salon publik # 3

cover_contentpublic! Symptome der Privatisierung und der Verlust der Urbanität
Internationale, interdisziplinäre Konferenz vom 24. – 25. 10. 2013, im Az W

Wie steht es um das „Öffentliche“ und die Grenzziehung zum „Privaten“ – eines der zentralen Themen von Urbanität schlechthin?
Verlangt nicht neoliberale Politik gerade durch ihren Rückzug aus dem Öffentlichen und dem damit verbundenen Entzug von Öffentlichkeit danach, neue Räume für Diskurs, Konflikt und Intervention wieder zu eröffnen?Was ist die Ethik der Urbanität? Ist Selbstorganisation von BürgerInnen der neue Weg der Stadtplanung? Wie können wir in Zukunft unser Zusammenleben organisieren?

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Urbanity

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Slavoj Zizek

Gute Manieren in Zeiten von WikiLeaks

Eine von WikiLeaks veröffentlichte Diplomaten-Depesche vergleicht Putin und Medwedew mit Batman und Robin. Eine aufschlussreiche Analogie: Entspricht nicht im echten Leben WikiLeaks-Gründer Julian Assange dem Joker aus Christopher Nolans The Dark Knight? Im Film wird der Bezirksstaatsanwalt Harvey Dent, ein fanatischer Gesetzeshüter, der korrumpiert wird und dann selbst Morde begeht, von Batman getötet. Batman und der mit ihm befreundete Polizeikommissar Gordon erkennen, dass ein Wissen über Dents Morde die Moral der Stadt schwächen würde, also beschließen sie, Dents sauberes Image aufrechtzuerhalten und Batman für die Morde verantwortlich zu machen. Die Quintessenz des Films ist, dass Lügen notwendig sind, um die öffentliche Moral zu stützen: Nur eine Lüge kann uns retten. Kein Wunder, dass die einzige Figur der Wahrheit in diesem Film der Joker ist – der Bösewicht. Er stellt klar, dass seine Angriffe auf Gotham City enden werden, sobald Batman die Maske abnimmt und seine wahre Identität offenlegt. Um diese Enthüllung zu verhindern und Batman zu schützen, gab Dent zuvor bei einer Pressekonferenz an, selbst Batman zu sein – eine weitere Lüge. Um dem Joker eine Falle zu stellen, fingiert Gordon seinen eigenen Tod – schon wieder eine Lüge.
Im Bewusstsein, dass dies die soziale Ordnung zerstören würde, will der Joker die Wahrheit enthüllen, die hinter der Maske verborgen liegt. Wie sollen wir ihn nennen? Einen Terroristen? The Dark Knight ist im Grunde genommen eine neue Version der klassischen Western Bis zum letzten Mann und Der Mann, der Liberty Valance erschoss, die zeigen, dass die Zivilisierung des Wilden Westens es erfordert, die Lüge zur Wahrheit zu erheben. In anderen Worten: dass Zivilisation auf einer Lüge begründet sein muss. The Dark Knight war außergewöhnlich populär. Es stellt sich die Frage, warum es genau jetzt, zu diesem Zeitpunkt, wieder den Bedarf an einer Lüge gibt, um unser Gesellschaftssystem aufrechtzuerhalten?

Good Manners in the Age of WikiLeaks

In one of the diplomatic cables released by WikiLeaks Putin and Medvedev are compared to Batman and Robin. It’s a useful analogy: Isn’t Julian Assange, WikiLeaks’s organizer, a real-life counterpart to the Joker in Christopher Nolan’s The Dark Knight? In the film, the district attorney, Harvey Dent, an obsessive vigilante who is corrupted and himself commits murders, is killed by Batman. Batman and his friend, police Commissioner Gordon, realize that the city’s morale would suffer if Dent’s murders were made public, so they plot to preserve his image by holding Batman responsible for the killings. The film’s take-home message is that lying is necessary to sustain public morale: Only a lie can redeem us. No wonder the only figure of truth in the film is the Joker, its supreme villain. He makes it clear that his attacks on Gotham City will stop when Batman takes off his mask and reveals his true identity; to prevent this disclosure and protect Batman, Dent tells the press that he is Batman – another lie. In order to entrap the Joker, Gordon fakes his own death – yet another lie.
The Joker wants to disclose the truth beneath the mask, convinced that this will destroy the social order. What shall we call him? A terrorist? The Dark Knight is effectively a new version of those classic westerns Fort Apache and The Man Who Shot Liberty Valance, which show that, in order to civilize the Wild West, the lie has to be elevated into truth: Civilization, in other words, must be grounded on a lie. The film has been extraordinarily popular. The question is why, at this precise moment, is there this renewed need for a lie to maintain the social system?

 

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Univ.-Prof. Dr. Jennifer Friedlander, Art History and Media Studies
Pomona College

Public Art and Radical Democracy: Christoph Schlingensief’s Deportation Installation

Traditional liberal notions of democracy, which emphasize deliberative reason and consensus building, paradoxically end up creating exclusions. This is the view of many social theorists who recognize that although liberal democracy appears to incorporate all difference of opinion, it in fact creates consensus only at the cost of rendering invisible what is deemed excessive. This paper follows this line of thought in seeking not only to expose this invisible structure of exclusion at the core of liberal democracy, but also to explore the political possibilities of what has been termed a radical democratic approach to urban public space. I argue that Please Love Austria, the controversial public art installation by the late German conceptual artist and political provocateur, Christoph Schlingensief, challenges traditional democratic positions and opens up a space for a radical democratic project. Schlingensief’s piece contributes to radical democratic thought by demonstrating how democracy is strongest when it is understood as a process of continually disturbing the meaning and constitution of the social.

Univ.-Prof. Dr. Jennifer Friedlander
Jennifer Friedlander is the Edgar E. and Elizabeth S. Pankey Professor of Media Studies/Associate Professor of Media Studies at Pomona College in California. She is the author of Moving Pictures: Where the Police, the Press, and the Art Image Meet (Sheffield Hallam University Press, 1998) and Feminine Look: Sexuation, Spectatorship, and Subversion (State University of New York Press, 2008). Her publications include articles in (Re)-turn: A Journal of Lacanian Studies, Journal for Psychoanalysis of Culture and Society, International Journal of Žižek Studies, and Resolutions 3: Global Networks of Video.

 

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Publikationen

Univ.-Prof. Dr. Jennifer Friedlander, Art History and Media Studies
Pomona College
Public Art and Radical Democracy: Christoph Schlingensief’s Deportation Installation

Robert Pfaller
Was den Geschmack der Stadt verrät.Die Ethik der Urbanität
What reveals the taste of the city. The ethics of urbanity

Slavoj Žižek
Gute Manieren in Zeiten von WikiLeaks
Good Manners in the Age of WikiLeaks

 

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Jennifer Friedlander

Univ.-Prof. Dr. Jennifer Friedlander
Jennifer Friedlander is the Edgar E. and Elizabeth S. Pankey Professor of Media Studies/Associate Professor of Media Studies at Pomona College in California. She is the author of Moving Pictures: Where the Police, the Press, and the Art Image Meet (Sheffield Hallam University Press, 1998) and Feminine Look: Sexuation, Spectatorship, and Subversion (State University of New York Press, 2008). Her publications include articles in (Re)-turn: A Journal of Lacanian Studies, Journal for Psychoanalysis of Culture and Society, International Journal of Žižek Studies, and Resolutions 3: Global Networks of Video.

 

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Barbara Holub

Barbara Holub

Künstlerin; 1999 Gründung von transparadiso mit Paul Rajakovics; 2006–2007 Präsidentin der Secession, Wien; 2005–2007 Mitglied des Beirats für Kunst im öffentlichen Raum Niederösterreich; seit 2010 Leitung des Forschungsprojekts „Planning Unplanned_Towards a New Positioning of Art in the Context of Urban Development“ (www.urban-matters.org), Institut für Kunst und Gestaltung, TU Wien.
In ihrer künstlerischen Praxis konzipiert sie performative Sets und regt neue Formen kollaborativer Prozesse an, u. a. The Blue Frog Society, DOX Center for Contemporary Art, Prag; 64th UN NGO/DPI conference, Bonn.

 

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Abstract Dr. Derya Özkan

The Misuse Value of Space: Politics / Potentials

My contribution to the panel is going to be mainly on the theoretical side. I will first introduce “the misuse value of space”, a concept that I have developed, thinking with Michael Hardt & Toni Negri rethinking the biopolitical production of social life in postfordism (Hardt & Negri 2004), and as an update to Henri Lefebvre’s proposition about how to rethink the production of space (Özkan 2008). I will present examples of spatial (mis)uses that “ordinary” users of space “commit” in everyday life, in ways that are often not designated or acceptable by “authorities” of space (e.g. designers, state, investors) and that thereby challenge spatial norms and regulations. On the other hand, these spatial practices might as well be quickly enclosed by the actors of capitalist value production, transformed into exchangeable form and integrated into capitalist networks. I argue that, in any case, there is a creative value to these practices. In fact, their commodification is based on this creative value as a common resource, which simultaneously has a potential to generate politically liberating practices. I would like to discuss with the other panel participants the following questions: What kinds of politically-socially liberating potentials may spatial practices of misuse generate? In what ways might this generation be significant for imagining a possibly emancipatory politics of space?

Derya Özkan studied Architecture and Sociology at Middle East Technical University. She has an M.A. in Science, Technology and Society Studies from Istanbul Technical University and Maastricht University. She worked as a professional editor for architecture and urban studies journals before she went back to academia to pursue a Ph.D. In 2008, she completed a dissertation titled “The Misuse Value of Space: Spatial Practices and the Production of Space in Istanbul” and received her Ph.D. degree in Visual and Cultural Studies from the University of Rochester. She joined the Institute of European Ethnology at Ludwig Maximilian University of Munich in September 2008. Since November 2011, she has been holding a DFG Emmy Noether Fellowship and leading the Research Project “Changing Imaginations of Istanbul. From Oriental to the ‘Cool’ City”. Her research interests are situated at the intersection points of urban studies, cultural studies and migration studies.

 

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Abstract Hannah le Roux, School of Architecture and Planning, University oft he Witwatersrand

probing transforms: the KwaThema Project revisited

In 2008 I conceptualised and ran a design-build studio in the township of KwaThema. The project was supported by a grant from the Ifg Ulm under their call, “design and politics”. I will give an overview of this project: seven weeks of intense work by ten students and dozens of community members, seven micro-projects, one fight, and a fantastic launch. In hindsight, the KwaThema Project contains elements of many small public projects of its time, except perhaps having to convince locals of the need to participate: that was the lesson of South Africa’s struggle. Despite its vivid successes, the project also shared with other such projects the failure to sustain the moment of immanence that was glimpsed in its crux.

To keep such moments happening, we firstly need to understand the intersection between processes that defines such a project. I define these processes as a duo (but this is a personal limitation): the spatial and social. Projects such as KwaThema are transforms: a kind of probe of the possibility of two kinds of change intersecting. In spatial terms, the change is the reclamation of the physical world as commons, and in social terms, it is the emergence of new communities of purpose.

At the same time, we need to understand the bargain that needs to be struck between such a micro-scale of operation and the large scale, in particular, with the shell of modernism. This involves a simultaneous focus on the situation in and around such projects: to vividly keep in mind multiple scales in terms of time, space and the social. The function of transformative projects is demonstrated at their actual sites, but gives meaning in the way that they probe, both critically and affirmatively, such other scales.

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Hannah Le Roux
Dr. Hannah Kellsey le Roux is an Senior Lecturer at Johannesburg University of the Witwatersrand where she teaches at the department of Architecture. Teaching architectural history, research and design studio courses and supervision of B.Arch (now M.Arch) thesis students. Since 1992 she is registered with South African Council for the Architectural Profession (SACAP) as a Professional Architect.As an architect in practice, she has worked on private and public projects including consulting on the redesign of public space in Alexandra and Johannesburg inner city. Her research revisits modernist architecture in Africa. Hannah is co-researcher on the Alan Vaughan-Richards Archive Project.

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Abstract Imanuel Schipper

City as Performance

In this day and age—when more people are living in cities than in rural areas, when we are facing unforeseeable problems with regard to natural resources and as a result of rapid social change, when the social actors involved in the city as a complex system are seeking ways to adequately cope with these manifold challenges—the question my rise up what the arts can do for (urban) society (and less what society should do for the arts). Last fall the international reART:theURBAN conference in Zurich seemed to be a step in the transdisciplinary engagement with this pressing question. In this paper I will present and discuss some possibilities of artistic productions that may show future paths. Furthermore I will present the structure and the methods of a starting research projects that uses methods and knowledge of performance studies to gain new knowledge of the Urban by looking on the city as on a performance.

Imanuel Schipper
Imanuel Schipper is head of the Swiss National Science Foundation (SNSF) funded research project „Re/Occupation. Designing Public Spheres in Urban Space by Theatrical Interventions.“ Between September 2009 and November 2010 he was also head of the SNSF funded research project “Longing for Authenticity. A Critical Analysis of the Term and the Actual Practice in the Context of Contemporary Staging.“ He has dealt with strategies of construction and staging for several years. He has, on numerous occasions, worked as a dramaturge for the theatre collective Rimini Protokoll and developed, together with the collective, a contemporary way of documentary theatre.
Imanuel Schipper works on the interface between scientific research, teaching, and artistic practice. He works to analyze such terms as “theatricality,“ “performativity,“ “dramaturgy,“ “staging,“ “reception“ and “mediality“ – coming from the theatre studies – beyond the boundaries of the theatre, for example in design, urban design, scenography and curation. He has participated as curator and dramaturge in theatrical/performative interventions in public spaces, including (amongst others) “Re-Location: Sanatorium am Schiffbau Zürich” (together with Matthias von Hartz), “City of Abstracts” (William Forsythe) and “Hot Spots – ímoun ethó,” in Athens with Rimini Protokoll.

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Abstract Anton Falkeis

top down – bottom up
Informelle urbane Strukturen tauchen plötzlich in der veröffentlichten Wahrnehmung und zeitgleich in den Plandokumenten der Stadtplanung auf. Ursprünglich unsichtbare ’Weiße Felder’ – insbesondere der lateinamerikanischen Landkarte – werden sichtbar gemacht und offiziell wahrgenommen. Barrios, Favelas und Slums rücken in das Zentrum des Interesses.
Dieser Wandel basiert jedoch nicht auf einer veränderten Perspektive der verantwortlichen Stadtplanung sondern auf einer jäh zu Tage tretenden politischen Realität: informelle Stadtviertel haben eine kritische Masse erreicht, die Anzahl der Bewohner ist wahlentscheidend geworden und wird vom politischen Kalkül auch so wahrgenommen.
Anstatt eine neue Qualität der Auseinandersetzung einzufordern, exportieren wir unaufgefordert veraltete Städtebau-Modelle. Die mitgelieferten Planungsinstrumente, die im Kontext der europäischen Stadt kaum mehr funktionieren, versagen angesichts informeller urbaner Agglomerationen zur Gänze. Unvermittelt prallen ‘Top Down’ und ’Bottom Up’ aufeinander und legen die zugrunde liegende, gemeinsame Struktur beider Strategien frei.
Um den globalen Veränderungsprozessen gerecht zu werden, sollten wir diese Situation als Labor begreifen in dem neue Instrumente entwickelt werden können, die Diversität als eine Ressource begreifen und Veränderungen ermöglichen. Neue, unerwartete Strategien sind erforderlich, die die alten oppositionellen Strukturen synergetisch überwinden, wenn diese sich aufgrund diametraler Kräfte in ihrer gegenseitigen Aufhebung erschöpfen. Das Stadt-Modell des 20. Jahrhunderts bleibt ein geschlossenes Modell, das ein Öffnen hin zu widersprüchlichen,  gegenläufigen und konfliktgeladenen Elementen nicht unterstützt. Segregation und Exklusion sind die Folge und bis heute evident.

Univ.-Prof.Dr. Anton Falkeis
Anton Falkeis studied architecture at the University of Applied Arts in Vienna, where he graduated in 1986. He is a licensed architect in Austria and Liechtenstein. Together with Cornelia Falkeis­Senn he is co­founder of falkeis I architects. vienna (1988) and falkeis I architects . vaduz (2011). The architectural work has been widely published. Among these are: Mauthausen Memorial, Museum and Documentation Center of Austrian Resistance, Roof Top Enlargement University of Applied Arts Vienna, Curhaus St. Stephan’s Square Vienna, “Austria Abroad”­Exhibition Austrian Parliament Vienna, Active Energy Building Vaduz. The work was exhibited at Venice Biennale, Kuala Lumpur, New York, Vienna. Anton Falkeis started his academic career as a guest researcher at the University of Tokyo, Japan in 1992 and has been teaching and lecturing at several universities such as Royal College of Art, London; ELISAVA, Barcelona; ESAG, Paris; Denmark’s School, Copenhagen, and at the University of Applied Arts in Vienna, he was Vice­Dean of the School of Architecture from 1999 to 2003. Since 2000 he is Head of Department and for Topics in Architecture. In 2012 he was guest professor at Nanjing University of Art China, conducting the experimental studio. Since 2012 he is Head of Department Social Design and Head of Programme of the Master Programme Social Design–Arts as Urban Innovation. Since 2013 he is Head of the Institute of Arts and Society at the University of Applied Arts in Vienna. He is visiting critic at University of Liechtenstein and ETH Zürich. Anton Falkeis is JSPS fellow of the Japan Society for the Promotion of Science. He published theoretical papers such as ”Featureless City”, “Western Style and Eastern Mind”, ”Film as Preview”, and “Urbanizing the world”.

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