel

op

bet

wee

n

arti

sts

and

pra

ctit

ion

ers,

wh

o ar

e su

pp

ort

ed b

y u

s so

they

can

cre

ate

pla

tfo

rms.

Th

e as

sum

ptio

n is

that

this

ki

nd

of n

etw

ork

ing

wit

h it

s ex

chan

ge

of i

nfo

rmat

ion

and

flo

w o

f res

our

ces

will

su

stai

n ea

ch in

div

idu

al o

rgan

iza-

tion

bet

ter.

Thi

s h

as b

een

an im

po

rtan

t p

oin

t in

info

rmin

g th

e st

ruct

ure

of

ALM

OS

TREA

L.

An

oth

er im

po

rtan

t asp

ect o

f th

e p

roje

ct is

that

wh

en w

e co

ord

inat

e an

d fu

nd

we

try

to u

se th

e sa

me

too

ls

as th

e ar

tist

s th

emse

lves

are

usi

ng

. In

o

ther

wo

rds,

we

actu

ally

wan

t to

do

w

hat

we

pre

ach

. In

this

pro

ject

we

try

to o

per

ate

and

inte

ract

wit

h o

ur p

art-

ner

s b

y lo

oki

ng

at h

ow

they

– a

rtis

ts

or

art c

olle

ctiv

es o

r ar

t in

itia

tive

s –

o

per

ate.

Thi

s al

so m

ean

s w

e cr

eate

a

stru

ctur

e th

at is

un

usu

al fo

r va

rio

us

reas

on

s. T

his

stru

ctur

e is

evo

lvin

g an

d

con

tinu

ou

sly

chan

gin

g –

to a

dan

ger

-o

us

po

int o

f rad

ical

fu

zzin

ess

– th

rou

gh

th

e in

pu

t of p

eop

le w

ho

hav

e b

eco

me

our

par

tner

s. S

o w

e cr

eate

a c

erta

in

net

wo

rk w

ith

a n

um

ber

of i

nte

rest

ing

org

aniz

atio

ns,

ind

ivid

ual

s an

d ar

tist

s,

and

then

we

enco

urag

e th

em to

re-

crea

te it

wit

h th

eir

inp

ut a

nd

crit

ical

th

inki

ng

, an

d th

is m

akes

it c

han

ge

and

ev

olv

e ac

cord

ing

ly.

Pm

/Hm

: In

your

wri

ting

s yo

u in

tro

du

ce

inte

rcul

tura

l co

mp

eten

ce –

rat

her

than

th

e rh

eto

ric

of i

nte

rcul

tura

l dia

log

ue

– as

a m

ore

mea

nin

gfu

l co

nce

pt f

or

faci

litat

ing

an u

nd

erst

and

ing

of d

iffe

r-en

ce. H

ow

can

inte

rcul

tura

l co

mp

e-te

nce

be

pro

mo

ted

thro

ug

h a

fun

din

g

bo

dy

like

the

ECF?

igo

r d

ob

rici

c: C

om

pet

ence

imp

lies

mak

ing

an e

ffo

rt to

lear

n, w

hich

is w

hy

it’s

mo

re a

pp

ealin

g th

an th

e n

otio

n

of d

ialo

gu

e, w

hich

is e

asily

tak

en fo

r g

ran

ted

as s

om

e ki

nd

of i

nb

orn

, Go

d-

giv

en a

bili

ty. I

thin

k n

otio

ns

of l

earn

-in

g/e

du

catio

n/s

oci

al e

man

cip

atio

n ar

e cr

uci

al fo

r a

dif

fere

nt a

pp

roac

h to

war

d

pro

ble

ms

of d

iffe

ren

ce. B

y ca

llin

g it

co

mp

eten

ce w

e al

so fo

rce

our

selv

es

to c

lear

ly id

enti

fy e

xact

ly h

ow

we’

re

faili

ng

tod

ay to

‘tea

ch a

nd

tran

smit

this

co

mp

eten

ce’.

I was

at a

co

nfe

ren

ce r

e-ce

ntl

y o

n in

terc

ultu

ral c

om

mun

icat

ion

–

yet a

no

ther

su

ch te

rm –

in G

eno

a,

Ital

y: a

hig

hly

aca

dem

ic e

ven

t in

a p

ort

ci

ty f

ull o

f im

mig

ran

ts. Y

ou

had

thes

e 20

peo

ple

sit

ting

in G

eno

a’s

Cit

y H

all,

this

bea

uti

ful R

enai

ssan

ce r

oo

m, d

is-

cuss

ing

the

issu

e o

f in

terc

ultu

ral c

om

-

a p

ub

lic a

nd

/or

mee

ting

spac

e, w

ork

-sh

op

or

even

per

son

al s

pac

e, if

nec

es-

sary

. In

Ber

lin w

e h

ad a

sm

all s

pac

e fo

r ‘c

oo

kin

g id

eas’

wit

h tw

o co

nfe

ren

ce

tab

les;

ste

p b

y st

ep w

e u

sed

the

wo

od

fr

om

the

tab

les

to c

on

stru

ct a

mo

bile

ur

ban

kit

chen

, whi

ch w

as th

en t

aken

o

ut i

nto

the

city

. Wh

at w

e sh

ow

ed o

r,

let’

s sa

y, ‘m

ade

visi

ble

’ was

a m

eetin

g-

wo

rkin

g-c

oo

kin

g sp

ace

acce

ssib

le to

a

larg

e n

um

ber

of p

eop

le. A

ll th

ese

exp

erie

nce

s h

ave

bee

n d

ocu

men

ted

as

pro

cess

es, w

hich

mea

ns

we

no

w h

ave

a ra

ther

big

vid

eo a

rchi

ve th

at in

clu

des

m

ost

of t

he

pro

ject

s w

e’ve

par

tici

pat

ed

in. A

nd

we

ho

pe

that

on

e d

ay, i

n ad

d-

itio

n to

cap

turi

ng

mem

ori

es o

f our

pas

t ex

per

ien

ces,

this

arc

hive

will

bec

om

e a

reso

urce

for

oth

ers.

Tra

nsm

issi

on

m

igh

t als

o b

e ca

lled

a p

reco

nd

itio

n

for

pro

ject

s o

f thi

s ki

nd

. We

tran

smit

p

roje

cts

in m

any

way

s: fi

rst k

no

w-h

ow

is

pas

sed

dir

ectl

y o

n to

oth

ers

whi

le

the

pro

ject

is b

ein

g im

ple

men

ted

and

ex

per

ien

ced

(as

was

the

case

wit

h

ECO

box

); a

nd

then

sp

ecifi

c tr

ans-

mis

sio

n to

ols

are

cre

ated

, fo

r in

stan

ce,

an a

rch

ive

acce

ssib

le u

nd

er c

erta

in

con

dit

ion

s to

eve

ryb

od

y in

tere

sted

, an

infr

astr

uct

ural

bas

e th

at c

an b

e

bo

rro

wed

or

shar

ed a

s w

ell a

s lo

ng

-te

rm a

ssis

tan

ce a

nd

frie

nd

ship

.

igor dobricic

Mo

bile

mo

du

les

A n

um

ber

of m

od

ule

s (k

itch

en, t

oo

l ban

k, r

adio

sta

tio

n, l

ibra

ry, w

ater

co

llect

or)

hav

e b

een

real

ized

b

y aa

a an

d in

hab

itan

ts, a

rtis

ts a

nd

stu

den

ts. T

hey

co

nst

itu

te t

he

elem

ents

of a

mo

bile

arc

hit

ectu

re

wh

ich

allo

w m

ult

iple

co

mb

inat

ion

s o

f sp

ace

and

use

, mix

ing

dif

fere

nt p

ub

lics

and

use

rs.

Bef

ore

an

d A

fter

th

e S

ho

w

Sem

inar

, Lis

bo

n, 1

0-1

1 Ju

ne

2006

ALM

OS

TREA

L

264

Par

alle

l Wo

rld

s In

terv

iew

265

Par

alle

l Wo

rld

s o

f Sel

f-E

du

cati

on

, Sel

f-O

rgan

izat

ion

and

Sel

f-E

mp

ow

erm

ent,

an

d th

e Q

ues

tio

n o

f Bio

po

litic

s

mun

icat

ion

– al

l ver

y hi

gh

-lev

el, v

ery

inte

llig

ent,

very

insi

gh

tful

. Yet

no

ne

of t

his

info

rms

any

kin

d o

f pra

ctic

e.

Wh

en y

ou

step

ou

t of C

ity

Hal

l on

to th

e st

reet

, yo

u’r

e co

nfr

on

ted

by

the

real

ity

of G

eno

a, f

ull o

f Afr

ican

imm

igra

nts

, w

hich

was

why

the

con

fere

nce

was

o

rgan

ized

in th

e fir

st p

lace

. Fo

r th

e m

ost

par

t, th

ese

two

wo

rld

s re

mai

n

sep

arat

e. A

nd

the

rad

ical

ism

of t

his

se

par

atio

n an

d th

e sh

eer

sho

ck o

f m

ovin

g b

etw

een

thes

e tw

o w

orl

ds

– th

at e

xist

in th

e sa

me

city

scap

e an

d

don

’t co

mm

unic

ate

at a

ll –

are

quite

dis

-tu

rbin

g. S

o to

trig

ger

an

und

erst

and

ing

and

exch

ang

e o

f dif

fere

nce

s, r

ath

er

than

reg

rett

ing

the

lack

of s

har

ed

iden

titie

s, w

e tr

uly

nee

d to

ad

dre

ss th

e re

alit

y o

f par

alle

lism

an

d se

par

atio

n.

Th

e fir

st th

ing

invo

lved

is a

co

mp

eten

t en

gag

emen

t wit

h d

iffe

ren

ce, a

nd

the

seco

nd

, th

e h

op

e th

at a

rt w

ill b

e ab

le to

p

rovi

de

a p

lace

wh

ere

this

en

coun

ter

can

be

exp

lore

d in

a v

ery

com

ple

x an

d

sop

hist

icat

ed –

as

wel

l as

acce

ssib

le

and

exp

erie

ntia

l – fo

rm. T

ho

ug

h th

is

do

esn

’t n

eces

sari

ly h

ave

to b

e d

on

e o

n a

gra

nd

scal

e, b

ut w

ith

ho

nes

ty a

nd

w

ith

ou

t fea

r o

f mis

und

erst

and

ing

s an

d

con

fro

nta

tion

s. F

or

curr

entl

y th

e ex

-p

lora

tion

of d

iffe

ren

ce in

cul

tura

l an

d

soci

al p

ract

ice

is n

ot r

eally

hap

pen

ing

o

n a

seri

ou

s le

vel d

ue

to fe

ar.

To g

ive

an e

xam

ple

of t

he

pre

cio

us

ex-

per

ien

ces

that

sm

all o

rgan

izat

ion

s ca

n

have

in th

e co

nte

xt o

f an

alte

rnat

ive

/ in

dep

end

ent c

ultu

ral s

cen

e, I

wo

uld

like

to m

entio

n th

e B

alka

n re

gion

, wh

ere

tho

se w

ho

are

dea

ling

or o

per

atin

g in

th

e p

roxi

mit

y o

f th

e ‘n

ew’ a

lter

nat

ive

med

ia s

cen

e ar

e co

mm

unic

atin

g

the

mo

st e

ffici

entl

y ac

ross

nat

ion

al

bo

und

arie

s in

the

arts

at t

he

mo

men

t.

Th

ey’v

e d

evel

op

ed a

nd

per

fect

ed c

er-

tain

ski

lls a

nd

stra

teg

ies

that

are

qu

ite

fasc

inat

ing

in th

e co

nte

xt o

f Bal

kan

fr

agm

enta

tion

. I d

on

’t se

e an

y o

ther

ar

tist

ic d

isci

plin

e o

r g

rou

p d

oin

g th

e sa

me.

So

for

us

and

ALM

OS

TREA

L,

it h

as b

een

real

ly in

tere

stin

g to

focu

s o

n a

few

key

org

aniz

atio

ns

– ku

da.

org

an

d P

REL

OM

in S

erb

ia, W

HW

in

Cro

atia

, pro

.ba

in B

osn

ia –

an

d tr

y to

d

evel

op

a se

ries

of a

ctiv

itie

s w

ith

them

th

at w

e w

oul

d w

ant t

o su

pp

ort

.

ALM

OS

TREA

L w

ork

s fr

om

the

pre

mis

e o

r b

elie

f th

at th

e p

ow

er o

f art

ste

ms

fro

m th

e fa

ct th

at b

y n

atur

e ar

tist

ic

acti

vity

dea

ls w

ith

dif

fere

nce

in, w

hat

I m

igh

t cal

l, a

fun

dam

enta

l, ex

iste

ntia

l w

ay; i

.e. i

nd

ivid

ual

dif

fere

nce

is s

een

as a

per

son

al g

iven

, as

a st

ruct

ure

of

con

scio

usn

ess.

I th

ink

anyb

od

y w

ho

ai

ms

at p

rog

ram

mat

ical

ly e

xpo

sin

g

or

acco

mm

od

atin

g th

e d

iffe

ren

ces

in

oth

er in

div

idu

als

wit

ho

ut r

efer

rin

g to

hi

s o

r h

er o

wn

inte

rnal

pro

cess

es o

f d

iffe

ren

tiatio

n an

d al

ien

atio

n is

do

ing

so

met

hin

g o

ther

than

art

. As

an a

rtis

t yo

u so

meh

ow

kn

ow

that

it’s

imp

os-

sib

le to

car

ry o

ut a

so

cial

or

po

litic

al

mis

sio

n w

ith

ou

t mak

ing

and

un

der

-st

and

ing

it as

a p

erso

nal

, in

tern

aliz

ed

issu

e. If

the

mis

sio

n to

‘ch

ang

e th

e w

orl

d’ i

s co

mp

lete

ly e

xter

nal

ized

, th

e ar

tist

can

no

lon

ger

pra

ctic

e ar

t; h

e o

r sh

e is

do

ing

som

eth

ing

else

an

d

imm

edia

tely

bec

om

es im

plic

ated

as

mer

ely

ano

ther

pla

yer

in th

e so

cial

g

ame

of p

ow

er. A

nd

fro

m g

ame

theo

ry

we

kno

w: i

t’s

very

har

d to

ch

ang

e th

e ru

les

of a

gam

e if

you

’re

fully

imp

li-ca

ted

in it

. Sin

ce w

e liv

e in

a li

ber

al

cap

ital

ist c

on

text

, we

all e

xper

ien

ce

this

dif

ficu

lty

qu

ite

per

son

ally

. Th

is

refe

ren

ce to

the

oth

ern

ess

in u

s is

lik

e a

sid

e ex

it fr

om

the

maz

e, a

pla

ce

wh

ere

the

soci

al g

ame

dis

solv

es in

to

the

pro

cess

of p

erso

nal

tran

sfo

rma-

tio

n. A

nd

this

is w

her

e I s

ee th

e ro

le o

f ar

tist

ic p

rod

uct

ion

: in

exer

cisi

ng

and

ex

plo

rin

g st

rate

gie

s o

f ch

ang

e th

at

in m

any

dif

fere

nt w

ays

go

bey

on

d

self

-exp

ress

ion

(id

enti

ty),

bu

t alw

ays

pro

ceed

fro

m s

elf-

exam

inat

ion

(d

iffe

ren

ce).

The question of self-education, self- organization and self-empowerment is one of structural and institutional possi-bility, economy and agency in the deeply unbalanced (biopolitical) space of Europe. The process of self-empowerment is to be seen as a critique of contemporary official and institutionalized structures of presentation, mediation and articulation that concentrate in the last instance on only taking care of themselves.

First World capitalism has recently lost interest in former Eastern European space. Or rather, it never actually had any profound interest in it. This situation can be understood only on the level of the internal developments of contempor-ary global capitalism and in light of the fact that a once-divided Europe is grad-ually disappearing; it is now regarded as a union of ‘Europeans’. Reasons for this sudden but complete indifference to Eastern Europe at the heart of Europe vary. Though all of them are connected

with financial capital, the prevalent form of contemporary capital that

accumulates differentially through circu-lation. Past divisions and the ideology of difference within Europe are seen as an obstacle to such circulation. Behaving as if Europe is already one common space makes it unnecessary to push inclusion through exclusion; instead it is enough to behave as if differences no longer exist. We all become identi-cal through a process of evacuation, one that David Harvey defines as ‘accu-mulation by dispossession’ in his Brief History of NeoLiberalism. ‘Accumulation by dispossession’ was and is a process of expulsion, one that negates the pos-session of any possible difference. And where required for its completion, legal means have been used in combination with institutional, legislative, bureau-cratic, infrastructural, theoretical and cultural devices. The process of ‘accumu-lation by dispossession’ may no longer be underway in Europe; many see it as already completed here. Yet it is still in progress elsewhere, for example in the Third World.

As a consequence of this change, Chris Wright and Samantha Alvarez argue against David Harvey’s ‘accumulation by dispossession’ in their article ‘Expropriate, Accumulate, Financialise’. Instead they propose another process characteristic for financial capital, one described by Michael Hudson in Super Imperialism in 1972 (and republished in 2003). Hudson says that we are witnessing a process that, instead of gaps in distribution, displays the contrary; he terms it ‘the imperialism of circulation’. In my view, these processes cannot be seen as a simple shift between modes of accumulation of capital (one relegating ‘accumulation by dispossession’ to the sidelines): rather the one has constituted (through dispossession) the para meters for the other in order to dominate the present moment.

I have sketched out some of the most interesting aspects in the important debate about questions of accumulation and redistribution of financial capital. They have to be seen as constituting the back-drop for all serious debate on what has to be done at present with regard to ques-tions of agency for possible emancipative politics within and/or against global cap-italism. But what is particularly important for now is the process of what, in relation to Hudson, we may call the ‘imperialism of endless circulation’, a process that has its equivalent in another process, one

Para

llel W

orld

s o

f sel

f-e

du

cati

on,

sel

f-o

rgan

izat

ion

an

d s

elf-

em

pow

er m

ent,

an

d t

he

Q

ues

tio

n o

f Bio

po

litic

s m

arin

a G

ržin

ic

‘it w

ill b

e w

hat

we

mak

e it

’ P

rep

arat

ory

mee

tin

g, L

isb

on

, 1-3

Ju

ly 2

007

ALM

OS

TREA

L‘K

arim

a m

eets

Lis

bo

a m

eets

Mig

uel

mee

ts C

airo

’A

LMO

STR

EAL

266

Par

alle

l Wo

rld

s o

f Sel

f-E

du

cati

on

, Sel

f-O

rgan

izat

ion

and

Sel

f-E

mp

ow

erm

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267

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I can describe simply by referring to Jelica Šumic-Riha’s article ‘Jetniki Drugega, ki ne obstaja’ (‘Prisoners of the Inexistent Other’). According to her, what is impos-sible in today’s world of capitalism is impossibility as such.

The imperialism of circulation without differences as the primary logic behind the conditions that produce global finan-cial capitalism implies that what is being produced is money as financial power, though this bubble is also sure to burst sooner or later. Nevertheless, capital has only one agenda – surplus value – and this is more than just a programme or a Hollywood film conspiracy; it is a driving force. In its frantic attempt for ever more possibilities, the imperialism of circula - tion prevents subversion and the attack of a master entity. Everything circulates, is exchanged and clearly dispossessed of any difference; no obstacles are to be seen in the network that structures reality for us. Those once perceived as enemies – from individuals to institutions – are behaving as if we were all mired in the same situation and, now united, have to find the remedy to our problems and obstacles (which they created in the first place, though they forgot this imme-diately). Today it is impossible to say something is impossible.

Or to put it differently: in the past, sub-versive acts were possible as they were subversion against an unmistakable ‘fore-closure’ and division in society. The big Other, the virtual symbolic order or the network that structured and continues to structure reality for us, was what gave things ‘a consistency’ and nearly guaran-teed interventions against it. The world today presents itself in an endless circu-lation (imperialism is an excellent con-cept to capture this force), and it is seen as ‘friendly’ and as an endless exchange. Therefore to solve expropriation, enslave-ment and neo-colonial interventions by capital, a single measure is proposed – ‘coordination’ (are we really so dumb as to pursue such a theory?). Of course those proposing this have a card up their sleeve: in order for things to circulate smoothly, it is necessary to coordinate things successfully, and this also means getting rid of those who still bother us with social and class antagonisms.

Setting boundaries for this inconsistency of the big Other means to act. Acting changes the very coordinates of

such impossibility. For it is only by acting that I can effectively assume the non-existence of the big Other. This not only implies that I have to take the represen-tation and articulation of a division into my own hands in order to set the bound-ary within this cynical situation, one in which the only thing that is impossible is impossibility as such, but it also, as argued by Šumic-Riha, implies that it is necessary to build the framework to effect a ‘foreclosure’ that will set the parameters and provide the coordinates of the polit-ical act. And yet, as Šumic-Riha reminds us and Jacques Lacan already argued in Seminaire XVI, if discourse has no foreclosure it does not necessarily mean an end is impossible. On the contrary: due to the disappearance of foreclosure, this topic is continually part of the agenda.

To recapitulate, what is impossible today is impossibility as such. This has clear repercussions on the level of resistance. But first to an example of a political act that does away with the inconsistency and non-existence of the big Other, and frees itself from being a hostage of the Other: the project Zavzemamo prostor/ WIR GREIFEN RAUM by the Research Group on Black Austrian History and Presence from Vienna, with its core members Araba Evelyn Johnston-Arthur and Belinda Kazeem, analyses the struc-tural settings of contemporary racism, chauvinism and enslavement. With a statement in Slovenian and German,

Zavzemamo prostor/WIR GREIFEN RAUM, (WE ARE SEIZING AND CLAIMING SPACE) displayed as of July 2007 on a gigantic banner on the roof of the Pavel House – an intercultural meeting place and centre for the Slovenian minority in Laafeld, Austria – the Research Group connects two pressing issues of Austrian political and social reality.

Their first claim relates to Article 7, Paragraph 3 of the Austrian State Treaty concerning the rights of the Slovenian and Croatian minorities that stipulates: ‘In administrative and judicial areas of Carinthia, Burgenland and Styria with Slovenian, Croatian and mixed popula-tions, the Slovenian and Croatian lan-guages, besides German, shall be per-mitted as official languages. Signposts and signs in these areas shall be in the Slovenian and Croatian as well as German languages.’ Thus Article 7, Paragraph 3 of the Austrian State Treaty unambiguously defines the installation of bilingual signs. A problem arises because the Article does not define the areas or criteria for their installation, and so leaves room for interpretation (from 92 to 394 signposts). Ultimately there is the request to install a total of 394 bilingual signs, i.e. in all areas with more than 10 percent Slovenian-speaking inhabitants. The project of the Research Group on Black Austrian History and Presence must be seen as a precise intervention in this context. Their second claim relates to the group’s aim of decolon-izing Austrian history from established prejudices and recurring racist stereo-types that have been structurally, institu-tionally and historically incorporated into the present reality of the country.

A declaration of existence is the first step, argues Šumic-Riha, but what fol-lows is the rigorous practice and logics of consequences in which the impossibil-ity of the foreclosure of the capitalist dis-course turns into the condition of a new possibility. It is the act that interrupts the consistency of the situation – indeed, it is the step outside. The Research Group on Black Austrian History and Presence explores the histories associated with our represen tational politics and how we reposition ourselves within a certain social, economic and political territory.

Global capitalism functions via the en actment of an iron law of worldwide

sameness, and this is precisely what makes it possible for us to speak of

a global world! (Capital is global!) Global capitalism means only capital is universal and free to move everywhere; capital is the only fully global citizen on our planet. Capital transforms processes of thinking into skills, depriving those who study and, therefore, ‘the future citizens of the world without a world’ of sustain-able political and acting coordinates. The system of education becomes unified and ‘easily understandable’ and, even more important, easily transferable; educa-tion becomes a transparent machine for production and the circulation of skills. Therefore interventions by the EU, and beyond the EU, in education and know-ledge have a precise agenda: to transform universities and academies into manager-ial institutions that will produce skilled students as future managers and sub-missive citizens. This agenda seems to be progressing well if we think of the current entrepreneurial applications at univer-sities promoted by the Bologna Process. The Bologna Process, with its implemen-tation of problematic reforms in edu- cation that dissociate education from social and political thought, is an EU ini-tiative aiming to standardize education across the European continent and in the United States. It obviously favours industry or entrepreneurial applications and is against those practices of art that do not have the authority or institutional sanctioning of more traditional forms of art training.

On the one hand, we see the progres-sive privatization of education, a trend that is in stark opposition to what was propagated not too long ago as a mile-stone of neoliberal democracy, with its ideal of untouchable public space (which is also undergoing progressive privatiza-tion). On the other hand, in reference to Walter Mignolo, we see the devaluation of education. But privatization also means the privatization of histories, data, facts and views through a system that bears a paradoxical name: the universalization of knowledge. Though it should actually be obvious that only some histories and facts, views and systems – those of the ruling class – count as universal histor ies and universal views for all possible localities. Knowledge is not just a corpus formed from the ‘outside’ through admin-istrative regulations and infrastructural deregulations. Inside it also hides class antagonisms and a colonial past.

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269

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Marina Garcés asks: ‘What then does the production of critical and shared thinking consist of?’ To answer this it is neces-sary to investigate official structures of knowledge and cultural production, along with how to build counter organizational frameworks. What I would like to say is that self-organization implies not only a process of criticizing universal know-ledge, but also the detection of internal colonial situations. Garcés argues that if we only engage in asking what globaliza-tion has stolen from us, we find ourselves reduced to mere spectators, consumers or victims. By doing so we remove our-selves from any responsibility for local context and history. What is necessary is the political act of re-appropriating history and genealogies, an act that will result in re-capturing the materiality of a history yet to be constructed. History cannot be perceived as something purely virtual and fictionalized. If we take the path of being mere spectators, consumers or victims of the injustices capital has inflicted on us, we find ourselves prisoners and slaves of a system, as Garcés argues, that produces only a long list of wrongs.

Self-organization and self- referentiality are not reborn from empty space. The effects of critique cannot be measured only by what is said but also, according to Garcés, by the grounds on which we base our criticism. This takes us to our next claim, that universities are the out-come of the modern colonial expedition, such as emphasized by Walter Mignolo. What does this mean? That the universal is founded on a fake neutrality in order to hide, as Araba Evelyn Johnston-Arthur and Belinda Kazeem formulate it, its direct connection to the bloody histories of vio-lence of a colonialism impregnated with enslavement, a looting of local histories, experiences and knowledge. Today the universality of knowledge has been cut off from the roots of modernity, and moder-nity can only be understood properly if seen in connection with the imperialistic colonial adventures of capitalism.

What is to be done? Instead of presenting ourselves as victims and outcome of a regulative policy that comes from the outside, it is necessary to think about the colonial from the inside. Walter Mignolo, in his endeavour to establish a new geo-politics of knowledge, talks about a radi-cal proposition that means dismantling

internal colonialism, and validating knowledge and power from the

internal colonial difference. What matters is the construction of a new conceptual genealogy. Establishing such a genealogy means to wake up and rise precisely when we’re knocked down by capitalism and post-socialist, transitional power relations and expropriations. Or even more to the point: ‘The central issue of the geo politics of knowledge is to understand ... what type of knowledge is produced “from the side of colonial difference” and what type of knowledge is produced ‘from the other side of colonial difference”’. Such tasks differ in Latin America, the Caribbean, Asia, Africa, Europe, Germany, Serbia, Slovenia or Austria.

Going back to Araba Evelyn Johnston-Arthur’s writings, I would like to empha-size that she proposes a new conceptual genealogy as a direct political gesture, as an act of intervention within local space. As said, Johnston-Arthur is one of the core members of the Research Group on Black Austrian History and Presence from Vienna, which organized itself to contest/provoke/decolonize deeply rooted colonial processes that have become a normal part of daily life in Austria.

Johnston-Arthur emphasizes that their work consists of exposing the system-atically hidden histories of the African diaspora at local sites in Austria. She writes about how the current Viennese tradition is rooted in the bloody history of colonial violence and enslavement. Today this tradition has been normalized and trivialized. Then she goes on to argue that the re-staging of colonial scenes is an in tegral part of Viennese cultural practices and tradition. We encounter them in coffee-houses, pastry shops, as street names, as racist insults on the walls of houses and in public transport. She describes the situation of drinking coffee from a cup with a Meinl logo in a traditional Viennese coffeehouse. Meinl is an Austrian com pany whose wealth came from trading colonial goods. On a traditional coffee cup with the Meinl logo we see, as Johnston-Arthur points out, an orientalized black child as symbol of the fancy food industry, while in fact the logo restages Austria’s colonial past. Johnston-Arthur writes: ‘Enslaved Africans were mostly deported as children, made objects of the profitable “slave trade” in the eighteenth century. An essential element of this violent his-tory of colonial oppression was and is the radical transformation of Africans into objects, into things.’

This also means, as Mignolo states, to act politically against the academic stand-ard of scientific rigour in which the scien-tific obfuscates every possible criticism, and to insist on a decolonization that will interfere with ‘proper’ local history. It is necessary to analyse power structures in a local setting that allows us to behave completely detached from local history and the present.

In an essay written at the beginning of 2000 – just before the untimely death of Belgrade theorist and feminist Žarana Papic – entitled ‘Europe after 1989: Ethnic Wars, Fascization of Social Life and Body Politics in Serbia’, Žarana Papic argues that the ‘“chosen discourses of appropriation” of social memory, col-lective trauma and the re-creation of the Enemy-Otherness in image and event can become an integral, “self-participatory” agent in the Serbian pro-fascist construc-tion of the social reality’. She goes on to say that the ‘power over the represen-tation of social reality’ in Serbia can be seen as a strong discursive instrument of a political order. Its power lies in the position of the ‘selective legitimization/delegitimization of social memory and social “pre-sence”: through narration/negation of social trauma, transformable presence/absence of violence, the con-stitution/virtuality of the public sphere, and the formation of “collective con-sciousness”. The legitimizing power

of this dominant discourse lies in the construction of the “collective

consensus”’ with ‘narcissistic rhetoric’; as emphasized by Papic, the outside world is the only factor and agency of misery inside Serbia and of de-privi leging circumstances. With such a pro cess, a field of self-victimization is opened and reconstituted, one that becomes active on every level of Serbian society, from the populist masses to intellectual and artis-tic practices. Papic describes this process of self-victimization as ‘peregrination of the trauma’, as a process of denial of any responsibility, for example, for war crimes in the former Yugoslavia.

Žarana Papic also speaks about a ‘re-invention of the chosen trauma’ at the level of ‘the public’, one reinforced through the state media and as such a carefully planned revision of the historical balance sheet. To quote her: ‘The media consistently forged... the Serb “indiffer-ence” towards the Other(s). The trauma became so internalized that Croatian and Bosnian victims could never reach the sacred status of the allegedly... ‘greatest’ Serbian, victims from 1941-42. One could perhaps even describe this as a “fiction-alization of the chosen trauma”.’

In relation to Žarana Papic’s almost forgot-ten analysis – one that has even greater topicality today – it is important to under-stand that there is no outside to impe-rial or colonial difference. It is easier to adhere to the hegemonic genealogies of modern and post-modern Western thought (Mignolo) as well as much more

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fun and ‘sexy’ to adhere to the idea of being a victim, of being a product of the ‘fictionalization of the chosen trauma’. It is easier to act for the big Other (Jelica Šumic-Riha) than to take the path of a radical political act that neither guaran-tees the same names nor immediate suc-cess. And precisely such a radical polit-ical act has been realized by the Research Group on Black Austrian History and Presence from Vienna.

References

- Austrian State Treaty, Article 7, Paragraph 3.

See: http://www.mzz.gov.si/en/slovenian_minorities/

- Marina Garcés, ‘The Experience of the US’, Zehar,

no. 60-61 (San Sebastian, 2007).

- http://magazines.documenta.de/attachment/

000000343.pdf

- Marina Gržinic, ‘Feminism is Politics’, Shedhalle,

no. 2 (Zurich, 2007).

- Marina Gržinic, ‘The Impurity of Education,

Knowledge and Self-Organization’, TKH: Journal

for Performing Arts Theory, no. 15 (Belgrade, 2008).

- David Harvey, A Brief History of Neoliberalism

(Oxford: Oxford University Press, 2005).

- Michael Hudson, Super Imperialism: The Origins

and Fundamentals of U.S. World Dominance

(London: Oxford University Press, 2003).

- Araba Evelyn Johnston-Arthur (text) and Belinda

Kazeem (visuals), Reartikulacija/Re-articulation, no.1

(Ljubljana, 2007). http://www.reartikulacija.org/

pozicioniranje.html

- Jacques Lacan, Le Séminaire livre XVI (1968-1969),

D’un Autre à l’autre (Paris: Seuil, 2006).

- Catherine Walsh, ‘The geopolitics of knowledge

and the coloniality of power: An interview with

Mignolo’, Zehar, no. 60-61 (San Sebastian, 2007).

http://magazines.documenta.de/attachment/

000000345.pdf

- Žarana Papic, ‘Europe after 1989: Ethnic Wars, the

Fascization of Social Life and Body Politics in Serbia’,

Filozofski vestnik/Acta Philosophica, no. 2, special

issue The Body, ed. Marina Gržinic Mauhler, Institute

of Philosophy ZRC SAZU (Ljubljana 2002): 191-205.

http://www.komunikacija.org.yu/komunikacija/

casopisi/sociologija/XLIII_3/d01/html_gb

- Jelica Šumic-Riha, ‘Jetniki Drugega, ki ne obstaja’

(‘Prisoners of the Inexistent Other’), Filozofski vest-

nik /Acta Philosophica, no. 1, Institute of Philosophy

ZRC SAZU (Ljubljana 2007): 81-103.

- Chris Wright and Samantha Alvarez, ‘Expropriate,

Accumulate, Financialize’, Eurozine, Mute 5, 2007:

http://www.eurozine.com/journals/mute.html

(accessed on Sept. 1, 2007).

No

t a p

rom

ised

lan

d b

ut a

del

igh

tfu

l wan

der

ing

272

Par

alle

l Wo

rld

s In

terv

iew

273

Par

alle

l Wo

rld

s In

terv

iew

an o

bje

ct w

her

e an

ind

ivid

ual

co

uld

b

e al

on

e b

ut t

hat

wo

uld

be

ever

yon

e’s

resp

on

sib

ility

at t

he

sam

e ti

me.

All

the

com

mu

nit

ies

wo

uld

tak

e ca

re

of t

he

ob

ject

wh

ile a

llow

ing

peo

ple

to

get

aw

ay f

rom

thei

r re

spec

tive

co

mm

un

itie

s.

In o

ther

wo

rds,

peo

ple

en

teri

ng

the

ob

ject

exi

t th

eir

com

mun

itie

s. T

his

mea

ns

thei

r co

mm

unit

ies

hav

e to

ac

cep

t th

at th

ey’r

e ta

kin

g (a

n in

div

id-

ual

) tim

e o

ut w

hen

they

go

away

an

d

stay

ther

e. It

’s a

pla

ce th

at m

igh

t be

able

to tr

igg

er n

ew p

ract

ices

. Th

ou

gh,

si

nce

the

pro

ject

is th

e re

spo

nsi

bili

ty

of t

he

com

mun

ity,

it e

xist

s o

nly

as

lon

g

as p

eop

le a

gre

e to

kee

p th

e p

hysi

cal

ob

ject

inta

ct. T

hey

hav

e to

dis

cuss

h

ow

to d

o th

is, h

ow

to u

se it

, mai

nta

in

it an

d so

on

. If d

iscu

ssio

n st

op

s, th

e o

bje

ct w

ill d

isap

pea

r. S

o d

iscu

ssin

g

the

mea

nin

g o

f su

ch a

sp

ace

actu

ally

co

nst

itu

tes

its

beg

inn

ing

. Of c

our

se,

ther

e’s

also

the

qu

estio

n o

f ho

w to

co

nvin

ce p

eop

le in

the

area

to c

olla

b-

ora

te. S

o in

sim

ple

term

s, th

is w

as th

e p

roje

ct w

e su

bm

itte

d to

the

foun

dat

ion

–

and

we

wo

n th

e co

mp

etit

ion

.

syl

vie

Blo

cher

: Sev

ran

is a

sym

bo

lic

pla

ce. A

new

cit

y, c

reat

ed in

the

1970

s fo

r im

mig

ran

ts. I

ts fi

rst r

esid

ents

cam

e fr

om

No

rth

Afr

ica,

fro

m th

e M

aghr

eb.

Su

bse

qu

entl

y, A

sian

an

d th

en In

dia

n

com

mun

itie

s ar

rive

d. M

ost

of t

hem

wer

e M

usl

ims.

It w

as a

ver

y d

ense

ar

ea a

nd

ther

e w

ere

fig

hts

bet

wee

n

the

dif

fere

nt c

om

mun

itie

s. B

efo

re w

e su

bm

itte

d o

ur p

rop

osa

l fo

r th

e co

mp

e-ti

tion

, we

wen

t to

see

the

may

or

to t

alk

abo

ut t

he

pro

ject

. An

d th

is c

hap

, th

e yo

ung

est (

29!)

may

or

ever

ele

cted

in

Fran

ce, s

aid

: ‘N

oth

ing

’s w

ork

ing

her

e,

so e

very

new

idea

is O

K w

ith

me.

Th

e ci

ty d

oes

n’t

hav

e an

y m

on

ey to

off

er,

bu

t I’ll

su

pp

ort

yo

u.’

Wel

l, w

e’d

wo

n th

e co

mp

etit

ion

, bu

t at

firs

t thi

s w

as m

ore

of a

nig

htm

are

bec

ause

alt

ho

ug

h it

had

bee

n a

nic

e,

very

uto

pia

n p

roje

ct to

imag

ine,

it

was

n’t

go

ing

to b

e ea

sy to

pu

t in

to

pra

ctic

e. O

ur id

ea w

as to

co

nce

ive

a p

lace

that

wo

uld

n’t

be

affil

iate

d w

ith

an

y re

ligio

n o

r id

eolo

gy.

Sim

ply

a

pla

ce fo

r –

des

ired

rat

her

than

imp

ose

d

– so

litu

de,

wh

ere

peo

ple

wo

uld

be

able

to

esc

ape

for

a lit

tle

whi

le fr

om

thei

r o

wn

com

mun

itie

s. A

nd

esp

ecia

lly fo

r M

usl

im w

om

en w

ho

hav

e n

o o

ther

p

lace

to g

o b

ut t

hei

r h

om

es.

Pm

/Hm

: Is

ther

e a

con

nec

tion

b

etw

een

ho

w th

e p

roje

ct w

ork

s as

a

pro

cess

an

d h

ow

yo

u w

ork

wit

hin

th

e C

amp

emen

t Urb

ain

colle

ctiv

e?

syl

vie

Blo

cher

: Wel

l, fo

r u

s th

e p

roce

ss

of d

iscu

ssin

g th

e p

roje

ct w

ith

peo

ple

w

as d

efin

itel

y m

ore

imp

ort

ant t

han

the

actu

al p

rod

uct

ion

of a

n o

bje

ct. I

t was

mu

ch m

ore

ab

ou

t th

e p

roce

ss a

nd

ho

w

we

coul

d w

ork

on

it, b

ecau

se fo

r u

s th

e p

roce

ss o

f ho

w th

ese

peo

ple

co

nce

ive

them

selv

es a

nd

bec

om

e vi

sib

le a

s su

bje

cts

wit

hin

the

deb

ate

is e

ssen

tial.

It’s

wh

at w

e ca

ll ‘a

pro

cess

of i

nfil

tra-

tion

’, w

hich

mea

ns

infil

trat

ing

real

ity

wit

h ar

t in

ord

er to

up

set i

ts r

ules

an

d

conv

entio

ns

and

so m

ake

roo

m fo

r th

e su

bje

ct. F

or

inst

ance

, we

pre

fer

talk

ing

th

ing

s o

ut a

nd

we

do

n’t

vote

. A s

ug

-g

estio

n h

as to

be

per

suas

ive

eno

ug

h

to c

onv

ince

the

gro

up

. It’

s a

lon

g

pro

ced

ure

– w

hat

we

call

in F

ren

ch

du

tem

ps

dila

pid

é –

and

the

bas

is

of d

emo

crac

y. It

’s a

lso

a p

roce

ss th

at

has

no

inte

ntio

n to

exc

lud

e. A

nd

it’s

th

e sa

me

on

e st

ill u

sed

tod

ay b

y th

e C

amp

emen

t Urb

ain

gro

up

. It t

oo

k u

s ei

gh

t mo

nth

s to

get

acc

ess

to th

e ar

ea.

No

rmal

ly, p

eop

le fr

om

ou

tsid

e d

on

’t

go

ther

e. S

o w

e as

ked

a so

cio

log

ist

to jo

in th

e g

rou

p. S

he

star

ted

to g

o

reg

ular

ly in

to th

e ar

ea, t

o se

e w

hat

p

eop

le w

ere

do

ing

, wh

at k

ind

of a

sso

-ci

atio

ns

exis

ted

and

to u

nd

erst

and

all

the

unsp

oke

n la

ws.

Sh

e sa

t fo

r h

our

s o

n a

ben

ch a

nd

in th

e b

egin

nin

g sh

e w

as h

assl

ed, b

ut a

fter

a w

hile

sh

e

bec

ame

par

t of t

he

lan

dsc

ape

and

st

arte

d to

co

nver

se w

ith

peo

ple

. A

fter

eig

ht m

on

ths

we

org

aniz

ed o

ur

first

mee

ting

, bu

t it w

as a

dis

aste

r b

ecau

se th

e d

ay w

e h

ad c

ho

sen

turn

ed

ou

t to

be

the

beg

inn

ing

of R

amad

an –

we’

d th

ou

gh

t it w

as th

e n

ext d

ay. S

o

wh

en w

e h

eld

the

seco

nd

mee

ting

, we

real

ly th

ou

gh

t no

bo

dy

wo

uld

com

e,

bu

t it w

as f

ull.

Ever

yon

e w

as th

ere

and

so w

e b

egan

to

exp

lain

wh

at w

e en

visi

on

ed, i

.e. t

o

crea

te a

pla

ce o

f so

litu

de

tog

eth

er!

We

wer

e ac

tual

ly q

uit

e w

orr

ied

as p

eop

le

fro

m a

ll th

e d

iffe

ren

t co

mm

unit

ies

wer

e th

ere.

Bu

t th

en a

wo

man

loo

ked

at

us

and

said

, ‘W

hat

yo

u’r

e p

rop

os-

ing

wo

uld

be

the

“gre

ates

t lu

xury

”,

bec

ause

our

ap

artm

ents

are

so

over

-cr

ow

ded

, an

d th

e ci

ty s

o d

ense

her

e.’

Ever

yon

e w

as v

ery

firm

an

d d

irec

t an

d

said

, ‘O

K, w

e un

der

stan

d, w

e lik

e w

hat

yo

u’r

e su

gg

estin

g, b

ut w

ho

will

mak

e al

l th

e d

ecis

ion

s?’ T

hen

a w

om

an s

aid

, ‘If

we

go

ther

e an

d it

’s n

ot a

mo

squ

e,

a ch

urch

or

a te

mp

le, i

t’ll

hav

e to

be

trem

end

ou

sly

bea

uti

ful.’

On

e m

an

aske

d, ‘

Wh

o w

ill h

ave

the

key

to th

e p

lace

?’ T

hes

e tw

o q

ues

tion

s sh

ow

ed

us

that

peo

ple

un

der

sto

od

the

chal

-le

ng

e o

f th

e p

roje

ct p

erfe

ctly

an

d th

e p

ow

er is

sues

it w

oul

d in

volv

e.

We

exp

lain

ed th

at w

e w

ante

d to

cre

ate

a n

ew p

ub

lic s

pac

e w

ith

them

. Ove

r

a p

erio

d o

f thr

ee y

ears

we’

ve b

een

th

ere

alm

ost

eve

ry w

eek;

tog

eth

er

we’

ve w

ork

ed o

ut w

hat

the

ob

ject

sh

oul

d lo

ok

like

and

wh

ere

it sh

oul

d

be

loca

ted

in L

es B

eau

do

ttes

. We’

ve

also

trie

d to

wo

rk o

n o

ur in

tern

atio

nal

im

age;

for

exam

ple

, in

2003

cur

ato

r

Ho

u H

anru

invi

ted

us

to th

e V

enic

e B

ien

nia

l to

par

tici

pat

e in

Zo

ne

of

Urg

ency

. Wit

h m

on

ey d

on

ated

by

visi

tors

to th

e B

ien

nia

l, w

e w

ere

able

to

go

ther

e w

ith

som

e in

hab

itan

ts o

f Le

s B

eau

do

ttes

. We’

ve p

rese

nte

d th

e p

roje

ct a

t man

y in

tern

atio

nal

eve

nts

. A

nd

as

an a

rtis

t, I’

ve p

rod

uce

d a

vi

deo

wit

h 1

00 r

esid

ents

. We’

ve

also

film

ed th

e m

eetin

gs

in S

evra

n.

To u

s, it

see

med

nec

essa

ry to

rec

eive

re

cog

nit

ion

inte

rnat

ion

ally

so

as to

fo

rce

mun

icip

al, r

egio

nal

an

d st

ate

o

ffice

s to

co

nsi

der

‘sh

arin

g th

e re

-

spo

nsi

bili

ty’.

Mea

nw

hile

, Cam

pem

ent

Urb

ain

has

giv

en th

e o

bje

ct a

defi

nit

e d

esig

n b

ased

on

the

dem

and

s o

f th

e in

hab

itan

ts. I

t will

be

a lit

tle

pu

blic

g

ard

en w

ith

a sm

all s

tru

ctur

e fl

oat

ing

w

ithi

n it

and

per

hap

s a

keep

er to

m

ain

tain

so

litu

de.

Mea

nw

hile

the

city

h

as p

rovi

ded

lan

d. W

e’ve

ob

tain

ed

per

mis

sio

n to

bu

ild. T

ho

ug

h w

e st

ill

lack

mo

ney

an

d it

isn

’t d

on

e ye

t. W

hen

w

e b

egan

, we’

d n

o id

ea it

wo

uld

take

so

lon

g...

It h

as b

een

a p

roje

ct f

ull

of h

app

ines

s an

d p

ain

.

Je&

No

us

Cam

pem

ent U

rbai

n: S

ylvi

e B

loch

er, F

ran

çois

Dau

ne,

Jo

sett

e Fa

idit

P

roje

ct f

or

a p

lace

of s

olit

ud

e in

Sev

ran

, Fra

nce

, 200

3-o

ng

oin

g

New

Urb

an S

pac

es /

Cu

ltu

res

and

Per

iph

erie

s / I

nfi

ltra

tio

nC

amp

emen

t Urb

ain

: Syl

vie

Blo

cher

, Fra

nço

is D

aun

e, J

ose

tte

Faid

it

Det

ail o

f in

stal

lati

on

, Gra

nd

Pal

ais,

Par

is, 2

006

274

Par

alle

l Wo

rld

s In

terv

iew

275

Par

alle

l Wo

rld

s In

terv

iew

Vas

ıf k

ort

un

: Yo

u kn

ow

, Ist

anb

ul h

as

just

en

tere

d th

is u

nfo

rtu

nat

e g

lob

al

city

rac

e an

d it

’s m

akin

g la

rge

seg

-m

ents

an

d va

rio

us

lifes

tyle

s o

f th

e ci

ty

invi

sib

le. T

his

is b

ecau

se it

’s a

ll ab

ou

t cl

ean

sin

g an

d re

gu

latin

g, a

nd

sin

ce

that

’s w

hat

it’s

ab

ou

t, th

e id

ea is

to

elim

inat

e th

e (s

elf-

) rep

rese

nta

tio

n o

f la

rge

par

ts o

f th

e ci

ty. T

he

city

is b

e-co

min

g a

lab

el a

nd

it’s

bei

ng

mar

kete

d

as s

uch

. It’

s a

rad

ical

top

-do

wn

tran

s-fo

rmat

ion

. Th

is p

roce

ss n

egle

cts

the

mo

st im

po

rtan

t an

d m

ost

inte

rest

ing

as

pec

t of t

he

city

: its

ad

-ho

c o

rgan

ic

dev

elo

pm

ent a

nd

ind

ivid

uat

ion

in s

o

man

y d

iffe

ren

t zo

nes

. In

term

s o

f ho

w

we

thin

k o

f ou

r ci

ties

, we

hav

en’t

fully

re

aliz

ed th

e p

ote

nti

al o

f ‘p

osi

tio

nin

g’

as o

pp

ose

d to

map

pin

g. O

r to

pu

t it

dif

fere

ntl

y, it

’s n

ot a

bo

ut d

ecip

her

ing

th

e ci

ty, b

ecau

se Is

tan

bu

l is

actu

ally

a

pla

ce w

her

e yo

u ca

n lo

se y

ou

r b

ear-

ing

s, a

s th

e ac

tual

, ph

ysic

al c

ity

itse

lf

is a

bo

ut d

iso

rien

tati

on

. Ho

wev

er, a

t th

e m

om

ent,

a h

ug

e ‘v

acu

um

cle

aner

’ is

mo

vin

g th

rou

gh

the

city

.

Pm

/Hm

: Wh

at k

ind

of c

oun

ter-

geo

g-

rap

hy m

igh

t be

mo

bili

zed

thro

ug

h

acti

ve e

ng

agem

ent w

ith

such

dis

-o

rien

tatio

n in

the

urb

an fi

eld

? A

nd

co

uld

this

hav

e an

eff

ect o

n th

e g

lob

al

dis

trib

utio

n o

f net

wo

rk p

ract

ices

?

Vas

ıf k

ort

un

: I d

on

’t kn

ow

ho

w to

an

swer

that

qu

esti

on

. I o

per

ate

fro

m

a p

arti

cula

r zo

ne

in th

e ci

ty, o

ne

that

is

sup

po

sed

to b

e th

e m

ost

pu

blic

zo

ne

in th

e ci

ty, a

nd

yet t

his

zo

ne

is a

ctu

ally

in

man

y w

ays

no

t acc

essi

ble

to m

ost

o

f Ist

anb

ul’s

res

iden

ts. M

ore

ove

r, if

yo

u ar

e o

ld o

r h

ave

a p

ho

bia

ab

ou

t cr

ow

ds

or

con

fin

ed s

pac

es, y

ou

can

’t

com

e h

ere.

Th

e ci

ty s

pan

s to

o m

any

mile

s fo

r o

ne

cen

tre

to a

nsw

er c

ult

ura

l n

eed

s. M

any

new

co

mm

un

itie

s an

d re

-ce

nt i

mm

igra

nts

to th

e ci

ty h

ave

nev

er

even

see

n B

eyo

glu

or

Gal

ata,

let a

lon

e th

e B

osp

oru

s. C

om

ing

bac

k to

yo

ur

qu

esti

on

, in

rece

nt y

ears

, im

mig

ra-

tio

n p

atte

rns

hav

e ch

ang

ed f

rom

ho

w

they

pre

vio

usl

y w

ere,

for

exam

ple

,

peo

ple

on

ce m

igra

ted

to e

scap

e w

ar

in e

aste

rn T

urk

ey. B

ut t

od

ay it

’s n

o

lon

ger

po

ssib

le fo

r su

ch p

eop

le to

be

the

arch

itec

ts o

f th

eir

ow

n fo

rtu

nes

, b

ecau

se th

e g

ove

rnm

ent d

oes

n’t

to

lera

te il

leg

alit

y an

ymo

re –

an

d in

th

e p

ast t

his

was

a d

ecis

ive

fact

or

in

this

sel

f-m

ade

city

. Cer

tain

dis

tric

ts

are

bei

ng

des

tro

yed

bec

ause

they

’re

Ro

ma

nei

gh

bo

urh

oo

ds

or

they

’ve

a h

igh

den

sity

of ‘

un

des

irab

les’

. NG

Os

are

reac

ting

to th

ese

pro

cess

es, b

ut

in th

e en

d al

l th

at c

an b

e sa

lvag

ed

are

mem

ori

es a

nd

sto

ries

. Ist

anb

ul

isn

’t a

city

, bu

t act

ual

ly m

any

citi

es

loo

sely

co

nn

ecte

d to

on

e an

oth

er. I

t’s

an a

gg

lom

erat

ion

of v

illag

es a

nd

com

-m

un

itie

s, s

tru

ng

tog

eth

er. I

’m p

erh

aps

no

t th

e ri

gh

t per

son

to a

dd

ress

on

n

etw

ork

ed p

ract

ices

. We

mig

ht b

e ab

le

to h

ou

se p

eop

le a

nd

mak

e th

em m

ore

vi

sib

le o

r el

evat

e th

em to

an

oth

er le

vel

of d

iscu

ssio

n, b

ut w

e’re

by

no

mea

ns

on

firm

gro

un

d h

ere.

Pm

/Hm

: Ist

anb

ul h

as b

eco

me

a ve

ry

po

pul

ar s

ite

in th

e re

cen

t dis

cour

se o

n

con

test

ed u

rban

sp

aces

, par

ticu

larl

y in

the

art w

orl

d. W

hen

yo

u cu

rate

d

the

9th

Inte

rnat

ion

al Is

tan

bul

Bie

nn

ial

tog

eth

er w

ith

Ch

arle

s E

sch

e in

200

5,

you

dec

ided

to u

se th

is o

pp

ort

unit

y to

pro

du

ce a

bie

nn

ial f

or

and

abo

ut

Ista

nb

ul. W

hat

was

the

idea

beh

ind

th

is d

ecis

ion?

Vas

ıf k

ort

un

: Th

e in

tern

atio

nal

co

mm

unit

y w

as w

elco

me,

bu

t th

e ex

hib

itio

n w

as fi

rst a

nd

fore

mo

st fo

r th

e re

sid

ents

of I

stan

bul

. At t

he

time

we

wer

e o

per

atin

g in

the

dis

tric

ts o

f G

alat

a, B

eyo

glu

and

Top

han

e. T

hes

e p

arts

of t

he

city

are

un

der

go

ing

‘urb

an

reg

ener

atio

n’ a

nd

hav

e b

eco

me

a m

ain

du

mp

ing

site

for

even

t cul

ture

an

d en

tert

ain

men

t. A

nd

then

ther

e is

an

oth

er d

istr

ict,

rig

ht n

ear

us,

beh

ind

th

e P

latf

orm

Gar

anti

Co

nte

mp

ora

ry A

rt

Cen

tre,

sep

arat

ed ju

st b

y an

ave

nu

e

wit

h a

bar

rier

in b

etw

een

. Th

e b

arri

er

effe

ctiv

ely

elim

inat

es th

e p

oss

ibili

ty o

f p

edes

tria

n fl

ux

for

hun

dre

ds

of m

etre

s in

the

epic

entr

e o

f th

e ci

ty. T

his

is th

e Ta

rlab

ası d

istr

ict,

wh

ere

peo

ple

live

in

dif

fere

nt c

on

dit

ion

s w

ith

a d

iffe

ren

t ec

on

om

y an

d d

iffe

ren

t eth

nic

co

mp

o-

sitio

n. I

t’s

liter

ally

on

‘th

e o

ther

sid

e o

f th

e tr

acks

’, as

Am

eric

ans

wo

uld

say.

T

her

e’s

a lo

t of r

esea

rch

bei

ng

do

ne

on

Tarl

abas

ı, b

ecau

se it

’s c

onv

enie

nt:

yo

u ca

n al

way

s ju

st d

rop

by

and

then

re

turn

to th

e sm

ug

com

fort

of B

eyo

glu

. S

ince

the

last

mas

ter

pla

n fo

r Is

tan

bul

w

as d

raft

ed, t

he

city

has

un

der

go

ne

rad

ical

res

tru

ctur

ing

, an

d p

art o

f thi

s re

stru

ctur

ing

has

giv

en u

s a

new

an

d

div

ided

cit

y. T

he

Bie

nn

ial t

oo

k n

ote

o

f thi

s o

n th

e ur

ban

leve

l (S

olm

az

Sh

ahb

azi)

and

wit

h re

gar

d to

ho

w

it h

as a

ffec

ted

peo

ple

(M

ario

Riz

zi).

T

he

Bie

nn

ial w

as, i

n fa

ct, m

ore

ab

ou

t si

tuat

ion

s b

etw

een

ind

ivid

ual

s an

d

the

arti

st th

an a

bo

ut l

arg

er c

on

dit

ion

s.

Thi

s w

as a

lso

why

we

wan

ted

to m

ake

the

exhi

bit

ion

‘dis

app

ear’

into

the

city

an

d ch

ose

sm

all b

uild

ing

s, a

s w

ell a

s as

ked

peo

ple

to n

avig

ate

and

wal

k th

rou

gh

pla

ces

that

they

wo

uld

no

t no

rmal

ly g

o to

. Obv

ious

ly, t

here

wer

e a

few

issu

es h

ere.

We

wan

ted

to a

dd

ress

th

e fa

tigu

e fe

lt w

ith

reg

ard

to b

ien

ni-

als

and

thei

r ex

hib

itio

ns

in th

e 19

90s:

it

iner

ant c

urat

ors

an

d it

iner

ant a

rtis

ts –

an

d n

ew-e

con

om

y kn

ow

led

ge

wo

rker

s w

ho

wen

t fro

m o

ne

pla

ce to

an

oth

er,

and

the

knee

-jer

k re

actio

ns

to th

e ci

ties

they

kn

ew li

ttle

ab

ou

t. W

e w

ante

d

to g

et a

way

fro

m s

uch

res

po

nse

s,

esp

ecia

lly b

ecau

se Is

tan

bul

co

uld

be

read

thro

ug

h a

kin

d o

f exo

tic

fram

e.

Peo

ple

ten

d to

see

it a

s ly

ing

som

e-w

her

e b

etw

een

the

Ori

ent a

nd

the

Occ

iden

t. H

ere

we

do

n’t

und

erst

and

th

ese

clic

hés

ab

ou

t ‘E

ast a

nd

Wes

t’ o

r ab

ou

t bei

ng

‘bet

wee

n p

lace

s’...

So

to

pre

ven

t su

ch n

on

-refl

ecti

ve r

eact

ion

s to

the

city

, we

tho

ug

ht i

t wo

uld

be

mu

ch m

ore

imp

ort

ant f

or

peo

ple

to

com

e h

ere

and

stay

for

a w

hile

, mee

t o

ther

peo

ple

, rea

d ab

ou

t th

e ci

ty a

nd

d

iscu

ss w

ith

us,

an

d th

en p

rod

uce

new

w

ork

s. O

ver

20 w

ork

s w

ere

com

mis

-si

on

ed –

wo

rks

for

whi

ch w

e th

ou

gh

t it

wo

uld

be

abso

lute

ly e

ssen

tial t

o sl

ow

d

ow

n th

e p

ace.

Thi

s fa

tigu

e w

ith

bie

n-

nia

ls a

lso

had

to d

o w

ith

the

nu

mb

er

of a

rtis

ts in

exh

ibit

ion

s. T

his

kin

d o

f re

inve

ntio

n o

f th

e n

inet

een

th-c

entu

ry

wo

rld

fair

in th

e fo

rm o

f a b

ien

nia

l is

pro

ble

mat

ic. I

t sh

oul

dn

’t re

qu

ire

a 20

-mile

trek

to s

ee a

n ex

hib

itio

n, b

e-ca

use

then

no

bo

dy

will

act

ual

ly b

e ab

le

to s

ee it

all.

Eve

ryo

ne

just

ex p

erie

nce

s th

e ev

ent.

We

dec

ided

to r

edu

ce th

e n

um

ber

of a

rtis

ts a

nd

giv

e th

em a

b

it m

ore

pre

sen

ce a

s w

ell a

s al

low

co

mp

lex

read

ing

s b

etw

een

the

wo

rks

them

selv

es.

Pm

/Hm

: To

pic

k u

p o

n th

at, w

hat

cul

-tu

ral a

nd

urb

an u

rgen

cies

of p

rese

nt-

day

Ista

nb

ul d

id th

ese

wo

rks

add

ress

?

Vasıf kortun

Den

iz P

alac

e A

par

tmen

ts, I

stan

bu

l, 20

05

Peg

gy

Ru

gP

aulin

a O

low

ska

Den

iz P

alac

e A

par

tmen

ts, 9

th Is

tan

bu

l Bie

nn

ial,

2005

Vie

w f

rom

Den

iz P

alac

e A

par

tmen

ts a

cro

ss t

he

new

art

eria

l ro

ad in

Bey

ogl

u (R

eyfi

k S

ayd

am C

add

esi –

Tar

lab

ası B

ulv

arı)

to

war

ds

the

Go

lden

Ho

rn, I

stan

bu

l, 20

05

Nea

r T

ün

el S

qu

are

at t

he

sou

thea

ster

n en

d o

f Ist

ikla

l C

add

esi i

n B

eyo

glu

, Ist

anb

ul,

2005

Sce

nes

fro

m a

rou

nd

Ista

nb

ul M

od

ern

, a p

riva

te m

use

um

dev

ote

d to

mo

der

n an

d co

nte

mp

ora

ry

art,

loca

ted

in t

he

form

er c

ust

om

s w

areh

ou

se A

ntr

epo

no

. 4 o

n th

e B

osp

ho

rus,

200

5Ta

ksim

Sq

uar

e, Is

tan

bu

l, 20

05

276

Par

alle

l Wo

rld

s In

terv

iew

277

Par

alle

l Wo

rld

s In

terv

iew

Jochen Becker

Pm

/Hm

: Yo

u ar

e o

ne

of t

he

con

trib

u-

tors

of t

he

pro

ject

Ers

atzS

tad

t, w

hich

p

ursu

ed v

ario

us

lines

of c

riti

cal

eng

agem

ent w

ith

con

tem

po

rary

urb

an

real

itie

s. S

om

e w

ere

mo

re th

eore

tica

l in

vest

igat

ion

s, s

uch

as

the

bo

ok

seri

es

met

roZo

nes

; oth

ers

had

to d

o w

ith

di-

rect

inte

rven

tion

s in

to th

e ur

ban

fab

ric.

H

ow

do

es th

is p

arti

cula

r ap

pro

ach

of

com

bin

ing

po

litic

al e

ng

agem

ent w

ith

en

qu

irie

s in

to a

rtis

tic

and

arch

itec

tura

l p

ract

ices

res

on

ate

wit

h th

e p

olit

ical

an

d cu

ltur

al c

limat

e in

Ber

lin?

Joch

en B

ecke

r: A

ctu

ally

, it w

as a

cri

-ti

qu

e o

f Ber

lin’s

rec

ent d

isco

urse

s an

d

a (t

emp

ora

ry) f

arew

ell t

o B

erlin

, to

o.

We

wer

e g

ettin

g re

ally

bo

red

wit

h th

e o

ng

oin

g d

escr

iptio

n o

f th

e so

-cal

led

Eu

rop

äisc

he

Sta

dt (

Euro

pea

n C

ity)

, w

hich

was

on

e o

f th

e p

rim

e m

over

s fo

r B

erlin

’s d

evel

op

ers

in (r

e-) c

on

stru

ct-

ing

Ber

lin. I

n a

lot o

f pro

ject

s an

d in

itia

-ti

ves,

for

inst

ance

Inn

enS

tad

tAkt

ion

or

An

bau

Neu

eMit

te, w

e fo

ug

ht a

gai

nst

th

e re

actio

nar

y p

ersp

ecti

ve th

at o

ften

d

om

inat

es th

e d

ebat

e ab

ou

t Ber

lin. W

e

aske

d w

hich

Eur

op

e th

ey w

ere

talk

ing

ab

ou

t – th

at o

f Bel

fast

, Bel

gra

de

or

Ista

nb

ul?

Ber

lin’s

dev

elo

per

s tr

ied

to

avo

id U

S-A

mer

ican

or

Jap

anes

e ci

ties.

B

ut f

rom

a b

road

er p

ersp

ecti

ve, t

her

e ar

e m

any

oth

er m

od

els

of u

rban

izat

ion

, o

f dai

ly a

ctiv

itie

s, th

ou

gh

at th

e tim

e w

e st

ill d

idn

’t kn

ow

mu

ch a

bo

ut t

hem

. It

was

wit

h th

e b

oo

k M

etro

po

len,

whi

ch

we

wer

e co

mm

issi

on

ed to

wri

te in

a

cond

ense

d fo

rmat

of o

nly

95 p

ages

, tha

t w

e re

ally

sta

rted

to d

isco

ver

the

inte

r-es

ting

new

dyn

amic

s at

wo

rk b

eyo

nd

th

e Eu

rop

ean

Cit

y, a

nd

thes

e –

as w

e la

ter

lear

ned

an

d ar

e st

ill d

isco

veri

ng

–

are

infl

uen

cin

g B

erlin

, to

o.

We

wan

ted

to lo

ok

at w

hat

is b

eyo

nd

th

e id

ea o

f civ

itas,

su

ch a

s w

ritt

en

abou

t by

Ric

hard

Sen

nett

in h

is b

ook

Th

e C

on

scie

nce

of t

he

Eye:

Th

e D

esig

n an

d S

oci

al L

ife o

f Citi

es w

ith

re

gar

d to

civ

ilize

d b

our

geo

is s

oci

ety

wit

h it

s ru

les

and

reg

ulat

ion

s, w

ell-

fun

ctio

nin

g o

rder

s an

d th

e Fo

rdis

t d

ream

of a

wel

fare

sta

te. W

e w

ante

d

to lo

ok

bey

on

d al

l thi

s an

d ad

op

t a

mo

re g

lob

al p

ersp

ecti

ve. W

e w

ante

d

to e

xplo

re h

ow

info

rmal

str

uct

ures

em

erg

e in

the

Glo

bal

So

uth

, str

uct

ures

th

at a

re n

ow

ob

vio

usl

y al

so e

volv

ing

in

the

mid

dle

of E

uro

pe;

ho

w th

e w

elfa

re s

tate

is d

eclin

ing

and

peo

ple

h

ave

to h

elp

them

selv

es; o

r h

ow

the

ban

lieu

es a

re tr

yin

g to

sur

vive

via

se

lf-o

rgan

izat

ion

al p

roce

sses

cal

led

‘sh

ado

w e

con

om

ies’

. Mig

ratio

n an

d

so-c

alle

d lib

eral

izat

ion

– ‘y

ou

’ll h

ave

to

hel

p yo

urse

lf, b

ecau

se n

ob

od

y’s

go

ing

to

hel

p yo

u’–

the

kin

ds

of p

roce

sses

we

read

ab

ou

t in

Ista

nb

ul, L

ago

s o

r K

abul

, ar

e g

row

ing

sig

nifi

can

tly

; I c

all t

his

the

Inte

rnat

ion

al In

form

al S

tyle

. Yo

u n

oti

ce

that

ther

e ar

e fu

nct

ion

ing

stru

ctur

es

and

they

’re

no

t at a

ll ex

oti

c. B

ut y

ou

h

ave

to b

e ca

refu

l ab

ou

t say

ing

, ‘H

ey,

that

’s w

ork

ing

in s

om

e w

ays,

let’

s d

o

it h

ere,

too

’, b

ecau

se th

at’s

rea

lly th

e n

eolib

eral

way

of d

oin

g th

ing

s. O

n th

e o

ther

han

d, i

t’s

go

od

to b

e p

rep

ared

, to

lear

n ab

ou

t wh

at’s

co

min

g, i

n o

rder

to

kee

p w

hat

’s g

oo

d an

d em

anci

pa-

tive

, an

d g

et r

id o

f wh

at’s

eit

her

pur

ely

exp

loit

ativ

e o

r te

rrib

ly b

urea

ucr

atic

. T

his

rel

ates

– in

a v

ery

gen

eral

way

–

to t

he

idea

of m

etro

Zon

es, a

nd

ho

w to

st

ep b

eyo

nd

Ber

lin’s

per

cep

tion

of t

he

Euro

pea

n C

ity.

Pm

/Hm

: Yo

ur c

urre

nt w

ork

is s

tro

ng

ly

con

cern

ed w

ith

refr

amin

g lo

cal i

ssu

es

by

bri

ng

ing

them

in to

uch

wit

h d

ista

nt

geo

gra

phi

es th

at m

ay in

itia

lly s

eem

un

con

nec

ted

. Can

yo

u g

ive

us

som

e ex

amp

les

that

hig

hlig

ht t

hes

e o

bliq

ue

links

bet

wee

n th

e ur

gen

cy o

f Eur

op

e

or

the

so-c

alle

d Eu

rop

ean

Cit

y an

d

pla

ces

else

wh

ere?

Joch

en B

ecke

r: W

e st

arte

d o

ff b

y d

is-

cove

rin

g th

at th

e id

ea o

f th

e Eu

rop

ean

Cit

y w

as a

lso

pre

sen

t in

Leo

po

ldvi

lle,

the

cap

ital

of t

he

Bel

gia

n C

on

go,

whi

ch

had

bee

n sh

aped

by

Kin

g Le

op

old

II

and

was

ren

amed

Kin

shas

a af

ter

liber

atio

n. T

his

Afr

ican

cit

y w

as a

co

lon

ial p

rod

uct

an

d is

an

exam

ple

o

f ho

w th

e Eu

rop

ean

Cit

y ex

ists

no

t o

nly

in E

uro

pe

bu

t als

o al

l ove

r th

e co

lon

ized

wo

rld

. An

d b

y ex

plo

itin

g

the

Bel

gia

n C

on

go,

Leo

po

ld II

was

ab

le to

tran

sfo

rm B

russ

els

into

wh

at

no

w lo

oks

like

a E

uro

pea

n C

ity,

an

d

it b

ecam

e th

e ca

pit

al o

f Eur

op

e. H

e p

ursu

ed a

kin

d o

f Hau

ssm

ann

izat

ion

, d

estr

oyin

g o

ld B

russ

els

and

bu

ild-

ing

axes

or,

for

inst

ance

, th

e im

per

ial

Pala

ce o

f Ju

stic

e. F

or

wh

at w

e n

ow

ca

ll th

e cl

assi

cal E

uro

pea

n C

ity

oft

en

evo

lved

in th

e co

lon

ies.

Th

ou

gh

it w

as

no

t so

met

hin

g th

at h

app

ened

sep

ar-

atel

y, fo

r re

latio

ns

wer

e cl

ose

bet

wee

n

Euro

pe

and

the

colo

nie

s. A

nd

it w

as

also

no

t a o

ne-

way

str

eet:

the

situ

atio

n

was

co

mp

lex

and

is s

till s

o n

ow

. Du

e to

cu

rren

t mig

ratio

n p

olic

ies,

the

info

rma-

tion

soci

ety

and

so o

n, r

elat

ion

s ar

e ev

en li

velie

r to

day

bet

wee

n th

e fo

rmer

co

lon

ies

and

po

stco

lon

ial E

uro

pe.

So

o

ur n

ew, o

ng

oin

g re

sear

ch p

roje

ct is

ca

lled

Fro

m/T

o Eu

rop

e an

d ex

plo

res

such

issu

es.

For

year

s n

ow

, Mo

ham

med

has

bee

n

the

mo

st c

om

mo

n n

ame

cho

sen

fo

r b

oys

in B

russ

els,

an

d th

is r

eally

sa

ys s

om

ethi

ng

abo

ut h

ow

cit

ies

as

wo

rld

s ar

e em

erg

ing

wit

hin

Euro

pe,

w

ithi

n o

ur E

uro

pea

n ci

ties,

in a

ver

y co

ncr

ete

sen

se: i

f yo

u w

ant t

o fin

d a

‘No

llyw

oo

d’ p

rod

uct

ion

, a D

VD

fro

m

Nig

eria

, yo

u ju

st h

ave

to g

o to

the

nex

t ‘A

fro

sho

p’ –

yo

u d

on

’t h

ave

to o

rder

it

fro

m L

ago

s. S

uch

co

mm

unit

ies

exis

t h

ere

and

– if

you

wan

t to

wat

ch th

e D

VD

– y

ou

can

find

them

just

aro

und

th

e co

rner

. An

oth

er e

xam

ple

: th

e la

rges

t dia

spo

ra o

f Afg

han

s in

Eur

op

e liv

es in

Ham

bur

g.

We’

ve d

isco

vere

d h

ow

clo

se d

iasp

ori

c re

latio

nsh

ips

are

tow

ard

s th

e re

spec

-ti

ve c

oun

try

of o

rig

in, a

nd

that

this

is

the

case

eve

n w

ithi

n Eu

rop

ean

citie

s;

it is

als

o a

ten

den

cy th

at is

bo

und

to in

-cr

ease

wit

h th

e p

rese

nce

an

d p

ract

ices

o

f dif

fere

nt p

eop

les.

Ho

w d

o p

eop

les

surv

ive

wit

h th

e p

ract

ices

they

bri

ng

w

ith

them

– o

ften

ou

t of s

hee

r n

eed

or

raci

al e

xclu

sio

n?T

he

stat

e is

des

troy

ing

soci

al a

nd

po

lit-

ical

wel

fare

str

uct

ures

, an

d th

is is

why

p

eop

le w

ith

pre

cari

ou

s b

ackg

roun

ds

are

in g

ener

al fo

rced

to e

xerc

ise

a ki

nd

o

f in

form

alit

y: in

wh

at w

ays

do

they

h

ave

to b

etra

y th

e st

ate

to s

urvi

ve, a

s w

ell a

s o

rgan

ize

mo

ney

ille

gal

ly?

As

a p

ost

colo

nia

l str

uct

ure,

I th

ink

the

ban

lieu

es r

evea

l ho

w e

xtre

mel

y se

par

ate

soci

etie

s liv

e in

the

mid

dle

o

f Fra

nce

. Th

e co

untr

y is

div

ided

in

at le

ast t

hree

gro

up

s: th

e ve

ry r

ich,

w

ho

are

livin

g m

ore

or

less

dir

ectl

y in

Pari

s; th

en th

e d

ow

ng

rad

ed, p

rote

stin

g

mid

dle

cla

ss, w

ho

say

that

Par

is is

too

ex

pen

sive

an

d so

they

hav

e to

mov

e o

uts

ide

the

city

– ju

st li

ke th

e p

role

-ta

rian

or

po

st-p

role

tari

an p

op

ulat

ion

h

ad to

do

dec

ades

ag

o. T

he

mid

dle

cl

ass

no

w h

ave

to li

ve in

the

sub

urb

s,

bet

wee

n h

ou

sin

g es

tate

s in

the

ban

-lie

ues

, whi

ch is

the

thir

d st

ruct

ure.

Th

e b

anlie

ues

hav

e o

ther

way

s o

f ear

nin

g

mo

ney

, an

d p

eop

le tr

y to

sur

vive

an

d

org

aniz

e th

emse

lves

so

cial

ly, a

nd

this

al

so in

clu

des

gan

gst

er-l

ike

stru

ctur

es.

Th

ere

is h

ard

ly a

ny c

om

mun

icat

ion

b

etw

een

thes

e th

ree

gro

up

s, a

fact

that

has

bec

om

e ve

ry o

bvi

ou

s in

rec

ent

clas

hes

– a

s h

as a

lso

the

exis

ten

ce o

f an

un

dis

cuss

ed c

olo

nia

l bac

kgro

und

th

at is

rel

ated

to th

e cr

isis

in th

e b

anlie

ues

. We

wo

rked

on

this

in th

e an

ti-c

olo

nia

l film

gro

up

Rem

emb

er

Res

ista

nce

, in

our

pro

gra

mm

e B

ou

rdie

u in

the

Ban

lieu

e.

Wit

h th

e p

roje

ct C

ity

of C

OO

P, w

e d

is-

cove

red

ho

w p

ost

-cri

sis

Bu

eno

s A

ires

–

form

erly

the

mo

st E

uro

pea

n ci

ty in

S

ou

th A

mer

ica

– b

ecam

e p

art o

f Lat

in

Am

eric

a, th

ou

gh

wit

ho

ut g

ivin

g u

p th

e id

ea o

f a b

ette

r lif

e. In

Rio

, on

the

oth

er

Fash

ion

Sh

ow

fo

r C

ity

of C

OO

P (B

uen

os

Air

es &

Rio

de

Jan

eiro

), P

rate

r d

er V

olk

sbü

hn

e B

erlin

, 200

3

Ad

vert

isin

g fo

r C

ity

of C

OO

P (B

uen

os

Air

es &

Rio

de

Jan

eiro

), B

erlin

, 200

3

278

Par

alle

l Wo

rld

s In

terv

iew

279

Par

alle

l Wo

rld

s In

terv

iew

Pm

/Hm

: In

the

gro

up

Pla

tfo

rma

9,81

yo

u’v

e b

een

inve

stig

atin

g p

oss

ibili

ties

of t

ran

slat

ing

vari

ou

s lo

cal s

itu

atio

ns

and

hist

ori

es in

to e

ach

oth

er. W

hen

p

ursu

ing

a p

olit

ics

of c

on

nec

tivi

ty,

ho

w d

o yo

u d

eal w

ith

the

pro

ble

ms

o

f sh

arin

g an

d o

f allo

win

g fo

r a

sen

se

of c

om

mo

nal

ity

wit

ho

ut r

eso

rtin

g to

n

otio

ns

of s

imila

rity

an

d h

om

og

enei

ty?

mar

ko s

anca

nin

: Th

ere

are

thre

e th

ing

s I c

an b

riefl

y sa

y ab

ou

t thi

s. T

he

first

has

to d

o w

ith

com

par

ing

colla

bo

r-at

ive

net

wo

rks

in w

este

rn E

uro

pe

and

ea

ster

n o

r N

on

-EU

Eur

op

e; th

e se

con

d,

wit

h ar

chit

ectu

ral r

esea

rch

and

ho

w

it’s

dis

pla

yed

; an

d th

e th

ird

, wit

h an

-sw

erin

g th

e g

ener

al q

ues

tion

of w

hat

w

e al

l hav

e in

co

mm

on

. I w

ill s

tart

wit

h

the

thir

d: D

o w

e ac

tual

ly h

ave

anyt

hin

g

in c

om

mo

n? T

o an

swer

this

, it w

oul

d

be

nec

essa

ry to

mak

e so

me

loca

l in

qu

irie

s. T

ho

ug

h th

ere’

s o

ne

thin

g I’m

ce

rtai

n ab

ou

t: w

e al

l lac

k so

met

hin

g

wit

h re

spec

t to

ho

w th

e p

ub

lic d

om

ain

is

tran

sfo

rmed

, an

d h

ence

ho

w s

uch

tr

ansf

orm

atio

ns

are

gov

ern

ed. W

e al

l la

ck s

om

ethi

ng

that

we

aren

’t ab

le to

ex

pre

ss –

an

d ye

t we

lack

it to

get

her

. T

his

is p

rob

ably

the

bes

t po

ssib

le

dia

gn

osi

s an

d fo

reca

st fo

r cu

ltur

al

‘Wes

t-m

eets

-Eas

t’ e

xper

imen

ts.

I thi

nk

it’s

dif

ficu

lt to

wo

rk w

ith

us

bec

ause

we

ten

d to

pro

du

ce e

xces

s m

ean

ing

. Mo

reov

er, w

e o

ften

ten

d

to r

ewri

te o

ur p

rog

ram

me

bri

efin

gs

and

pro

ject

pro

po

sals

. We

op

erat

e in

lo

op

s –

pro

ceed

ing

fro

m th

e st

artin

g

hyp

oth

esis

whi

le a

lso

pro

bin

g p

ract

ical

p

aram

eter

s, a

nd

this

is n

ot a

par

ticu

-la

rly

effi

cien

t ap

pro

ach

for

a g

rou

p o

f ar

chit

ects

. A lo

t of t

ime,

en

erg

y an

d

mo

ney

go

es in

to e

xtra

act

ivit

ies

that

ar

e in

ten

ded

to in

crea

se in

stit

utio

nal

su

pp

ort

for

the

no

n-i

nst

itu

tion

al. T

his

is a

co

mp

lete

ly n

atur

al d

evel

op

men

t.

Sin

ce w

e’ve

acq

uir

ed a

cer

tain

am

oun

t o

f kn

ow

led

ge

and

exp

erti

se v

ia a

n

ideo

log

ical

pro

gra

mm

e (t

ho

ug

h so

me-

times

in o

pp

osi

tion

to th

e es

tab

lish

-m

ent)

, th

ere

is a

cle

ar n

eed

and

love

fo

r tr

uth

an

d kn

ow

led

ge,

as

wel

l as

an

epis

tem

olo

gic

al im

per

ativ

e to

dev

elo

p

inst

itu

tion

s o

ut o

f our

ow

n o

rgan

iza-

tion

s. T

his

is a

dev

elo

pm

enta

l sta

ge

and

thro

ug

h it

we

wo

uld

like

to r

each

a

po

int w

her

e w

e ca

n ac

tual

ly s

ust

ain

o

ur a

ctiv

itie

s. T

he

cult

ural

mar

ket

som

etim

es g

ives

yo

u m

ore

med

ia

visi

bili

ty, a

nd

enab

les

you

to h

ave

an im

pac

t on

po

licie

s...

for

exam

ple

, u

rban

po

licie

s. H

ow

ever

man

y o

f th

ese

so-c

alle

d re

sear

ch p

roje

cts

hav

e m

ore

to

do

wit

h d

isp

layi

ng

ph

eno

men

a in

a w

hit

e cu

be

than

pro

voki

ng

real

ch

ang

e. A

t th

e en

d it

has

mo

re to

do

w

ith

soci

al p

orn

og

rap

hy

than

inte

l-le

ctu

ally

co

mm

itte

d an

d en

gag

ed

pra

ctic

es. I

t is

som

etim

es a

lmo

st

imp

oss

ible

to c

olla

bo

rate

wit

h p

eop

le

wh

o h

ave

no

met

ho

do

log

y, th

eore

tica

l b

ackg

rou

nd

or

real

inte

rest

in th

e n

ew

com

mu

nit

aria

n id

eas

emb

edd

ed in

ar

chit

ectu

ral p

ract

ice.

Or

at le

ast t

his

h

as b

een

ou

r ex

per

ien

ce.

Wh

en w

e ta

lk a

bo

ut c

om

par

ing

colla

b-

ora

tive

net

wo

rks

in W

este

rn E

uro

pe

and

the

Bal

kan

s, w

e’re

stil

l sp

eaki

ng

ab

ou

t a s

itu

atio

n in

whi

ch th

ere

is a

co

mp

lete

lack

of r

eso

urce

s, a

nd

this

si

tuat

ion

actu

ally

forc

es p

eop

le to

co

llab

ora

te, t

o sh

are

idea

s, f

und

s,

infr

astr

uct

ure

and

equ

ipm

ent.

In

Wes

tern

Eur

op

e th

e si

tuat

ion

is d

if-

fere

nt.

It’s

on

e o

f ple

nty

. Or

at le

ast

this

is w

hat

frie

nd

s in

Wes

tern

Eur

op

e se

em to

be

exp

erie

nci

ng

. Bas

ical

ly

ever

yon

e in

volv

ed in

thes

e ac

tivi

ties

is

com

pet

ing

wit

h ea

ch o

ther

, esp

ecia

lly

bec

ause

of t

he

gro

win

g d

eman

d o

n th

e m

arke

t fo

r th

ese

kin

ds

of a

rchi

tect

ural

p

ract

ices

. Eve

ry m

use

um

or

gal

lery

w

ants

su

ch p

roje

cts

to s

pic

e u

p it

s an

nu

al p

rog

ram

me

a b

it.

han

d, a

lot o

f peo

ple

hav

e b

een

livin

g

in p

reca

rio

us

situ

atio

ns

for

ages

. Th

ey

hav

e n

o n

otio

n o

f th

e w

elfa

re s

tate

, b

ut a

re u

sed

to d

ealin

g w

ith

cris

es,

whi

ch d

istin

gu

ish

es th

em fr

om

man

y p

eop

le in

Arg

entin

a w

ho

had

had

no

p

revi

ou

s ex

per

ien

ce w

ith

such

sit

u-

atio

ns.

So

I thi

nk

we

can

all l

earn

a lo

t.

Pm

/Hm

: Ho

w c

an w

e ap

pro

pri

ate

thes

e w

ays

of l

earn

ing

you

’ve

de-

scri

bed

for

loca

l pro

ject

s, s

uch

as

for

the

tem

po

rary

str

uct

ure

of t

he

pro

ject

H

ier

Ents

teh

t at R

osa

-Lu

xem

bur

g P

latz

in

Ber

lin?

Joch

en B

ecke

r: W

ell,

com

par

e it

wit

h

Do

lmu

sh X

pre

ss –

a te

mp

ora

ry a

rt

pro

ject

in w

hich

yo

u co

uld

take

a p

ri-

vate

ly o

wn

ed t

axi,

sola

r b

oat

, or

ho

rse

carr

iag

e th

rou

gh

Kre

uzb

erg

– th

e id

ea

bei

ng

to c

op

y p

ract

ices

on

e-to

-on

e fr

om

Ista

nb

ul to

Ber

lin. I

thin

k th

is is

a

rath

er te

nu

ou

s id

ea b

ecau

se it

dis

-re

gar

ds

wh

at s

uch

thin

gs

mea

n w

ithi

n

the

con

text

of B

erlin

. Tru

e, a

kin

d o

f te

mp

ora

ry s

tru

ctur

e is

als

o cr

eate

d,

on

e th

at y

ou

mig

ht t

hin

k is

sim

ilar

to

Hie

r En

tste

ht.

Bu

t th

ere

are

dif

fer-

ence

s, a

nd

I wan

t to

sho

w th

is w

ith

an

exam

ple

: in

the

1970

s a

lot o

f arc

hite

cts

trav

elle

d to

the

Glo

bal

So

uth

. Th

ere

they

dis

cove

red

info

rmal

arc

hite

ctur

es

that

off

ered

a k

ind

of r

elie

f fro

m w

hat

w

as g

oin

g o

n in

the

po

st-i

llusi

on

al

per

iod

afte

r 19

68. T

hey

also

dis

cove

red

a

new

free

do

m o

f pla

nn

ing

, a s

ort

of

hyb

rid

dre

am. W

hen

they

ret

urn

ed, i

t tu

rned

ou

t to

be

imp

oss

ible

to im

pla

nt

this

into

Eur

op

ean

stru

ctur

es a

nd

reg

u-

latio

ns,

bu

t th

ey s

till t

ried

in a

nu

mb

er

of w

ays

to in

tro

du

ce p

arti

cip

ato

ry

arch

itec

ture

as

a fo

rm o

f sel

f-m

ade

arch

itec

ture

wit

hin

the

law

s o

f Eur

op

e.

It w

as a

lso

wit

hin

such

an

agen

da

that

w

e co

nn

ecte

d to

wh

at th

e te

am o

f Hie

r En

tste

ht w

as d

oin

g. R

eco

nst

ruct

ion

at

this

loca

tion

was

a fo

rm o

f par

tici

pa-

tory

arc

hite

ctur

e, a

nd

we

wan

ted

to

kno

w: w

hat

do

es th

is m

ean

tod

ay, a

nd

h

ow

mig

ht w

e d

emo

nst

rate

an

d st

ud

y it

wit

hin

the

stru

ctur

e o

f thi

s p

roje

ct?

marko sancanin

Gü

lsü

n K

aram

ust

afa

at S

elf S

ervi

ce C

ity:

Ista

nb

ul

Vo

lksb

üh

ne

Ber

lin, 2

003

7 Is

lan

ds

and

a M

etro

(M

um

bai

/Bo

mb

ay)

met

roZo

nes

in E

rsat

zSta

dt,

Vo

lksb

üh

ne

Ber

lin, 2

003

Invi

sib

le Z

agre

b

Init

iate

d b

y p

latf

orm

a 9,

81 in

200

3

280

Par

alle

l Wo

rld

s In

terv

iew

281

Par

alle

l Wo

rld

s In

terv

iew

Pm

/Hm

: In

wh

at w

ays

do

es

Pla

t fo

rma

9,81

try

to

go

bey

on

d

thes

e lim

itat

ion

s yo

u’v

e m

enti

on

ed,

for

inst

ance

, lim

itat

ion

s o

f in

stit

uti

on

al

dem

and

or

ind

ivid

ual

au

tho

rsh

ip?

mar

ko s

anca

nin

: In

a co

llect

ive,

the

qu

estio

n o

f th

e d

istr

ibu

tion

of c

apit

al,

wh

eth

er it

’s m

ater

ial o

r cu

ltur

al –

or

sym

bo

lic li

ke a

uth

ors

hip

– is

alw

ays

a la

ten

t rea

son

for

anta

go

nis

ms

wit

hin

th

e g

rou

p. T

he

way

we

neg

otia

te th

ese

anta

go

nis

ms

and

par

ticu

lar

inte

rest

s is

co

nn

ecte

d w

ith

the

deg

ree

to w

hich

the

final

pro

du

ct is

als

o p

rod

uce

d b

y o

ther

s –

no

n-a

rchi

tect

s in

par

ticu

lar.

If

we

man

age

to p

rod

uce

so

met

hin

g th

at

has

bee

n cl

earl

y m

ade

wit

h kn

ow

led

ge

ou

tsid

e o

ur o

wn

exp

erti

se, t

hen

it’s

d

iffi

cult

to c

laim

ow

ner

ship

an

d th

is

infl

uen

ces

the

way

the

final

pro

du

ct is

in

terp

rete

d, t

ran

slat

ed o

r d

isp

laye

d.

Loca

l cir

cum

stan

ces

hav

e co

ntr

ib-

ute

d to

man

y o

rgan

izat

ion

s in

Zag

reb

co

llab

ora

ting

bec

ause

they

sh

are

com

mo

n st

and

po

ints

on

the

po

litic

al,

cult

ural

an

d ec

on

om

ic c

ircu

mst

ance

s o

f tra

nsi

tion

. Org

aniz

atio

ns

wo

rkin

g in

d

iffe

ren

t fiel

ds

– su

ch a

s ar

chit

ectu

re,

visu

al a

rts,

per

form

ing

arts

or

new

me-

dia

– a

re s

om

eho

w a

ble

to u

nd

erst

and

ea

ch o

ther

an

d co

me

tog

eth

er. S

ince

a

lack

of r

eso

urce

s al

so e

con

om

ical

ly

defi

nes

ho

w w

e o

per

ate

and

shar

e id

eas

and

reso

urce

s, it

has

bee

n o

nly

n

atur

al fo

r u

s to

co

llab

ora

te w

ith

p

eop

le fr

om

the

Mul

timed

ia In

stit

ute

, th

e W

hat

, Ho

w a

nd

for

Wh

om

an

d th

e C

entr

e fo

r D

ram

a A

rts

and

oth

er o

rgan

-iz

atio

ns.

We

also

sh

are

a m

utu

al in

ter-

est i

n ‘i

nst

itu

ent’

pra

ctic

es o

f kn

ow

-le

dg

e p

rod

uct

ion

an

d h

ave

star

ted

p

aral

lel e

du

cati

on

al p

rog

ram

mes

. E

stab

lishi

ng

edu

catio

nal

env

iron

men

ts

is a

fo

rm o

f co

mm

un

ity

wo

rk t

hat

ex

amin

es t

he

issu

e o

f au

tho

rsh

ip,

wh

at w

e p

rod

uce

an

d h

ow

, wh

o

inve

sts

ho

w m

uch

an

d w

ho

ben

efits

fr

om

it. T

his

invo

lves

a to

tally

dif

fere

nt

und

erst

and

ing

fro

m th

e o

ne

arch

i-te

ctur

al p

ract

ices

usu

ally

hav

e. M

any

oth

er o

rgan

izat

ion

s fr

om

the

Zag

reb

C

ultu

ral C

apita

l 300

0 p

latf

orm

hav

e al

so p

arti

cip

ated

in s

uch

act

ivit

ies.

P

m/H

m: C

an th

ese

net

wo

rked

p

ract

ices

in th

e B

alka

ns

also

pro

vid

e a

refe

ren

ce fo

r en

gag

emen

t in

the

incr

easi

ng

frag

men

tatio

n el

sew

her

e?

mar

ko s

anca

nin

: As

an a

rchi

tect

yo

u

hav

e to

bo

rro

w c

on

cep

ts to

eve

n

thin

k ab

ou

t a p

roje

ct. A

rchi

tect

ure

h

as a

lway

s in

volv

ed th

e ap

plic

atio

n

of a

lrea

dy

exis

ting

con

cep

ts. S

o I

see

no

thin

g su

rpri

sin

g in

thin

kin

g th

at

the

unce

rtai

n st

ate

of t

he

EU is

a k

ind

o

f big

Bal

kan

con

cep

t fo

r a

com

ple

x p

olit

ical

sys

tem

of u

np

red

icta

ble

sh

ape.

Th

ou

gh

I do

n’t

see

any

furt

her

im

plic

atio

ns

her

e. Y

es, w

e co

uld

say

that

Eur

op

e, in

tryi

ng

to s

olv

e th

e B

alka

n p

rob

lem

, has

bee

n B

alka

niz

ed

itse

lf. W

ell,

so w

hat

.T

he

colla

bo

rati

ve p

ract

ices

of i

nd

e-p

end

ent c

ultu

ral s

cen

es fr

om

Cro

atia

o

r S

erb

ia h

ave

no

thin

g to

do

wit

h th

is.

At l

east

I h

aven

’t se

en a

ny v

alid

pro

of

to th

e co

ntr

ary.

I ca

n ju

st s

ay th

at

the

com

mo

n p

latf

orm

that

co

nn

ects

th

ose

of u

s fr

om

the

Bal

kan

s w

ho

are

invo

lved

in s

uch

arc

hite

ctur

al p

ract

ices

is

pro

bab

ly th

e sa

me

on

e th

at c

ause

s u

s to

co

llab

ora

te w

ith

dif

fere

nt o

rgan

i-

zatio

ns

loca

lly. W

e sh

are

som

e o

f our

id

eolo

gic

al v

iew

po

ints

, an

d th

ey’r

e in

op

po

sitio

n to

the

way

his

tory

is

rep

rod

uce

d h

ere;

we

also

hav

e in

co

m-

mo

n so

me

very

sim

ilar

ph

eno

men

a h

app

enin

g in

urb

an a

nd

rura

l env

iro

n-

men

ts; a

nd

we

all c

om

e fr

om

the

sam

e ty

pe

of e

con

om

y an

d p

olit

ical

sys

tem

. A

nd

sin

ce w

e b

asic

ally

sp

eak

the

sam

e la

ng

uag

e, w

e un

der

stan

d ea

ch o

ther

b

ette

r th

an w

e w

oul

d b

e ab

le to

in

Eng

lish

. So

thes

e ar

e th

e re

aso

ns

why

w

e al

l wo

rk to

get

her

. It’

s al

so w

hy I

am

op

timis

tic

abo

ut f

utu

re c

olla

bo

ratio

ns.

So

met

imes

I g

et a

bit

fru

stra

ted

b

ecau

se I

can

’t h

elp

th

inki

ng

th

at

Eu

rop

ean

inte

llect

ual

s, a

rtis

ts o

r cu

ltu

ral m

anag

ers

bel

ieve

th

at s

om

e fo

rm o

f po

litic

o-c

ult

ura

l arc

hae

olo

gy

in t

he

Bal

kan

s m

igh

t pro

vid

e th

em

wit

h f

resh

co

nce

pts

fo

r E

uro

pea

n

cult

ura

l dev

elo

pm

ent i

n g

ener

al. A

par

t fr

om

th

e fa

ct t

hat

su

ch a

vie

wp

oin

t is

sti

ll ex

trem

ely

colo

nia

l, I d

on

’t

thin

k w

e ca

n e

xpec

t to

un

der

stan

d

the

soci

al e

xper

imen

ts in

th

e fo

rmer

Y

ug

osl

avia

wit

ho

ut u

nd

erst

and

ing

th

e m

ult

i-la

yeri

ng

of c

ult

ura

l, p

olit

-ic

al a

nd

eco

no

mic

rel

atio

ns

that

hav

e b

een

op

erat

ing

th

ere

fro

m t

he

star

t.

Yo

u c

an’t

just

tu

rn ‘s

oci

alis

t hed

on

ism

’ o

r ‘s

elf-

go

vern

men

t’ in

to a

fet

ish

. A

rath

er h

ollo

w e

xpec

tati

on

exi

sts,

on

e th

at h

arb

ou

rs t

he

ho

pe

ther

e is

so

me-

thin

g t

ang

ible

– a

co

nce

ptu

al s

oci

al

syst

em –

th

at c

an b

e co

nn

ecte

d w

ith

th

e fo

rmer

Yu

go

slav

ia o

r th

e B

alka

ns.

Th

ere’

s a

wo

rk b

y A

nd

rei T

arko

vsky

th

at g

reat

ly r

esem

ble

s th

is s

itu

atio

n.

For

the

pas

t co

up

le o

f yea

rs w

e’ve

all

bee

n so

met

hin

g lik

e g

uid

es th

rou

gh

th

e ‘Z

on

e’. P

eop

le a

re s

till c

om

ing

fro

m

the

Wes

t to

inte

rvie

w u

s. W

e ta

ke th

em

to s

ee p

ost

-in

du

stri

al w

aste

lan

ds

or

unex

pec

ted

urb

an p

hen

om

ena

and

to

list

en to

the

sto

ries

of a

rtis

ts w

ho

g

ave

con

cep

tual

, bo

dy

art p

erfo

rm-

ance

s b

efo

re th

ey w

ere

inve

nte

d in

th

e W

est,

and

all t

hat

kin

d o

f stu

ff.

Bu

t th

e p

rob

lem

is th

at th

is ‘Z

on

e’ is

n

ow

em

pty

. Th

ere’

s n

o lo

ng

er a

nyth

ing

th

ere

for

you

to s

ee o

r un

der

stan

d.

Th

e re

al tr

uth

is th

at w

hen

yo

u vi

sit

the

Bal

kan

s, y

ou

’re

mo

st li

kely

to fi

nd

so

me

neu

roti

c fa

nta

sy, o

ne

you

’ve

bro

ug

ht w

ith

you

your

self.

Op

erat

ion

Cit

yP

eak

of t

he

Invi

sib

le Z

agre

b p

roje

ct

(10

-day

eve

nt w

ith

15,0

00 p

arti

cip

ants

), 2

005

Inst

alla

tio

n o

f an

envi

ron

men

t mad

e o

f bo

mb

ed c

on

tain

ers

fro

m S

araj

evo

and

mac

hin

ery

of c

on

stru

ctio

n co

mp

anie

s th

at w

ent b

ankr

up

t

Op

erat

ion

Cit

yZ

agre

b, 2

005

282

283

Conv

ersi

ons

Ber

lin

Form

er E

ast B

erlin

, 17

year

s af

ter

the

‘fal

l of t

he

wal

l’, 2

006

Ber

lin A

lexa

nd

erp

latz

Th

e ce

ntr

e o

f fo

rmer

Eas

t Ber

lin, 2

006

284

285

Form

er P

alas

t der

Rep

ub

lik

(Pal

ace

of t

he

Rep

ub

lic)

Ber

lin, 2

006

286

287

Kan

tstr

aße

Sh

op

s an

d se

rvic

e en

terp

rise

s al

on

g

Kan

tstr

aße

in f

orm

er W

est B

erlin

, lea

din

g

fro

m B

ahn

ho

f Zo

o to

Ch

arlo

tten

bu

rg, 2

006

288

Par

alle

l Wo

rld

s In

terv

iew

289

Par

alle

l Wo

rld

s In

terv

iew

Pm

/Hm

: Ap

art f

rom

exp

osi

ng

your

self

to

eve

ryd

ay s

itu

atio

ns,

this

so

rt o

f cr

eati

vity

has

to d

o w

ith

do

cum

entin

g

and

nar

ratin

g su

ch s

itu

atio

ns

wit

h

resp

ect t

o an

ou

tsid

e au

die

nce

. Ho

w

do

you

feel

ab

ou

t th

ese

dif

fere

nt l

evel

s o

f yo

ur w

ork

– th

e lo

cal e

ffec

t th

at is

re

late

d to

yo

ur w

ork

on

a o

ne-

to-o

ne

bas

is a

nd

its

effe

ct o

n th

e d

iscu

rsiv

e fi

eld

thro

ug

h w

hich

it g

ets

dis

trib

ute

d

glo

bal

ly?

seç

il y

erse

l: T

he

loca

l eff

ect w

e’ve

ex

per

ien

ced

in c

reat

ing

this

mul

ti-f

unc-

tion

al s

pac

e h

as b

een

mai

nly

rel

ated

to

our

no

t bei

ng

read

pro

per

ly, m

isre

ad o

r re

ceiv

ing

no

reco

gn

itio

n at

all.

Th

ou

gh

ar

t cri

tics

hav

e b

een

able

to w

rite

that

an

exh

ibit

ion

was

op

enin

g at

the

Od

a P

roje

si s

pac

e. A

nd

sin

ce th

ere

wer

e n

ot s

o m

any

arti

st-r

un s

pac

es a

t th

e tim

e in

Ista

nb

ul, t

his

aro

use

d p

eop

le’s

cu

rio

sity

. Als

o th

e ar

tist

s w

e w

ork

ed

wit

h w

ere

hap

py

to b

e in

vite

d to

a

pla

ce th

at w

as m

ore

than

an

exhi

bit

ion

sp

ace

or

a st

age.

Th

e p

arti

cip

ant a

nd

th

e au

die

nce

wer

e m

ore

aff

ecte

d th

an

the

art s

cen

e in

Ista

nb

ul. T

he

effe

cts

bec

ame

mo

re v

isib

le o

n th

e sc

ene

afte

r w

e le

ft th

e n

eig

hb

our

ho

od

and

star

ted

b

eco

min

g m

ore

mo

bile

. As

reg

ard

s th

e d

iscu

rsiv

e fi

eld

, th

e ef

fect

was

rat

her

th

at w

e w

ere

view

ed a

s an

exa

mp

le o

f a

‘Tur

kish

art

ist g

rou

p th

at w

ork

s w

ith

th

e p

ub

lic!’

We

star

ted

rece

ivin

g in

vi-

tatio

ns,

bu

t we

reje

cted

them

as

they

te

nd

ed to

rea

d u

s w

ron

g, e

xtra

ctin

g u

s fr

om

Ista

nb

ul a

nd

the

con

text

, see

ing

o

nly

our

act

ion

s o

r ju

st lo

oki

ng

for

resu

lts.

Th

ere

was

als

o an

oth

er e

ffec

t w

ith

reg

ard

to th

e d

iscu

rsiv

e fi

eld

: we

wer

e th

ou

gh

t of a

s an

art

ist g

rou

p th

at

coul

d b

e ta

ken

for

gra

nte

d b

etw

een

the

man

y m

use

um

s an

d cl

assi

c ex

hib

itio

n

spac

es. A

lon

g th

e lin

es o

f: W

hat

can

O

da

Pro

jesi

do

in s

uch

a s

pac

e? H

ow

ca

n w

e d

eal w

ith

them

? Yo

u m

igh

t ca

ll th

is a

po

siti

ve e

ffec

t. W

ell,

we’

ve

alw

ays

bee

n o

pen

to th

e fa

ct th

at w

hat

w

e’re

do

ing

in Is

tan

bul

mig

ht b

e in

ter-

pret

ed fr

om, l

et’s

say

, Jap

an, i

n a

vari

ety

of w

ays.

.. Fo

r ex

amp

le, t

he

pro

ject

has

o

ne

sid

e th

at h

as a

lot t

o d

o w

ith

the

loca

l co

nte

xt, b

ut i

t als

o h

as a

sid

e th

at

is m

ore

than

that

. We

dis

cuss

ed s

uch

is

sues

wh

en w

e p

ub

lish

ed a

n ed

itio

n

of A

nn

ex n

ewsp

aper

in S

tock

ho

lm a

nd

h

ow

an

art s

pac

e fu

nct

ion

s in

a c

ity.

T

he

peo

ple

we

invi

ted

had

a s

pac

e in

th

e p

erip

her

ies

of S

tock

ho

lm, i

n an

im

mig

ran

t nei

gh

bo

urh

oo

d, a

nd

we

wo

nd

ered

ho

w it

fun

ctio

ned

, bec

ause

w

e th

ou

gh

t it m

igh

t be

a g

reat

too

l an

d

sho

uld

hav

e a

po

wer

of i

ts o

wn

. Bu

t af

terw

ard

s w

e re

aliz

ed th

at th

e p

eop

le

in th

is a

rea

and

the

arti

sts

did

n’t

hav

e a

rela

tion

ship

wit

h ea

ch o

ther

, an

d th

e ar

tist

s w

ere

just

say

ing

to th

emse

lves

, ‘It

’s s

o st

ran

ge

and

inte

rest

ing

and

nic

e to

be

in s

uch

a n

eig

hb

our

ho

od

and

wo

rk p

art t

ime

as a

n ar

tist

.’ S

o, in

this

se

nse

, no

real

dis

cuss

ion

too

k p

lace

.

Pm

/Hm

: In

view

of s

uch

exp

erie

nce

s,

do

you

no

w s

ee y

our

selv

es m

ore

co

nce

rned

wit

h th

e co

nte

xt o

f art

p

rod

uct

ion

than

in y

our

firs

t pro

ject

, w

hich

focu

sed

on

the

actu

al s

pac

e o

f a

par

ticu

lar

cour

tyar

d?

Gü

nes

sav

as:

Yes

, bec

ause

we

thin

k,

as a

ru

le, t

he

po

wer

of a

rt a

nd

art

ists

h

as a

lway

s b

een

use

d o

n t

he

sam

e au

die

nce

, in

th

e sa

me

con

tex

t, e

ven

in t

he

sam

e la

ng

uag

e –

the

sam

e u

nd

erst

and

able

lan

gu

age

– an

d w

ith

th

e sa

me

peo

ple

aro

un

d. I

f we

can

w

ork

wit

h m

usi

cian

s w

ho

hav

e n

oth

-in

g to

do

wit

h c

on

tem

po

rary

issu

es,

or

an a

cto

r, o

r w

ith

oth

ers

fro

m d

if-

fere

nt d

isci

plin

es, t

hen

we

can

als

o

wo

rk w

ith

ou

r n

eig

hb

ou

rs. W

e fe

el

that

art

has

alw

ays

bee

n p

rod

uce

d

for

and

co

nsu

med

by

a ve

ry s

mal

l ci

rcle

of p

eop

le. I

mea

n, i

f yo

u g

o to

an

ex

hib

itio

n s

pac

e, m

od

es o

f tra

nsm

is-

sio

n a

re v

ery

limit

ed. E

xper

ien

ces

in

the

nei

gh

bo

urh

oo

d h

ave

shap

ed o

ur

pro

ject

an

d e

nab

led

it to

op

en it

self

u

p m

ore

. Lik

e n

ow

we’

ve b

eco

me

mo

re m

ob

ile a

nd

no

lon

ger

hav

e a

con

cret

e sp

ace:

we

wo

rk, f

or

inst

ance

, at

a r

adio

sta

tio

n o

r d

o p

roje

cts

in a

m

inib

us,

we

shar

e o

ur

exp

erie

nce

s in

dis

cuss

ion

s o

ut i

n t

he

fiel

d, a

nd

ca

rry

ou

t sh

ort

-ter

m p

roje

cts.

.. w

e’ve

al

so b

eco

me

mo

re d

eep

ly in

volv

ed in

ar

t pro

du

ctio

n. A

ll th

is h

as b

een

th

e ef

fect

of I

stan

bu

l as

a ci

ty o

n u

s! S

ince

w

e liv

e in

th

is c

ity

and

pro

du

ce w

ith

it,

we’

re c

on

stan

tly

tryi

ng

to u

nd

erst

and

h

ow

th

is c

ity

stay

s al

ive.

Pm

/Hm

: Th

e n

ame

of y

our

gro

up

– O

da

Pro

jesi

(ro

om

pro

ject

) – r

efer

s d

irec

tly

to y

our

firs

t pro

ject

: Ab

ou

t a

Use

less

Sp

ace.

Can

yo

u d

escr

ibe

wh

at

imp

ort

ance

this

pro

ject

had

an

d w

hy

you

inco

rpo

rate

d it

into

the

nam

e o

f yo

ur c

olle

ctiv

e?

seç

il y

erse

l: O

ur fi

rst p

roje

ct is

the

on

e w

e al

way

s so

meh

ow

fin

d o

urse

lves

g

oin

g b

ack

to o

r re

ferr

ing

to, e

ith

er in

b

etw

een

our

oth

er p

roje

cts

or

dur

ing

th

em. W

hen

we

first

mov

ed to

this

n

eig

hb

our

ho

od

in G

alat

a w

e h

adn

’t in

-te

nd

ed to

sta

rt s

uch

a p

roje

ct, b

ut a

fter

w

e st

arte

d m

eetin

g o

ur n

eig

hb

our

s an

d w

ork

ing

mo

re w

ith

the

dyn

amic

s o

f Ist

anb

ul, a

s w

ell a

s th

inki

ng

abo

ut

the

stat

e o

f th

e ar

t sce

ne

her

e, w

e as

ked

ho

w w

e m

igh

t acc

om

mo

dat

e th

e w

ay th

e n

eig

hb

our

ho

od

fun

ctio

ns

wit

hin

our

ow

n sp

ace.

We

did

n’t

wan

t to

rep

eat t

he

usu

al c

on

cep

ts o

ffer

ed b

y ‘a

rt’ s

pac

es to

‘au

die

nce

s’, s

o in

stea

d

we

first

trie

d to

cre

ate

a m

eetin

g p

oin

t.

We

emp

tied

on

e o

f our

thre

e ro

om

s,

and

mad

e it

avai

lab

le fo

r p

ote

ntia

l p

roje

cts,

whi

le th

e o

ther

ro

om

s re

-m

ain

ed m

ore

or

less

pri

vate

. Thi

s o

ne

roo

m n

ever

loo

ked

like

a w

hite

cu

be

o

r a

gal

lery

sp

ace.

It w

as ju

st e

mp

ty

and

clea

ner

than

the

oth

er r

oo

ms.

A

nd

bec

ause

it w

as e

mp

ty a

nd

clea

n,

it w

as li

ke a

gap

in th

e n

eig

hb

our

ho

od

, an

d th

e n

eig

hb

our

s ke

pt a

skin

g, ‘

Why

is th

e ro

om

em

pty

?’ T

his

is w

hen

w

e st

arte

d ta

lkin

g ab

ou

t a s

pac

e’s

po

ssib

ilitie

s.In

a s

ense

, it w

as r

eally

ab

ou

t a s

pac

e th

at c

ou

ld b

eco

me

a p

lace

. Sin

ce it

w

as o

pen

for

shap

ing

, we

invi

ted

p

eop

le to

it, b

oth

ou

r n

eig

hb

ou

rs a

nd

p

eop

le f

rom

the

art s

cen

e, a

nd

had

th

em r

ead

a te

xt b

y G

eorg

e P

erec

ca

lled

Ab

ou

t a U

sele

ss S

pac

e. T

he

text

was

ab

ou

t sea

rch

ing

for

a ro

om

th

at d

oes

n’t

hav

e a

fun

ctio

n, t

hat

is

inte

nti

on

ally

fu

nct

ion

less

. At fi

rst i

t’s

like

an e

nvi

ron

men

tal s

pac

e; it

’s e

very

roo

m in

wh

ich

you

can

po

ssib

ly d

o

som

eth

ing

: a r

oo

m fo

r cu

ttin

g yo

ur

nai

ls, a

ro

om

for

loo

kin

g o

uts

ide

– in

o

ther

wo

rds,

Per

ec w

as w

ritin

g ab

ou

t th

e p

oss

ibili

ty o

f a r

oo

m th

at h

as n

o

fun

ctio

n in

itse

lf, a

‘use

less

’ ro

om

. O

ver

the

pas

t eig

ht y

ears

, th

e sp

ace

has

act

ual

ly b

een

‘use

less

’: it

has

g

ain

ed a

nd

lost

its

fun

ctio

n d

uri

ng

p

roje

cts

and

dai

ly li

fe. I

t has

no

t rea

lly

bee

n an

‘art

sp

ace’

, a li

vin

g sp

ace,

w

ork

spac

e o

r st

ud

io. I

n b

etw

een

, it

has

had

man

y d

iffe

ren

t use

s.

Pm

/Hm

: To

enab

le a

sp

ace

to c

on

tinu

-o

usl

y re

-inv

ent i

tsel

f fo

r su

ch a

lon

g

per

iod

, on

e n

eed

s to

co

nsi

der

ho

w to

su

stai

n a

cert

ain

con

stit

uen

cy. H

ow

d

id y

ou

go

abo

ut t

his

pro

cess

of b

oth

co

ntin

uat

ion

and

chan

ge?

Özg

e a

çıkk

ol:

May

be

Ista

nb

ul it

self

h

elp

ed u

s a

lot.

.. T

he

pro

cess

hap

-p

ened

on

its

ow

n, b

ecau

se th

e ac

tion

s an

d ev

en th

e ‘c

urat

ing

’ ch

ang

ed fr

om

p

roje

ct to

pro

ject

. Fo

r ex

amp

le, w

e ca

rrie

d o

ut ‘

on

e-d

ay’ p

roje

cts

in w

hich

w

e in

vite

d p

eop

le to

the

roo

m: w

e to

ld

them

that

for

this

on

e d

ay it

wo

uld

be

thei

r sp

ace,

an

d ab

ou

t on

ce a

wee

k th

ey d

id th

eir

pro

ject

s th

ere.

We

also

in

vite

d o

ur n

eig

hb

our

s to

do

the

sam

e.

If a

spac

e d

oes

n’t

pre

sen

t its

elf a

s an

ex

hib

itio

n sp

ace,

then

the

aud

ien

ce

do

esn

’t re

ally

bec

om

e o

r ac

t lik

e an

aud

ien

ce. S

uch

a r

elax

ed s

itu

atio

n

also

op

ens

up

oth

er p

oss

ibili

ties.

Fo

r in

stan

ce, s

ince

peo

ple

did

n’t

actu

ally

kn

ow

the

clo

sin

g an

d o

pen

ing

ho

urs

of t

he

spac

e; th

ey w

oul

d ju

st d

rop

b

y. O

r it

was

po

ssib

le th

at s

om

eon

e w

ho

was

just

pas

sin

g b

y w

oul

d se

e a

ligh

t an

d sa

y, ‘W

hat

’s h

app

enin

g

her

e?’ a

nd

then

we

wo

uld

sit t

og

eth

er

and

talk

, an

d so

on

. Th

e fir

st p

eop

le

wh

o ca

me

to s

ee u

s o

r jo

ined

us

wer

e n

eig

hb

our

s; th

en th

ere

wer

e th

ose

w

e kn

ew a

nd

emai

led

, bu

t wh

o d

idn

’t

live

in th

e n

eig

hb

our

ho

od

– th

ey

wo

uld

com

e b

y to

see

wh

at w

e w

ere

do

ing

; las

t th

ere

wer

e th

ose

wh

o ju

st

hap

pen

ed to

pas

s b

y. S

o in

a s

ense

, it

also

has

to d

o w

ith

the

dis

cuss

ion

we

had

wit

h V

asıf

Ko

rtun

, wh

eth

er w

hat

w

e w

ere

do

ing

was

pu

blic

art

or

no

t.

Th

ou

gh

we

did

no

t rea

lly th

ink

abo

ut o

r d

iscu

ss w

het

her

we

wer

e d

oin

g p

ub

lic

art.

Th

e ty

pe

of a

rt w

e d

id e

mer

ged

al

on

g th

e w

ay a

s w

e d

id th

ing

s: th

eory

ca

me

afte

rwar

ds

– ac

tion

s w

ere

wh

at

do

min

ated

. An

d as

lon

g as

we’

ve b

een

h

ere,

an

d w

e’ve

bee

n in

the

sam

e n

eig

hb

our

ho

od

no

w fo

r 8

year

s, w

e’ve

h

ad r

elat

ion

ship

s th

at g

o b

eyo

nd

our

b

ein

g ar

tist

s. W

e’re

sim

ply

par

t of t

he

nei

gh

bo

urh

oo

d, e

ven

if w

e ar

e so

me-

wh

at s

tran

ge

nei

gh

bo

urs.

We’

ve tr

ied

to

sh

ape

this

kin

d o

f ro

le n

ot j

ust

wit

h

the

nei

gh

bo

urs

in G

alat

a b

ut a

lso

wit

h

the

art s

cen

e in

Ista

nb

ul!

oda Projesi

SO

FA

R S

O G

OO

D –

SO

WEI

T S

O G

UT

Nad

ine

Res

chke

Kin

dlim

ann

, Od

a P

roje

si c

ou

rtya

rd,

29 J

un

e 20

04

Od

a M

eeti

ng

s / T

he

Pic

ture

of M

y Li

feB

elm

in S

öyl

emez

& O

rhan

Cem

Çet

in, 8

th Is

tan

bu

l Bie

nn

ial

Po

etic

Ju

stic

e, 2

0 S

epte

mb

er –

16

No

vem

ber

200

3

290

Par

alle

l Wo

rld

s In

terv

iew

291

Par

alle

l Wo

rld

s In

terv

iew

ally

ab

le to

dis

cove

r an

d ex

per

ien

ce

wh

at a

net

wo

rk is

an

d h

ow

it w

ork

s.

It’s

incr

edib

le to

see

ho

w th

e K

urd

s ar

e co

nn

ecte

d to

eac

h o

ther

, an

d it

’s

extr

emel

y in

tere

stin

g an

d st

imu

latin

g

to b

e ab

le to

trac

e th

eir

net

wo

rks

as

wel

l as

map

the

geo

gra

ph

ies

of t

hes

e n

ew c

ult

ura

l id

enti

ties

in E

uro

pe.

Pm

/Hm

: Ho

w h

as th

is a

pp

roac

h o

f tr

acin

g d

iffe

ren

t cul

tura

l net

wo

rks

info

rmed

yo

ur w

ork

in C

orv

iale

, a

hu

ge

ho

usi

ng

blo

ck o

n th

e o

uts

kirt

s

of R

om

e, w

hich

has

bec

om

e a

sym

-b

olic

sit

e o

f urb

an c

on

flict

at t

he

city

’s

per

iph

ery?

iaco

po

Gal

lico

: Th

e id

ea w

as to

wo

rk

on

the

man

y ‘im

ages

’ of C

orv

iale

. Ho

w

do

the

inh

abit

ants

of R

om

e se

e an

d

thin

k o

f thi

s lo

catio

n, a

nd

ho

w d

o it

s in

hab

itan

ts v

iew

the

inst

itu

tion

and

m

unic

ipal

ity

of R

om

e? W

e tr

ied

to p

ro-

ceed

fro

m p

eop

le’s

per

cep

tion

of t

he

pla

ce, t

o cr

eate

new

rel

atio

nsh

ips

wit

h

its

inh

abit

ants

an

d g

o b

eyo

nd

com

mo

n

tale

s ab

ou

t it.

Wh

at w

e d

isco

vere

d w

as

that

Co

rvia

le is

the

pro

du

ct o

f a m

ix o

f p

olit

ics

and

arch

itec

ture

. It h

as 8

,000

in

hab

itan

ts a

nd

cost

11

mill

ion

euro

s to

bu

ild. T

ho

ug

h p

erh

aps

even

mo

re

imp

ort

ant,

the

mun

icip

alit

y h

as s

pen

t fo

ur ti

mes

that

am

oun

t in

the

pas

t 20

year

s, a

nd

this

was

alm

ost

alw

ays

in

rela

tion

to e

lect

ion

s. In

fact

, Co

rvia

le is

a b

ig b

ox c

reat

ed fo

r w

inn

ing

vote

s.

Of c

our

se y

ou

can

also

say

it’s

a

wo

nd

erfu

l ob

jet d

’art

, a s

culp

ture

, a

mo

nu

men

t – e

very

thin

g yo

u m

igh

t d

esir

e ex

cep

t a p

lace

to h

ou

se p

eop

le.

Nev

erth

eles

s, p

eop

le h

ave

bee

n ab

le

to a

dju

st to

life

insi

de

Co

rvia

le. L

eft t

o

t hei

r o

wn

dev

ices

, th

ey h

ave

org

an-

ized

them

selv

es a

nd

som

eho

w c

om

e to

term

s w

ith

the

pla

ce –

esp

ecia

lly

on

the

fou

rth

flo

or

wh

ere

ther

e is

this

co

rrid

or

run

nin

g th

rou

gh

the

mid

dle

of

the

bu

ildin

g. I

t was

ori

gin

ally

co

n-

ceiv

ed a

s a

linea

r se

rvic

e ar

ea. B

ut a

t

the

tim

e it

was

co

mp

lete

ly e

mp

ty, s

o

peo

ple

dec

ided

to s

qu

at a

nd

live

in it

. W

e d

id o

ur p

roje

ct o

n th

is fo

urth

flo

or,

an

d fo

und

a w

ay to

list

en a

nd

und

er-

stan

d. E

very

thin

g st

arts

wit

h lis

ten

ing

. In

Ara

rat,

we

wer

e al

so d

ealin

g w

ith

a

stro

ng

ly p

olit

iciz

ed c

om

mun

ity.

At

the

beg

inn

ing

it w

as q

uit

e h

ard

to

defi

ne

limit

s. A

rt a

llow

s yo

u to

cro

ss

the

bo

und

arie

s o

f po

litic

s. Y

et if

yo

u

beg

in b

y ap

pro

achi

ng

pro

ble

mat

ic

po

litic

al is

sues

, yo

u’ll

fin

d a

wal

l, a

wal

l o

f mis

und

erst

and

ing

. Bu

t if y

ou

star

t w

ith

the

spac

e it

self

and

ho

w to

org

an-

ize

it, s

har

e it

, or

the

likes

, it’

s to

tally

d

iffe

ren

t. In

Co

rvia

le, t

hin

gs

wer

e n

o

dif

fere

nt.

We

earn

ed th

e tr

ust

of i

ts

inh

abit

ants

; th

ey u

nd

erst

oo

d th

at w

e w

eren

’t th

e u

sual

mun

icip

al a

rchi

tect

s o

nly

inte

rest

ed in

mea

suri

ng

thei

r ap

artm

ents

. We

wan

ted

to c

om

pre

-h

end

mo

re, f

or

inst

ance

the

geo

gra

ph

y o

f th

e re

lati

on

ship

s in

terw

ove

n in

to

the

spac

e.W

e’re

no

w a

ble

to s

ay th

at s

elf-

org

aniz

atio

n st

arts

wit

h th

e ca

pab

ility

to

ad

apt y

ou

r n

eed

s to

a c

on

text

; th

is

mea

ns

hav

ing

no

ou

tsid

e in

terl

ocu

tors

w

ho

imp

ose

ru

les

abo

ut h

ow

yo

u

hav

e to

man

age

thin

gs.

Ou

r re

sear

ch

is b

ased

on

a co

nce

pt r

eflec

ted

also

in

ho

w w

e o

per

ate

as a

net

wo

rk. T

his

n

etw

ork

is n

ot c

on

ceiv

ed h

iera

rch

ical

-ly

; mem

ber

s o

f Sta

lker

are

co

mp

lete

ly

ind

epen

den

t fro

m o

ne

ano

ther

. In

ou

r

soci

ety

this

is a

pre

con

dit

ion

that

has

to

be

esta

blis

hed

in o

rder

to tr

ansf

orm

co

mp

etit

ion

into

co

llab

ora

tio

n. I

t in

-vo

lves

the

abili

ty o

f au

ton

om

ou

s in

di-

vid

ual

s to

wo

rk to

war

d th

e sa

me

end

, th

e sa

me

pro

ject

. We

can

thin

k ve

ry

dif

fere

ntl

y, b

ut i

f we

shar

e th

e sa

me

pro

ject

, we

can

colla

bo

rate

tog

eth

er.

Th

is is

the

stre

ng

th o

f net

wo

rkin

g.

Pm

/Hm

: Ho

w h

ave

thes

e ex

per

ien

ces

of c

on

nec

ting

iden

titie

s, lo

calit

ies

and

Pm

/Hm

: Sta

lker

is a

net

wo

rk k

no

wn

fo

r se

ttin

g u

p en

coun

ters

wit

h o

ther

cu

ltur

al n

etw

ork

s an

d ex

pan

din

g th

e tr

adit

ion

al s

cop

e o

f cre

ativ

e p

ract

ice.

Fo

r in

stan

ce, S

talk

er s

tart

ed A

rara

t in

C

amp

o B

oar

io a

s an

art

pro

ject

, bu

t it

seem

s to

hav

e ta

ken

on

a lif

e o

f its

o

wn

. Is

this

flo

w o

f ag

ency

so

met

hin

g

that

is in

her

ent t

o th

e id

ea o

f Sta

lker

?

iaco

po

Gal

lico

: Sta

lker

evo

lved

mai

nly

o

ut o

f an

atti

tud

e ad

op

ted

by

arch

itec

-tu

re s

tud

ents

wh

en th

ey s

qu

atte

d at

V

alle

Giu

lia, t

he

Facu

lty

of A

rchi

tect

ure

at th

e U

niv

ersi

ty o

f Ro

me

La S

apie

nza

. T

his

was

in 1

990.

A g

rou

p o

f stu

den

ts,

wh

o w

ere

no

t ass

oci

ated

wit

h an

y

par

ticu

lar

ideo

log

y o

r p

olit

ical

par

ty,

too

k a

po

litic

al a

ctio

n –

‘sq

uat

ting

’ –

as th

eir

po

int o

f dep

artu

re. T

hey

trie

d

livin

g in

the

univ

ersi

ty, a

nd

mak

ing

it

a sp

ace

that

wo

uld

allo

w th

em to

im

agin

e a

dif

fere

nt w

orl

d an

d a

dif

-fe

ren

t way

of v

iew

ing

the

rela

tion

ship

b

etw

een

cult

ure

and

spac

e. H

ence

, fo

r u

s S

talk

er is

a ‘l

abo

rato

ry o

f urb

an a

rt’.

Thi

s m

ean

s th

ere

is a

gro

up

of p

eop

le

wh

o w

ant t

o id

enti

fy w

ith

oth

ers

and

u

se s

pac

e as

a d

evic

e to

do

so –

an

d

this

is w

hat

det

erm

ines

Sta

lker

. It’

s a

flex

ible

co

nst

ella

tion

of p

eop

le o

per

at-

ing

in th

e m

om

ent,

a m

om

ent s

hap

ed

by

on

-go

ing

pro

ject

s; th

ere’

s a

dir

ect

rela

tion

ship

bet

wee

n th

e p

roje

ct to

b

e d

evel

op

ed a

nd

the

pro

file

of t

he

gro

up w

ho

are

in c

harg

e o

f dev

elo

pin

g

it, a

nd

for

us

this

is ‘a

net

wo

rk’.

In

pro

ject

s lik

e A

rara

t, X

eno

bia

: th

e C

ity,

th

e S

tran

ger

s an

d th

e B

eco

min

g of

Pu

blic

Sp

ace

(Ara

rat,

Xen

ob

ia: l

a ci

ttà,

g

li st

ran

ieri

e il

div

enir

e d

ello

sp

azio

p

ub

blic

o) o

r Im

agin

ing

Co

rvia

le, a

n

etw

ork

rep

rese

nts

the

pro

ject

itse

lf:

if yo

u ta

ke a

map

of e

very

on

e in

volv

ed

in a

pro

ject

, it d

oes

n’t

just

rep

rese

nt

a co

nfi

gur

atio

n o

f peo

ple

we

rela

te

to o

r fo

llow

, bu

t als

o m

irro

rs th

e co

mp

lexi

ty w

e’ve

foun

d. S

uch

a m

ap

enab

les

you

to u

nd

erst

and

the

kin

d

of w

ork

that

is e

mer

gin

g.

Cam

po

Bo

ario

was

a s

lau

gh

terh

ou

se

situ

ated

in a

n in

du

stri

al p

art o

f Ro

me

at th

e en

d o

f th

e n

inet

een

th c

entu

ry.

Wh

en th

e ci

ty e

xpan

ded

, it b

ecam

e un

usa

ble

an

d so

was

ab

and

on

ed in

1975

. At t

he

time

I was

livi

ng

no

t far

fr

om

it. F

rom

my

roo

m it

loo

ked

like

it

was

em

pty

an

d I o

ften

tho

ug

ht i

t was

a

sham

e th

at th

e ci

ty d

idn

’t m

ake

it av

ail-

able

to th

e p

ub

lic. W

hen

I fin

ally

vis

ited

it

, I r

ealiz

ed th

at it

was

no

t vac

ant.

In

fact

, th

ere

was

an

air

of f

ear

and

sus-

pic

ion

abo

ut t

he

pla

ce, a

nd

it w

as a

ny-

thin

g b

ut e

mp

ty: m

any

com

mun

itie

s o

f fo

reig

ner

s liv

ed th

ere

– K

ald

eras

h,

No

rth

Afr

ican

s, p

eop

le fr

om

eas

tern

Eu

rop

e an

d o

ther

s w

ho

had

just

foun

d

shel

ter

ther

e. T

hey

all

shar

ed th

is

spac

e, w

hich

so

meh

ow

was

in a

so

rt

of d

ynam

ic b

alan

ce. W

e fir

st e

nte

red

th

is ‘m

icro

cosm

’ dur

ing

the

Bie

nn

ial

of Y

oun

g A

rtis

ts fr

om

Eur

op

e an

d th

e M

edit

erra

nea

n, w

hich

too

k p

lace

at

the

Cam

po

Bo

ario

in 1

999,

tho

ug

h

in a

res

tore

d se

ctio

n o

f th

e co

mp

lex.

T

he

top

ic o

f th

e ex

hib

itio

n w

as p

ub

lic

spac

e, a

nd

tog

eth

er w

ith

the

com

mu

-n

ity

of K

urd

s w

ho

had

arr

ived

in R

om

e fo

llow

ing

the

Öca

lan

affa

ir, S

talk

er

squ

atte

d in

the

vete

rin

ary

bu

ildin

g. T

he

aim

was

to c

reat

e a

cult

ural

cen

tre

in

this

‘pro

mis

cuo

us’

pu

blic

sp

ace

– p

ro-

mis

cuo

us

in th

e se

nse

that

on

e an

d th

e sa

me

spac

e fu

lfille

d m

ultip

le p

urp

ose

s an

d so

sat

isfi

ed th

e n

eed

s o

f th

e co

m-

mun

ity.

Ab

ove

all i

t was

a p

lace

wh

ere

dif

fere

nt c

ultu

res

coul

d m

eet.

Th

is s

pac

e co

nst

itu

tes

a ‘m

arg

inal

ar

ea’,

wh

at w

e ca

ll an

‘act

ual

terr

ito

ry’.

Th

is m

ean

s a

terr

ito

ry c

on

tinu

ou

sly

in a

sta

te o

f bec

om

ing

and

tran

s-fo

rmin

g. I

t’s

stra

ng

e to

go

to A

rara

t,

as w

e n

amed

it, b

ecau

se y

ou

alw

ays

enco

un

ter

dif

fere

nt p

eop

le th

ere

– in

fa

ct, t

his

asp

ect i

s ev

en s

tran

ger

than

ex

per

ien

cin

g h

ow

the

pla

ce it

self

is

ch

ang

ing

. Th

ou

gh

this

is s

o o

nly

b

ecau

se A

rara

t has

rem

ain

ed a

n o

pen

sp

ace,

a p

latf

orm

for

mee

ting

and

ex

chan

ge,

a r

eal h

ub

; her

e w

e’re

act

u-

iacopo Gallico

Via

Eg

nat

iaO

sser

vato

rio

No

mad

e, w

ork

sho

p, 2

001

Th

e sq

uat

ted

fou

rth

flo

or

of N

uo

vo C

orv

iale

, a 9

58 m

etre

lo

ng

esta

te o

n th

e so

uth

wes

tern

ou

tski

rts

of R

om

e h

ou

sin

g

mo

re t

han

6,0

00 p

eop

le (

des

ign

ed b

y M

ario

Fio

ren

tin

o in

19

72 a

nd

bu

ilt b

etw

een

1975

-198

2), R

om

e, 2

006

New

roz,

200

2A

rara

t, in

terc

ult

ura

l cen

tre

and

lab

ora

tory

of u

rban

art

at

th

e C

amp

o B

oar

io, R

om

e, in

itia

ted

by

Sta

lker

in 1

999

292

Par

alle

l Wo

rld

s In

terv

iew

293

Par

alle

l Wo

rld

s In

terv

iew

Pm

/Hm

: Tra

vel,

role

-pla

y, tr

ansf

orm

-at

ion

– th

ere’

s a

cert

ain

line

of d

isp

lace

-m

ents

to b

e fo

und

in y

our

wo

rk. W

hat

ro

le d

o su

ch d

isp

lace

men

ts p

lay

in th

e w

ay y

ou

pro

du

ce a

rt?

ric

ard

o B

asb

aum

: Art

ists

sh

oul

d n

ot

con

tro

l mea

nin

gs,

an

d h

ow

peo

ple

p

lay,

pro

ject

an

d im

agin

e th

ing

s in

re

latio

n to

thei

r w

ork

. Th

ese

thin

gs

sho

uld

rem

ain

op

en. I

t’s

inte

rest

ing

for

arti

sts

to d

isco

ver

that

they

do

n’t

exis

t p

rio

r to

thei

r w

ork

s, b

ut a

re r

einv

ente

d

each

tim

e an

ew. M

any

thin

kers

hav

e ex

pre

ssed

su

ch th

ou

gh

ts. M

ost

ob

vi-

ou

sly,

Del

euze

an

d G

uat

tari

, to

wh

om

I f

eel p

arti

cula

rly

clo

se. T

hey

oft

en

talk

ab

ou

t su

ch m

atte

rs. T

he

sub

ject

co

mes

aft

er th

e re

st; i

t’s

no

t wh

at’s

in

the

fore

gro

und

.

For

an a

rtis

t thi

s is

rea

lly th

e p

layf

ul

par

t of a

rtw

ork

s. If

yo

u th

ink

you

kno

w

wh

o yo

u ar

e an

d co

nst

antl

y ta

ke it

for

gra

nte

d, y

ou

’ll s

imp

ly r

uin

yo

ur w

ork

. Yo

u n

eed

to g

o b

ehin

d th

ing

s, b

ecau

se

it’s

all

a g

ame.

I th

ink

on

e o

f th

e m

ost

in

tere

stin

g th

ing

s fo

r an

art

ist i

s to

let

him

self

/her

self

be

rein

ven

ted

in s

om

e w

ay a

nd

be

carr

ied

away

by

the

wo

rk

he

/sh

e is

do

ing

. Th

ou

gh

this

has

lim

its.

It

isn

’t th

at y

ou

’re

reb

orn

eac

h tim

e,

bu

t th

at y

ou

’re

able

to p

lay

and

ther

e ar

e sp

aces

wit

h w

hich

yo

u ca

n p

lay.

If

you

’re

awar

e o

f thi

s, y

ou

can

inco

rpo

r-at

e it

into

ho

w y

ou

wo

rk a

s an

art

ist.

S

o th

at’s

wh

at I

like

and

try

to w

ork

w

ith

. I w

ork

wit

h ro

les,

tho

ug

h th

is

do

esn

’t ju

st h

ave

to d

o w

ith

the

role

s o

f th

e ar

tist

, cri

tic

or

cura

tor,

bu

t als

o

wit

h m

y th

inki

ng

and

ho

w I

dep

art

fro

m d

iffe

ren

t way

s o

f cre

atin

g th

ese

role

s. A

pro

po

s th

e im

age

of t

he

artis

t,

wh

at k

ind

of a

rtis

t do

you

wan

t to

b

e? D

o yo

u w

ant t

o b

e at

the

top

of

the

mar

ket?

So

me

arti

sts

wan

t th

is

extr

emel

y b

adly

. It’

s tr

ue

this

is a

p

oss

ible

po

siti

on

for

an a

rtis

t. Y

ou

ca

n p

lay

wit

h fa

shio

n; y

ou

can

pla

y w

ith

mar

gin

alit

y; y

ou

can

pla

y w

ith

su

ffer

ing

and

the

role

of t

he

rom

anti

c ar

tist

. In

art h

isto

ry, t

her

e’s

also

this

ga

me

wit

h th

e im

age

of t

he

artis

t – a

nd

it

can

be

trac

ed.S

o I h

ave

bee

n p

layi

ng

m

ore

or le

ss w

ith

thes

e d

iffe

ren

t ro

les

(art

ist,

ag

ent,

cri

tic,

cu

rato

r) a

nd

wit

h

the

imag

e o

f th

e ar

tist

I w

ou

ld li

ke to

n

ego

tiat

e. In

thes

e ro

les

I in

clu

de

a ce

rtai

n su

bje

ctiv

e co

mp

on

ent.

No

t th

at I’

m c

om

ple

tely

co

nsc

iou

s o

f th

is

bu

t it i

s, to

an

exte

nt,

an

asp

ect t

hat

in

tere

sts

me.

Pm

/Hm

: Po

litic

ally

an

d so

cial

ly e

n-

gag

ed a

rt is

oft

en c

on

cep

tual

ized

in r

e-la

tion

to w

ork

ing

wit

h se

lect

ed g

rou

ps

or

com

mun

itie

s. In

wh

at y

ou

des

crib

e,

you

seem

to m

istr

ust

dir

ect i

nvo

lve-

men

t in

po

litic

al s

itu

atio

ns

and

pre

fer

a m

ore

pla

yful

neg

otia

tion

of p

ow

er.

Wh

at k

ind

s o

f po

litic

s an

d ae

sth

etic

s em

erg

e fr

om

this

inte

ract

ion?

ricardo Basbaum

tem

po

ralit

ies

info

rmed

the

net

wo

rk o

f O

sser

vato

rio

No

mad

e, w

hich

yo

u cr

e-at

ed to

faci

litat

e an

un

der

stan

din

g o

f th

e ch

ang

ing

geo

gra

phi

es o

f Eur

op

e?

iaco

po

Gal

lico

: Oss

erva

tori

o N

om

ade

is a

n in

terd

isci

plin

ary

rese

arch

pro

ject

in

itia

ted

by

Sta

lker

that

pro

po

ses

way

s o

f in

terv

entio

n b

ased

on

spat

ial

pra

ctic

es o

f exp

lora

tion

, lis

ten

ing

and

re

latio

n, a

ctiv

ated

thro

ug

h cr

eati

ve

too

ls o

f in

tera

ctio

n w

ith

the

envi

ron

-m

ent a

nd

the

inh

abit

ants

, an

d ar

chiv

es

of m

emo

ries

. It’

s a

met

a-st

ruct

ure

we

dev

elo

ped

for

the

pro

ject

On

Egn

atia

, a

Path

of D

isp

lace

d M

emo

ries

in 2

004.

T

he

idea

was

to b

uild

a m

etap

ho

rica

l an

d tr

ansn

atio

nal

mo

nu

men

t wit

h

sto

nes

, Sal

entin

e st

on

es. F

or

us

thes

e st

on

es w

ere

a sy

mb

ol o

f pai

n

as w

ell a

s tr

adit

ion

, of t

he

rela

tion

-sh

ip b

etw

een

man

an

d te

rrit

ory

. We

use

d th

e st

on

es to

co

llect

sto

ries

fro

m

peo

ple

wh

o h

ad m

igra

ted

alo

ng

the

Via

Eg

nat

ia.

We

retu

rned

the

sto

nes

to

loca

tion

s w

her

e th

e sp

eake

rs a

sked

u

s to

bec

ause

so

met

hin

g sp

ecia

l had

h

app

ened

alo

ng

the

way

to th

em th

ere.

T

he

Via

Eg

nat

ia is

an

anci

ent p

ath

th

at fo

llow

s th

e V

ia A

pp

ia a

nd

go

es to

Is

tan

bul

; it w

as c

on

stru

cted

dur

ing

the

Ro

man

Em

pir

e to

tak

e th

e ar

my

to th

e b

ord

er, b

ut i

t has

ch

ang

ed it

s co

urse

m

any

times

ove

r th

e ag

es. N

ow

the

Gre

eks

are

bu

ildin

g a

very

mo

der

n

mo

torw

ay th

ere,

cal

led

Egn

atia

Od

os.

It

run

s st

raig

ht t

hro

ug

h th

e co

untr

y,

fro

m Ig

ou

men

itsa

to th

e Tu

rkis

h

bo

rder

. Yet

sin

ce h

isto

rica

lly th

e V

ia

Egn

atia

pas

sed

thro

ug

h A

lban

ia, i

ts

re-e

stab

lish

men

t see

ms

stra

ng

ely

con

nec

ted

wit

h ea

ster

n Eu

rop

e –

and

so

for

us,

it h

as tu

rned

into

a d

evic

e to

rev

eal t

he

com

ple

xity

of t

his

par

t o

f Eur

op

e an

d it

s ci

ties,

wh

ere

new

co

mm

unit

ies

of d

iffe

ren

t peo

ple

s ar

e em

erg

ing

. In

ord

er to

co

llect

sto

ries

, w

e d

evel

op

ed –

in fo

r ex

amp

le R

om

e,

Ath

ens,

Par

is a

nd

Ber

lin –

ag

enci

es o

f

the

Oss

erva

tori

o N

om

ade

net

wo

rk,

a tr

ansd

isci

plin

ary

gro

up

of p

eop

le

cap

able

of s

har

ing

thei

r ap

pro

ach

to

a te

rrit

ory

an

d a

con

text

, wh

ere

con

text

mea

ns

no

t a s

tati

c p

lace

bu

t a

com

ple

x an

d d

ynam

ic r

ealit

y fo

rged

b

y co

nn

ectio

ns

and

rela

tion

ship

s b

etw

een

agen

ts w

ho

inte

ract

wit

h th

e

terr

ito

ry. T

o re

veal

the

com

ple

xity

of

this

rea

lity,

we

use

d th

e O

sser

vato

rio

N

om

ade

net

wo

rk a

nd

invo

lved

dif

-fe

ren

t in

div

idu

als

wh

o –

du

e to

thei

r se

nsi

bili

ties

and

inte

rest

s –

wo

uld

be

able

to m

on

ito

r th

e ve

ry c

om

ple

xity

it

rep

rese

nts

. An

d th

is is

a c

om

ple

x-

ity

that

is a

lway

s al

so r

epre

sen

ted

by

ano

ther

co

mp

lexi

ty, o

ne

man

ifes

ting

it

self

in th

e re

pre

sen

tatio

n o

f a s

yste

m

of r

elat

ion

ship

s b

etw

een

agen

ts a

nd

in

terl

ocu

tors

.

Nu

ovo

Co

rvia

le, R

om

e, 2

006

Bel

ow

Nu

ovo

Co

rvia

le, R

om

e, 2

006

Wo

uld

yo

u lik

e to

par

tici

pat

e in

an

arti

stic

exp

erie

nce

?20

pai

nte

d st

eel o

bje

cts

circ

ula

tin

g in

Lat

in A

mer

ica,

Eu

rop

e an

d A

fric

a, 1

994

-200

7, d

ocu

men

tati

on

by

the

par

tici

pan

ts o

n

ww

w.n

bp

.pro

.br;

vie

w o

f th

e in

stal

lati

on

at t

he

Au

e-P

avill

on

, d

ocu

men

ta 1

2, K

asse

l, 20

07

dia

gra

m (

pas

sag

es)

Ric

ard

o B

asb

aum

, 200

1

294

Par

alle

l Wo

rld

s In

terv

iew

295

Par

alle

l Wo

rld

s In

terv

iew

ric

ard

o B

asb

aum

: It’

s co

mp

lex.

As

som

eon

e w

ho

gre

w u

p in

the

1980

s I d

on

’t kn

ow

to w

hat

ext

ent a

uto

pia

is

a p

rod

uct

ive

thin

g. I

do

n’t

bel

ieve

in

mag

ical

so

lutio

ns.

It’s

su

ch a

slo

w

pro

cess

. It’

s al

way

s ab

ou

t neg

otia

ting

an

d m

ovin

g th

rou

gh

emp

ty s

pac

es.

Wh

en I

spea

k ab

ou

t Bra

zilia

n cu

ltur

e it

’s v

ery

clea

r to

me

that

I h

ave

to

spec

ify

wh

at I’

m r

efer

rin

g to

. Wh

en I

say

Bra

zilia

n cu

ltur

e, I

do

n’t

mea

n o

f-fi

cial

Bra

zilia

n cu

ltur

e, b

ecau

se I

do

n’t

re

ally

car

e ab

ou

t or

bel

ieve

in it

. I th

ink

the

mai

n p

arts

of a

ny c

ultu

re a

ren

’t

the

offi

cial

on

es. S

o it

’s d

iffi

cult

tod

ay

to b

elie

ve in

a b

ig to

talit

y. It

’s a

lway

s ab

ou

t sm

all g

rou

ps.

Alt

ho

ug

h sm

all f

or

a ci

ty is

on

e th

ing

; sm

all f

or

a co

untr

y,

ano

ther

; an

d sm

all f

or

the

wo

rld

, a lo

t.

It’s

rea

lly d

iffi

cult

, it t

akes

tim

e an

d

has

its

ow

n d

ynam

ics.

Nev

erth

eles

s, I

thin

k th

ere

are

cert

ain

links

that

cer

tain

p

eop

le ju

st s

pre

ad a

nd

crea

te. A

nd

th

ey c

an v

ery

slo

wly

co

nta

min

ate

oth

ers.

I b

elie

ve th

is g

rou

p o

f mill

ion

s w

orl

dw

ide

has

a d

iffe

ren

t sp

eed

, an

d

they

’re

awar

e o

f so

met

hin

g o

ther

s d

on

’t ca

re a

bo

ut.

An

d th

is is

so

met

hin

g

I’d li

ke to

bel

ieve

. Th

ou

gh

it’s

no

t th

e to

talit

y o

f eve

ryb

od

y w

ho

is in

tere

sted

. A

nd

I do

n’t

mea

n th

ere’

ll b

e a

kin

d o

f re

dem

ptio

n –

I do

n’t

thin

k th

at w

ill e

ver

hap

pen

.A

nyw

ay, i

t’s

alw

ays

a g

ame.

A g

ame

pla

yed

by

cert

ain

gro

up

s th

at d

on

’t

fit i

n co

mp

lete

ly o

r ar

e m

ore

aw

are

or

cari

ng

. No

t th

at th

ese

peo

ple

are

ill

um

inat

ed o

r sp

ecia

l. It

’s ju

st a

kin

d

of i

nci

tem

ent t

hat

’s in

tere

stin

g to

cul

-ti

vate

an

d n

ot e

very

bo

dy

exp

erie

nce

s th

e sa

me

inci

tem

ent a

t th

e sa

me

time.

I b

elie

ve s

tro

ng

ly in

su

ch d

ynam

ics.

T

her

e’s

this

art

cri

tic w

ho

was

act

ive

dur

ing

the

1950

s, ’6

0s a

nd

’70s

: Mar

io

Pedr

osa

. He

die

d in

198

1. H

e w

as a

ver

y im

po

rtan

t per

son

for

Bra

zilia

n ar

t. H

e w

as e

xtre

mel

y ac

tive

ag

ain

st fa

scis

m

and

wen

t to

Euro

pe

in th

e 19

30s

and

’4

0s. H

e m

ade

a ve

ry in

tere

stin

g an

d

fitt

ing

com

men

t ab

ou

t ho

w B

razi

l is

con

dem

ned

to b

e m

od

ern

. It’

s as

if

we

hav

e to

mak

e re

volu

tio

n o

ver

an

d o

ver

agai

n.

We

do

n’t

hav

e a

bac

kgro

und

bas

ed

on

trad

itio

n, s

o h

ori

zon

s ar

e o

pen

to

inve

ntio

n. T

his

mea

ns

you

can

alw

ays

try

to c

reat

e so

me

sort

of u

top

ia.

We

do

n’t

hav

e ce

ntr

es a

nd

mo

del

s;

ric

ard

o B

asb

aum

: Yo

u ca

n p

lay

wit

h

the

po

litic

al in

dif

fere

nt w

ays

and

no

t n

eces

sari

ly o

nly

as

an a

rtis

t. I

real

ly

do

n’t

kno

w w

hat

’s th

e m

ost

eff

ecti

ve

way

of p

layi

ng

wit

h p

olit

ics.

Is it

by

bei

ng

an a

rtis

t or

an a

nth

rop

olo

gis

t or

a ci

vilia

n? O

f co

urse

yo

u ca

n p

lay

wit

h

art i

n p

olit

ics

as w

ell.

I thi

nk

my

wo

rk

dea

ls w

ith

po

litic

s, b

ut I

’m s

om

etim

es

unco

mfo

rtab

le w

ith

the

fact

. Wh

en

you

go

into

the

po

litic

al a

ren

a it

’s v

ery

dif

ficu

lt to

re-

inve

nt y

our

self.

Th

e su

b-

ject

ivit

y o

f po

litic

s se

ems

to b

e al

read

y p

rep

ared

for

you

. It t

arg

ets

a re

ady-

mad

e p

erso

n, t

he

po

litic

al p

erso

n.

It’s

rea

lly d

iffi

cult

to in

ven

t dif

fere

nt

sub

ject

ivit

ies

in a

po

litic

al r

ole

.T

hat’s

why

I th

ink

it’s

tric

ky a

nd

dif

ficu

lt

to p

lay

wit

h p

olit

ics

– th

oug

h ob

vio

usl

y,

it’s

als

o ve

ry n

eces

sary

. Wh

en y

ou

do

so

wit

h ar

t yo

u re

ally

nee

d to

thin

k a

lot

abo

ut h

ow y

ou

pla

y. S

o I t

hin

k ar

tists

w

ho

pla

y w

ith

po

litic

s re

ally

nee

d to

i n

vent

a w

ay o

f pos

ition

ing

them

selv

es

in o

rder

to a

void

the

com

mon

plac

enes

s o

f th

e p

olit

ical

per

son

wh

o ha

s al

l so

rts

of s

ente

nce

s, a

ll so

rts

of r

ead

y-m

ade

answ

ers.

I’m

no

t sp

eaki

ng

abo

ut

con

ten

t, b

ut a

bo

ut h

ow th

ing

s ar

e d

ealt

w

ith

. May

be

bec

ause

of m

y B

razi

lian

h

erit

age,

art

can

’t av

oid

bei

ng

a fu

sion

o

f sen

sory

ele

men

ts. I

f yo

u tr

y to

avo

id

this

, an

d ju

st c

on

cen

trat

e o

n co

nte

nt

and

stat

emen

ts, y

ou

lose

a lo

t. T

hen

it

wo

uld

be

bet

ter

to c

ho

ose

an

oth

er

rou

te, n

ot a

rt.

Pm

/Hm

: So

met

imes

we

feel

that

the

maj

or

ho

pe

of t

he

twen

ty-fi

rst c

entu

ry

lies

in th

e p

ote

ntia

l of d

iffe

ren

t cul

ture

s to

inte

ract

in a

n un

dau

nte

dly

cre

ativ

e m

ann

er. T

his

is u

sual

ly li

nke

d to

the

idea

that

, bec

ause

of t

he

dif

fere

nce

s b

etw

een

cult

ures

, th

ey c

on

stan

tly

rein

ven

t th

emse

lves

to e

ng

age

wit

h

on

e an

oth

er m

ean

ing

fully

. Do

you

se

e an

y re

leva

nce

in s

uch

op

timis

tic

o

r u

top

ian

thin

kin

g?

Wo

uld

yo

u lik

e to

par

tici

pat

e in

an

arti

stic

exp

erie

nce

?R

icar

do

Bas

bau

m, d

iag

ram

, 199

4-2

007

Wo

uld

yo

u lik

e to

par

tici

pat

e in

an

arti

stic

exp

erie

nce

?W

ork

in p

rog

ress

sin

ce 1

994,

par

tici

pat

ion

Brí

gid

a B

alta

r,

Ver

ão V

erm

elh

o, 1

997

Wo

uld

yo

u lik

e to

par

tici

pat

e in

an

arti

stic

exp

erie

nce

?W

ork

in p

rog

ress

sin

ce 1

994,

par

tici

pat

ion

Cas

a d

as

Art

es d

a M

ang

uei

ra, R

io d

e Ja

nei

ro, 2

006

296

Par

alle

l Wo

rld

s In

terv

iew

297

we

can

alw

ays

still

pla

n w

hat

mig

ht

be

nex

t, b

ecau

se w

e ar

e n

ever

alr

ead

y so

met

hin

g.

Thi

s is

all

very

inte

rest

ing

, bu

t thi

s u

top

ian

elem

ent a

lso

scar

es m

e.

Th

ou

gh

I act

ual

ly b

elie

ve a

uto

pia

can

se

rve

a g

oo

d ro

le w

hen

yo

u’r

e st

uck

an

d ca

n’t

mov

e. F

or

then

a u

top

ia c

an

gen

erat

e m

ovem

ent.

Nev

erth

eles

s,

I thi

nk

tod

ay it

’s m

ore

imp

ort

ant t

o

be

som

ewh

at p

rag

mat

ic, t

o cu

ltiv

ate

cert

ain

kin

ds

of c

on

flict

s o

r n

ego

tiate

a

gre

at d

eal.

You

kno

w y

ou

pla

y a

do

ub

le r

ole

– s

om

etim

es in

sid

e an

d

som

etim

es o

uts

ide.

Bu

t it’

s n

eces

sary

to d

o b

oth

. I th

ink

it’s

mu

ch m

ore

im-

po

rtan

t to

lear

n h

ow

to p

lay

wit

h su

ch

mov

emen

t an

d n

ot b

e st

uck

just

in o

ne

pla

ce o

r, if

you

hav

e to

neg

otia

te w

ith

la

rger

po

wer

s, to

be

able

to e

scap

e so

meh

ow

, to

o. I

t’s

very

dif

ficu

lt to

p

lay

wit

h su

ch d

isp

lace

men

ts.

Pm

/Hm

: No

tion

s o

f pla

yful

nes

s an

d

rein

ven

tion

are

also

imp

ort

ant i

n yo

ur

lon

g-t

erm

pro

ject

: Wo

uld

yo

u lik

e to

p

artic

ipat

e in

an

artis

tic e

xper

ien

ce?

Aft

er s

ho

win

g at

the

do

cum

enta

12 in

K

asse

l, h

ow

is th

is p

roje

ct to

evo

lve

in

the

futu

re?

ric

ard

o B

asb

aum

: Thi

s p

roje

ct c

on

-si

sts

of a

n o

bje

ct th

at I

let p

eop

le u

se

as th

ey w

ish

for

a m

on

th. T

hey

can

d

o w

hat

ever

they

wan

t wit

h it

, all

they

h

ave

to d

o is

sen

d m

e so

me

kin

d o

f

do

cum

enta

tion

. Th

e p

roje

ct h

as b

een

g

oin

g o

n fo

r th

irte

en y

ears

(si

nce

199

4)

and

no

w it

’s e

nte

rin

g it

s th

ird

stag

e.

It ca

n vi

rtu

ally

go

on

fore

ver

– fo

r in

-st

ance

, fo

r th

e n

ext t

wo

hun

dre

d ye

ars

– b

ecau

se it

’s b

ased

on

a m

ech

anic

ally

p

rod

uce

d o

bje

ct.

I’m s

till l

earn

ing

fro

m th

e p

roje

ct,

bec

ause

eve

n th

ou

gh

it h

as b

een

go

ing

o

n fo

r 13

yea

rs, I

hav

en’t

wo

rked

on

it

pro

per

ly y

et. I

’ve

arch

ived

the

do

cu-

men

tatio

ns,

I h

ave

set u

p a

web

site

an

d n

ow

I’m

pre

par

ing

mys

elf f

or

this

n

ext s

tag

e.

At t

he

sam

e tim

e, m

y ex

per

ien

ces

wit

h it

are

very

co

mp

lex

in te

rms

of

no

tion

s o

f co

nce

ptu

al a

rt o

r th

eori

es

of c

on

tem

po

rary

art

; th

ou

gh

it ca

n

also

be

reg

ard

ed a

s ju

st a

ver

y d

irec

t,

pai

nte

d st

eel o

bje

ct. A

nd

a ve

ry u

sefu

l it

em: y

ou

can

use

it in

yo

ur k

itch

en,

your

toile

tte

or

to b

ath

e th

e b

aby.

So

it

has

bo

th th

e ro

le o

f bei

ng

use

-fu

l an

d o

f bei

ng

a co

nce

ptu

al p

iece

at

the

sam

e tim

e. T

ho

ug

h so

far

it

has

n’t

bee

n u

sed

to it

s fu

ll p

ote

ntia

l. W

hat

’s m

ore

, I w

oul

d lik

e to

tak

e th

e p

roje

ct to

dif

fere

nt c

ultu

res

and

pla

y w

ith

dif

fere

nt g

rou

ps.

So

met

imes

an

ar

tist

is o

nly

ab

le to

pla

y w

ith

the

art

wo

rld

. H

ow

ever

, I w

oul

d al

so li

ke to

g

ain

acce

ss to

oth

er w

orl

ds

I hav

en’t

re

ach

ed y

et.

Horiz

ons

rio

de

Jan

eiro

dia

gra

m (

me-

you

seri

es)

Ric

ard

o B

asb

aum

, co

mm

issi

on

ed b

y th

e m

use

um

in

pro

gre

ss, V

ien

na,

fo

r th

e u

rban

ten

sio

n p

roje

ct, 2

002

dia

gra

m (

me-

you

seri

es)

Ric

ard

o B

asb

aum

, 200

0o

bs.

+ s

yste

m c

inem

a +

sup

erp

ron

ou

nIn

stal

lati

on

view

at C

AA

M, L

as P

alm

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Un

iver

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298

299

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astr

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Ter

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On

e o

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e 50

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vela

s in

th

e B

razi

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met

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de

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eiro

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301

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leva

ted

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et b

uilt

on

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Fave

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Can

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iver

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iver

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Un

fin

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un

iver

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h

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ital

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eiro

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edra

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Jan

eiro

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esig

ned

by

Ed

gar

de

Oliv

eira

da

Fon

seca

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aug

ura

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979

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iver

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303

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iver

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eiro

(U

ER

J), 2

005

Pav

ilhão

Rei

tor

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Lyr

a Fi

lho

, lo

cate

d o

n th

e ca

mp

us

of U

niv

ersi

tári

o

Fran

cisc

o N

egrã

o d

e Li

ma,

des

ign

ed b

y Fl

ávio

Mar

inh

o R

ego

and

Luiz

P

aulo

Co

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e, in

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iver

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