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By Nicolas Whybrow

To Henri Lefebvre, the gap and ""lived everydayness"" of the inter-dependent, multi-faceted urban produces manifold probabilities of identifiction and realisation via frequently 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, considering the newer performative and relational ""turns"" of paintings 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 during which to navigate and plot town for a writing interlocutor, Nicolas Whybrow discusses diversified examples, representing 3 key smooth modalities of city arts perform. the 1st, strolling, consists of works via Richard Wentworth, Francis Alÿs, Mark Walllinger and others, the second one, play, contains paintings by way 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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Art and the city

To Henri Lefebvre, the distance and ""lived everydayness"" of the inter-dependent, multi-faceted urban produces manifold probabilities of identifiction and realisation via usually imperceptible interactions and practices. paintings and town takes this remark as its cue to ascertain the position of paintings opposed to a backdrop of worldwide emerging city populations, considering the more moderen performative and relational ""turns"" of paintings that experience sought of their urban settings to spot a engaging spectator -- an implicated citizen.

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As Lefebvre himself puts it with regard to the abstract space of modernism and capital: ‘Inasmuch as [such space] tends towards homogeneity, towards the elimination of existing differences or peculiarities, a new space cannot be born (produced) unless it accentuates differences’ (1991: 52). 6875in IBBK018/Whybrow ISBN: xxx x xxxxx xxx x September 24, 2010 T H E F U T U R E O F A R T I S U R B A N contradictions. Moreover, Deutsche says, the ‘spatial tactics developed in postmodern art’, which include site-specificity, institutional critique and critiques of representation, have provided the means by which artists can ‘reveal the social relations that constitute both aesthetic and urban spaces’ (Deutsche 2002: xvii).

The concepts of ‘filters’ and ‘tactics’ in particular underpin the formal structure of a co-edited publication that is highly pertinent here: The Unknown City: Contesting Architecture and Social Space (Borden 2002). The introductory first chapter defines ‘filters’ as ‘epistemological mediations of existing urban conditions’, whilst ‘tactics’ are ‘a more provocative response to the city [which] aims to make a difference’. The editors view both as ‘necessary parts of urban living, working dialectically as ways of knowing, thinking and acting’ (13).

Drifting through urban spaces the street museum parks up to display and trade its contents. Visitors are invited to take something that they desire in exchange for something that they themselves no longer have a use for. Showing the museum in the street is in acknowledgement of a public that is often overlooked by city authorities and museums alike: illiterates, the homeless, junkies, the unemployed, beggars. [. ] The museum is without walls, without a collection policy and without a fixed location.

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