Suchergebnisse

Introduction: (cultural) politics in a supposedly post-political age -- Mapping a conflictual cultural landscape -- Articulation of an agonistic actor -- Bridge : how to institutionalize agonistic agency? -- (re)negotiating steering and rowing in governance -- Distillate and outlook -- Appendix: List of conducted interviews -- Index.

Purpose
The purpose of this paper is to investigate the formation of two artist-led collective actors, Koalition der Freien Szene (KFS) and Haben and Brauchen (H&B), and their differing strategies of political critique towards Berlin's cultural policy-making complex. The paper seeks to contribute to the lack of empirical case studies on Berlin's cultural governance and cultural policy stakeholders by creating a self-designed framework for analysis of artist-led organizations' formulation of political claims and how their articulations find entrance into policy-making.


Design/methodology/approach
The paper's theoretical framework is situated at the intersection between new social movement studies, post-positivist policy analysis and discursive institutionalism. Methodologically, the paper is based on qualitative interviews with members of KFS, H&B and relevant cultural stakeholders from Berlin's contemporary arts scene.


Findings
The paper identifies five differentiating axes of political critique through a self-designed framework. These include: political or constitution-like program, personnel infrastructures determining decision-making, approach to cultural administration, strategic agenda and activity in a collective action framing scheme. Furthermore, the paper illustrates the (trans)formative potentialities for Berlin's future cultural policy due to complementarity of discursivity and operative action, of pragmatism and utopian thinking.


Practical implications
The practical implications of the paper provide guidance for cultural policymakers to better systematize modes of participatory policy-making.


Originality/value
This paper gives an overview of current developments and shifts in Berlin's cultural field through the emergence of new collective actors by providing unique stakeholder-centered perspective(s). Furthermore, through an empirically grounded, self-designed analytical framework, a systematic analysis of articulatory and communicative strategies and the practices of new cultural policy stakeholders is provided.

In this paper, we investigate five activist-artistic approaches to argue for a sensory politics of the Anthropocene. Our aim is to highlight the affective and speculative potentials of art by examining how artists engage with the senses to make air pollution and its political implications visible, tangible, or otherwise experiential. The paper touches on widerreaching discourses on the politics of sensing, sensible politics, and sensory studies. Rather than situating air pollution within a policy framework, such as that of the international sustainable development goals, we locate our arguments within recent scholarship on postpolitics and the Anthropocene. Despite its epistemological slipperiness, we consider the Anthropocene to be a potent heuristic as well as a rich resource of ideas, data, and collaborative and antagonistic potential for artists working on issues of air pollution. The five case studies are each grounded in an explicit engagement with at least one of the five basic senses and include works by Amy Balkin, Hanna Husberg, Zane Cerpina and Stahl Stenslie, Lingling Zhang, Kitchen Budapest and Baltan Laboratories (NL). Clustered into three lines of argumentation, we demonstrate the ways in which these works contribute to the politicization of air: first, by framing air as a contested common good that problematizes the commodification of clean air; second, by integrating artistic research and environmental communication strategies; and third, by providing sensory experiences of the complicated constellations of agency and perception in the interscalar phenomenon of air pollution. Although our analysis is not exhaustive, three particularities could be identified in the works: an openness to other forms of knowledge and communication; a potent critique of the Anthropocene; and a radical questioning of 'the political'. In conclusion, we argue that art can mobilize a sense of urgency and empowerment towards a multi-sensory politics of the Anthropocene.

Der Beitrag verbindet die Diskussion um die postpolitische Stadt mit der zunehmenden wissenschaftlichen und aktivistischen Auseinandersetzung mit dem Anthropozän, ein Konzept, das die ökologischen und sozialpolitischen Implikationen menschlichen Handelns auf die Erdoberfläche beschreibt. Anhand von drei ausgewählten Fallstudien erkunden wir, wie die spezifisch anthropogene, also menschengemachte, Krise urbaner Luftverschmutzung in künstlerischen Positionen problematisiert wird. Im Kontext des potenziellen Vormarschs von Postpolitik besprechen wir, wie der ambivalente Diskurs des Anthropozäns einerseits Depolitisierung begünstigt und andererseits neue Möglichkeiten für die Repolitisierung globaler Umweltherausforderungen ermöglicht. Erstens zeigen wir anhand von Amy Balkins Projekt "Public Smog" (USA), wie künstlerischer Aktivismus nicht nur internationale Luftemissionshandelsregimes subvertieren kann, sondern durch das Aktivieren von Vorstellungskraft für bessere Luft affektive Utopien erschaffen kann. Zweitens beleuchten wir die Performance "Project Dust" des chinesischen Künstlers Nut Brother, der selbstgesammelte Smogpartikel zu einem Backstein goss und Luftverschmutzung damit gleichzeitig als harte Tatsache und Anlass zur Sorge vermittelt. Drittens diskutieren wir den teils kommerziellen Ansatz des niederländischen Konzeptkünstlers und Designers Daan Roosegaarde, der mit seiner "Smog-Free"-Produktreihe innovative Lösungen für das Problem anthropogener Luftverschmutzung bereitzustellen versucht. Die künstlerischen Projekte umreißen die Streitbarkeit des öffentlichen Gutes Luft und fordern mit affektiven Mitteln zur Politisierung der postpolitischen, luftverschmutzten Stadt auf. ; This article discusses the post-political city within an increasing academic and activist debate about the Anthropocene, which describes the ecological and socio-political implications of human action on the earth's surface. Based on three empirical case studies, we explore how the specifically anthropogenic (i.e., human-made) crisis of urban air pollution is problematized in artistic projects. In the context of the acclaimed rise of postpolitics, we discuss, on the one hand, how the ambivalent discourse of the Anthropocene era favors depoliticization, and, on the other hand, how it opens up new possibilities for the repoliticization of global environmental challenges. First, examining Amy Balkin's project "Public Smog" (USA), we show how artistic activism can not only subvert international air emission trading regimes but also create affective utopias that activate imagination for better air. Second, we discuss the performance "Project Dust" by Chinese artist Nut Brother, who fabricated smog particles he collected into a brick, communicating air pollution as a hard matter of fact, but also a matter of concern. Finally, we discuss the partly commercial approach of Dutch conceptual artist and designer Daan Roosegaarde, who tries to provide innovative solutions to the problem of anthropogenic air pollution with his "Smog Free" product series. Ultimately, we show how the artistic projects outline the disputability of air as a public good and use affective means to call for the politicization of the postpolitical, air-polluted city.

Place-making is a policy exercise rooted in a politics of both space and time. By examining the temporal sequencing of discursive relations and governance networks in the cultural redevelopment of Güterbahnhof Moabit in Berlin, this article demonstrates the fallacy of place-making via artist proxy. It documents the hidden expectations of artist stakeholders and the overextension of their capacities in their municipally delegated and self-assumed roles as "strategic" and "collaborative" partners with local government in place-making processes. It argues that contrary to collaborative and participatory governance ideals, artists are often singularly responsibilized by civic leaders to realize place-narratives for a community rather than with them, which creates a fundamental barrier to community engagement.

Cover -- Contents -- Introduction -- Theoretical (Re)Positionings -- The World and the Real -- Encountering Post-Foundationalism in J.K. Gibson-Graham's Space of Pregnant Negativity -- On Shaky Ground -- Institution and Dislocation -- Badiou as a Post-Foundationalist -- Spacing Rancière's Politics -- [Un]Grounding Geographies -- [Un]Grounding Agonistic Public Space: Approaching Mouffe's Spatial Theory via Museums -- Always Geographize! -- The Most Sublime Geographer -- Modelling the Market as a Socio-Spatial Structure -- Post-Foundationalism in the City -- (Non)Building Alliances -- Politicizing Air -- Materialization of Antidiscipline -- How Does The [Un]Grounded Interface Generate Possibilities for Spatial Alternatives? -- A Post-Foundational Conception of Politics and Space -- Authors.

Frontmatter -- Contents -- Introduction -- Theoretical (Re)Positionings -- The World and the Real: -- Encountering Post-Foundationalism in J.K. Gibson-Graham's Space of Pregnant Negativity -- On Shaky Ground: -- Institution and Dislocation: -- Badiou as a Post-Foundationalist -- Spacing Rancière's Politics -- [Un]Grounding Geographies -- [Un]Grounding Agonistic Public Space: -- Always Geographize! -- The Most Sublime Geographer: -- Modelling the Market as a Socio-Spatial Structure: -- Post-Foundationalism in the City -- (Non)Building Alliances: -- Politicizing Air: -- Materialization of Antidiscipline: -- How Does The [Un]Grounded Interface Generate Possibilities for Spatial Alternatives? -- A Post-Foundational Conception of Politics and Space: -- Authors

Der Beitrag verbindet die Diskussion um die postpolitische Stadt mit der zunehmenden wissenschaftlichen und aktivistischen Auseinandersetzung mit dem Anthropozän, ein Konzept, das die ökologischen und sozialpolitischen Implikationen menschlichen Handelns auf die Erdoberfläche beschreibt. Anhand von drei ausgewählten Fallstudien erkunden wir, wie die spezifisch anthropogene, also menschengemachte, Krise urbaner Luftverschmutzung in künstlerischen Positionen problematisiert wird. Im Kontext des potenziellen Vormarschs von Postpolitik besprechen wir, wie der ambivalente Diskurs des Anthropozäns einerseits Depolitisierung begünstigt und andererseits neue Möglichkeiten für die Repolitisierung globaler Umweltherausforderungen ermöglicht.

Introduction: (cultural) politics in a supposedly post-political age -- Mapping a conflictual cultural landscape -- Articulation of an agonistic actor -- Bridge : how to institutionalize agonistic agency? -- (re)negotiating steering and rowing in governance -- Distillate and outlook -- Appendix: List of conducted interviews -- Index

Theorien und historische Linien der Kulturpolitik -- (Trans)Disziplinäre Zugänge und Konzepte der Kulturpolitik -- Rahmen und Förderbedingungen Künstlerischer Produktionen -- Kulturpolitik als Querschnittsagentin -- Kulturpolitikforschung und Methoden -- Akteur*innen und Handlungsräume -- Recht.

Frontmatter --Contents --Introduction --Theoretical (Re)Positionings --The World and the Real: --Encountering Post-Foundationalism in J.K. Gibson-Graham's Space of Pregnant Negativity --On Shaky Ground: --Institution and Dislocation: --Badiou as a Post-Foundationalist --Spacing Rancière's Politics --[Un]Grounding Geographies --[Un]Grounding Agonistic Public Space: --Always Geographize! --The Most Sublime Geographer: --Modelling the Market as a Socio-Spatial Structure: --Post-Foundationalism in the City --(Non)Building Alliances: --Politicizing Air: --Materialization of Antidiscipline: --How Does The [Un]Grounded Interface Generate Possibilities for Spatial Alternatives? --A Post-Foundational Conception of Politics and Space: --Authors