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Inventing Greater Paris: Visual Culture, Regeneration and the Right to the Global City

创造大巴黎：视觉文化、复兴和全球城市的权利

基本信息

批准号：
AH/R012954/1
负责人：
Gillian Jein
金额：
$ 11.47万
依托单位：
Newcastle University
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2018
资助国家：
英国
起止时间：
2018 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FR012954%2F1
关键词：
Inventing Greater Paris Visual Culture

项目摘要

'Inventing Greater Paris' works on and with socially engaged artists and arts organizations in Seine-Saint-Denis to explore the cultural politics of urban regeneration in this disadvantaged suburb. Principally, it examines the antagonism between the French state's regeneration programme, 'Grand Paris' - a large-scale strategy aimed at transforming Paris into a global megalopolis - and artistic practices that promote the 'right to the city' (Lefebvre 1968) by asserting the voice and visibility in public of socially marginalized groups. Launched in 2007, the Grand Paris programme aims to transform the capital on a scale unseen since Haussmann, and to reassert Paris's hegemony on the global city index by 2025. Central to this programme is the integration, through high-profile infrastructural projects, of suburban satellites, or 'banlieues', with the historical centre. In this context, Seine-Saint-Denis represents a particular challenge: the suburb constituted ground zero of the 2005 urban riots; it is the most heavily surveilled territory in France having housed the Jihadi terror cells responsible for the 2015 attacks on the city; it constitutes the poorest department in the country despite being part of the Europe's richest region (the Ile de France) and, finally, high unemployment, racism and police brutality have consolidated the suburb's image as space of 'threat' to the coherence of the Republic. The site on mainland France most emblematic of the consequences of decolonization and deindustrialization for urban communities, Seine-Saint-Denis constitutes the project's locus as it here that issues of visibility, visual culture and spatial justice tangibly intersect. Firstly, the rehabilitation of this suburb is crucial to the success of the 'Grand Paris' project. Secondly, recent urban policy, seeking to counter Paris's reputation as a 'museum city', has identified the ethnic diversity and subcultural capital of this 'badland' as central to rebranding a globalized Paris. Given the interlinked drivers of the neoliberalism and integration, culture is at the forefront of state-led regeneration, but the promotion of 'creativity' raises significant questions around whose culture and in whose interests art and creativity operate. Socially engaged public art has a key role to play in articulating these antagonisms which are an expression, on the one hand, of state strategies that work to remake the city's image and, on the other, of localized struggles to make places that promote egalitarian and emancipatory forms of urban belonging. Where analyses of urban regeneration typically focus on high-profile rebranding enterprises, this project innovates on current scholarship in two primary ways: firstly, in theorizing the relationship between urban policy, visual culture and community action, it positions Seine-Saint-Denis as a contested symbolic space, wherein creative practices reforge the meanings of spaces for communities and produce new bonds of social, political and cultural identification. Secondly, the project's critical impetus lies in reframing the question 'what do images say' to ask 'what can images do?' and how do art practices engage in constituting and contesting urban democracy, recognition, inclusivity within the context of large-scale regeneration? Setting a new research agenda, its value lies in its 'bottom-up' approach to understanding the monumental regeneration currently underway in Paris, exploring the possibilities for art to generate a new 'sense of place' (Agnew 1987). Working with artists and stakeholders across ten arts organizations, the project uses practice-based methods to produce a co-creative visualization, 'Affective Territories', while the project's monograph 'Inventing Greater Paris' explores how socially engaged art practices are remaking the meanings and materialities of the suburbs to suggest models for urban relations that empower marginalized communities in the global city.

“发明大巴黎”与塞纳-圣但尼的社会参与艺术家和艺术组织合作，探索这个弱势郊区城市复兴的文化政治。它主要考察了法国国家复兴计划“大巴黎”（一项旨在将巴黎转变为全球大都市的大规模战略）与通过维护社会边缘群体的声音和可见度来促进“城市权利”（列费夫尔，1968年）的艺术实践之间的对立。大巴黎计划于2007年启动，旨在以自奥斯曼以来前所未有的规模改造首都，并在2025年前重新确立巴黎在全球城市指数中的霸主地位。该计划的核心是通过引人注目的基础设施项目，将郊区卫星或“郊区”与历史中心融合在一起。在这方面，塞纳-圣但尼是一个特殊的挑战：该郊区是2005年城市骚乱的中心地带;它是法国监控最严密的地区，是2015年袭击该市的圣战恐怖组织的所在地;尽管它是欧洲最富裕地区的一部分，最后，高失业率，种族主义和警察暴行巩固了郊区作为共和国统一性“威胁”空间的形象。塞纳-圣但尼是法国本土城市社区非殖民化和去工业化后果的最具象征意义的地点，是该项目的中心，因为在这里，可见度、视觉文化和空间正义的问题实际上相互交织。首先，这个郊区的恢复是“大巴黎”项目成功的关键。其次，最近的城市政策，试图对抗巴黎作为“博物馆之城”的声誉，已经确定了这个“荒地”的种族多样性和亚文化资本作为重塑全球化巴黎品牌的核心。鉴于新自由主义和一体化的相互关联的驱动因素，文化处于国家主导的复兴的最前沿，但促进“创造力”提出了关于谁的文化以及艺术和创造力为谁的利益而运作的重大问题。社会参与的公共艺术在阐明这些对立方面发挥着关键作用，这些对立一方面是国家重塑城市形象的战略的表达，另一方面是地方化斗争的表达，以促进平等和解放的城市归属感。城市再生的分析通常集中在高调的品牌重塑企业，这个项目在两个主要方面对当前的学术进行了创新：首先，在理论化城市政策，视觉文化和社区行动之间的关系方面，它将塞纳-圣但尼定位为一个有争议的象征性空间，其中创造性的实践重塑了社区空间的意义，并产生了社会，政治和文化认同的新纽带。其次，这个项目的关键动力在于重新定义“图像说什么”的问题，以问“图像能做什么”。艺术实践如何在大规模重建的背景下参与构建和竞争城市民主、认可和包容性？设置一个新的研究议程，其价值在于它的“自下而上”的方法来理解目前正在巴黎的纪念碑再生，探索艺术产生新的“地方感”的可能性（阿格纽1987）。该项目与十个艺术组织的艺术家和利益相关者合作，使用基于实践的方法制作了一个共同创造的可视化，“情感领域”，而该项目的专著“发明大巴黎”探讨了社会参与的艺术实践如何重塑郊区的意义和物质，为城市关系提出模型，赋予全球城市中的边缘化社区权力。