By Nicolas Whybrow
To Henri Lefebvre, the distance and ""lived everydayness"" of the inter-dependent, multi-faceted urban produces manifold chances of identifiction and cognizance via usually imperceptible interactions and practices. Art and the City takes this statement as its cue to envision the position of paintings opposed to a backdrop of worldwide emerging city populations, bearing in mind the newer performative and relational ""turns"" of artwork that experience sought of their urban settings to spot a engaging spectator -- an implicated citizen.
In exploring how works of art current themselves as a way through which to navigate and plot the town for a writing interlocutor, Nicolas Whybrow discusses assorted examples, representing 3 key glossy modalities of city arts perform. the 1st, jogging, consists of works via Richard Wentworth, Francis Alÿs, Mark Walllinger and others, the second one, play, contains artwork by means of Antony Gormley, Mark Quinn and Carsten Höller. The 3rd, cultural reminiscence, Whybrow addresses in the course of the debatable city holocaust memorial websites of Peter Eisenman's memorial in Berlin and Rachel Whiteread's in Vienna.
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45) At the same time Appadurai is concerned to question whether such a perception of trans-urban fluidity, of inhabiting several ‘places’ simultaneously, is in fact a privilege: the urban poor of Mumbai, for instance, live lives of enforced mobility – ‘floating material’ – so ‘for them something like secure tenure, even ten feet of land, is absolutely central [. ] a human claim to stability’ (33). For Appadurai, then, reconciling these two experiences is the principal challenge to imagining a global future for cities.
6875in IBBK018/Whybrow ISBN: xxx x xxxxx xxx x October 8, 2010 R E L A T I O N A L W R I T I N G plea to take the spatio-physical into account, the balcony on to the street appears to him to be made for ensuring adequate reflective possibilities. In developing his late theory of rhythmanalysis as a means of apprehending how cities (and, indeed, bodies) are constituted, he appears to be echoing a similar tension between the immediacy of urban encounters (experienced as ‘rhythms’) and the need for objectivity in weighing them up.
9 WORK/PLAY Guy Debord supposedly studied under Lefebvre, although Andrew Merrifield denies this ever to have been the case in his critical portrait of the latter (2002: 86). 6875in IBBK018/Whybrow ISBN: xxx x xxxxx xxx x September 24, 2010 A N D T H E C I T Y Debord and the Situationist International became substantially associated with Lefebvre in the early years of the movement’s existence since, in both actuality and spirit, they certainly ‘lived nearby’ (100). 10 However, as Ben Highmore sums up, ‘It seems the most useful approach is to see their work as differently articulating a number of shared themes’ (2002: 138).