ARCHIVING THE CITY

for the city yet to come

Posts tagged “method

mirror methods

Posted on March 20, 2013

still from The Mirror (1975) dir. Andrey Tarkovsky Excerpt from a letter, from a daughter who had just recently seen the film, to her mother: ‘ . . . How many words does a person know?’ she asks her mother. ‘How many does he use in his everyday vocabulary? One hundred, two, three? We wrap our feelings up in words, try to express in words sorrow and joy and any sort of emotion, the very things that can’t in fact be expressed. Romeo uttered beautiful words to Juliet, vivid, expressive words, but they surely didn’t say even half of what made his heart feel as if it was ready to jump out of his chest, and stopped him breathing, and made Juliet forget everything…

sociological party marathon action

Posted on August 29, 2012

During the winter and spring of 2011-12 residents of Moscow and Saint Petersburg went into the streets en masse for the first time in 20 years, demanding change in the regime of political and social inequality associated with the great imbalances of wealth in their country. As a response to the massive movements in the streets and on the Internet, the Russian government, in the form of the security forces and the parliament, began a brutal crackdown on all dissent. New laws criminalizing almost any public gathering as unauthorized political rallies and increasing the fines for participation in such gatherings 150-fold, along with parliamentary proposals to monitor and shut down internet service providers delivering ‘offensive’ content, are all intended to freeze movement and quell political unrest. However, there are unintended results of such inequitable uses of power: instead of freezing any specific movement, the entire field of action is activated. In such a tense, electrified field, one small action can precipitate lighting strikes in response.

It was into this newly electrified field that I arrived in October 2011, invited to Moscow and Saint Petersburg to collaborate with architects, sociologists, and activists committed to DIY methods for reclaiming urban development at the grassroots level. In Russia, as I soon discovered, discussion of urban development, architectural preservation and ‘community building’ are often the aesthetic surrogates for more dangerous political arguments. Wealth and political inequality are more than ever expressed in the ability to control these discussions. In fact, in a turn eerily reminiscent of life during the Soviet era, inequality in Russian cities is often evidenced by the (in)ability to simply go out of one’s home and gather together with fellow citizens.

In collaboration with a group of Moscow-based “urban hacktivists,” Partizaning.org, I developed a concept for working with the new momentum for grassroots-level change in both cities. Operating on the principle that change begins in small movements, with simple communion between strangers, I asked: Could people, barred from meeting outside, claim as public the intimate space of the home? Working in urban districts in which residents feared the loss of their homes to new regimes of luxury real estate development, I organized Sociological Party Marathons. Strangers from different parts of the city met at a predetermined point. Bringing food and drink, these strangers asked to enter the homes of local residents, to sit, have a party, and learn intimate aspects of their relationship with the area. What emerged among participants in these gatherings and subsequent workshops was a new understanding of how people perceive inequality between neighbors. The form of the party-marathon suggested both the fun and freedom of the carnival and the structured exhaustion and euphoria of an athletic race through a city. The concept demanded a great deal of trust between strangers, and courage to make public the most restricted spaces in Russian cities. As one participant who balked at the prospect of ringing a stranger’s doorbell remarked: “this boundary is the most important in a Russian’s life.”

what is artistic research?

Posted on August 18, 2012

In a recent article about the international contemporary art exhibition dOCUMENTA (13), which features artistic projects that employ research methodology, artist and sociologist, Hakan Topal, asks: How is so-called artistic research different than an ethnographic account by an anthropologist who employs visual research tools? Can art practice address urgent socio-political topics successfully? He goes on to explain what he believes is the value of artistic research: In contrast to any scientific model that aims to either explain, or interpret social or natural phenomena, the outcome of artistic research can be best measured by its ability to engage with seemingly unrelated matters, things and concepts, and in return with its ability to generate some forms of intelligible affects. Topal also points out an important aspect of…

city of islands within islands 1

Posted on August 13, 2012


The winter of 2011-2012 marked a tense and exciting period in Moscow. For the first time since 1991, people entered the streets en masse to demand change in their government. During this period, I went for walks in the streets of the city with its residents. “City of Islands within Islands,” a ‘samizdat’ (Soviet-era ‘do-it-yourself’ pamphlet for the clandestine distribution of prohibited texts) , contains written ‘images’ which act as a record of those walks. Each English language text contains its Russian mirror.

The samizdat was produced in a series of 15 folders like the one pictured above.  Each folder contains 28 sheets of paper. English text is printed in black on white paper and Russian text is printed in black on translucent tracing paper. All English to Russian translations were done by Valentina Moskaleva.

You can read samples of these texts here and here.

 

new feature: facebook field notes

Posted on November 13, 2011

Dear readers, today is the premiere of a new feature here on Archiving the City: facebook field notes. For many years, I avoided the draw of facebook, but when I joined the Strelka Institute, I was asked by program organizers to join facebook, in order to make participation and communication with colleagues easier. In recent weeks, I have found myself involved in extended conversations about my Moscow life with friends from around the world. It now occurs to me that these conversations are in fact an extension of my “Shop Talk” series (cross-disciplinary conversations about method), and so I have decided to post some excerpts of chats and emails here, as “field notes.” (Of course, these excepts appear in edited form, in order to…

neighbors

Posted on August 6, 2011


Jana Leo, My Neighbor, 2002 – 2011

Artist’s statement:

She used to live across the hallway and was the first person I related to when I moved to Chinatown in 2002. She came into my apartment when assembling furniture She pushed the door, smile and look around talking in Chinese and sit in a chair while I was cleaning; for years she knock at my door and gave me “food stamps canned food”: salmon, green beans, carrots and evaporated milk. I used to storage the goods in a closet, took pictures of the labels, and open a can once in while,  when I was too busy to get any other food. She lived by herself and spend most her day in and out from the apartment to the park in front of the building. Years passed like that; she smiled when sees me happy and recognized it was because of the person I have around, who took this picture.In 2008, I expend the whole winter in Spain and when I come back I realized she wasn’t going to the park anymore and that she have caretakers all day long. I asked what happened, (she spoke to me in Chinese and I in Spanish) I realized by the amount of pills and diapers that something serious have happened. She walked along the hallways during the day but never go anymore to the park. I start walking holding her in the hallway. I looked at her feet wearing just sleepers. She looked so frail to me. I imagine carrying her in my back but then asked myself what if she falls. I called social services to find out about the care takers and if they can take her down through complains so I wouldn’t have to do it. A few times, I tried to make her going down the stairs; but she would stop right before the first step. We spent the summer walking in the hallway.I have a ticket to go back to Spain with no return for a long while. I signed myself a date for crossing the limit; the limit between the hallway and the staircase; the limit between her apartment and the door; the limits between the building door and the park with a street in the middle. I practiced the walk mentally. A Saturday in late August 2009, I knocked at her door and take it to the hallway walk, one step down, she hesitated, I hold her tight, letting her know we were going to make it. She stopped. I indicated that we were going to make it, I don’t know how but was clear to her. I hold her very tied, and her weigh went to the first step and then the other and the other, her fragile body, the feet on sleepers… I put one of her hand on the stair rail and hold her body, one and two and three and four and five and six, and seven…. And one and two and three and four and five and six, and seven and one and two and three and four and five and six, and seven eight we were by the door. She stopped again as if she didn’t want to open the door to life anymore. I opened the door and blocked the way back with my body. She stepped out. She laughed at the sun. Her face illuminated and she talked to me. We crossed the street and find a bench in the park and sit. She was in her park. She was alive. I tried to create a pattern for her so she has to ask the caretaker to do when I am not there.The amount of times I pictured in my mind the trip from her apartment into the park sound silly to say because were so many and we only did it once. We were not just going downstairs, I was crossing my own limits with her and she was defeating death.

I didn’t know her name. We never have any reason to like each other but we did.

This picture in the fire stair in between mine and her apartment to honor her and to recognize that I missed her. Also this picture in the fire stair, that has became my gallery is a piece of art. It recognizes that affinities to people are made beyond age, positions, education, language, or origin.

This picture was taken by Simon Lund a Saturday afternoon, sometime in August 2009.Jana Leo
August 5 2011
New York

evidence

Posted on July 20, 2011

In January I went to White Columns to see, “Looking Back,” an exhibit surveying artwork shown in New York in 2010, curated by Bob Nickas. The work was a mix of mostly New York-based artists, young and old, living and dead. One piece that caught my attention was by Candy Jernigan: Candy Jernigan, Found Dope: Part II, 1986 (detail) Found objects on paper 28 in. x 39 in. Broken bits of used crack vials are pasted into into grid formation on a large poster, sealed behind glass, like the butterflies of a 19th century natural historian. Beneath each artifact in the grid is small even block handwriting, marking the date, time and location of its collection, e.g. June 11/Second Avenue at Third street/west side/10…

an other order

Posted on June 14, 2011

Adrian Piper, Pretend not to know, 1989 Order may be private or public. A friend of mine owns an enormous collection of classical music. His CDs fill the walls of a whole big room, floor to ceiling. What is interesting here is that they are chronologically organized by the composer’s date of birth. The order is eccentric because, to his wife’s despair, the owner and recipient of that order is just one person. Then there is what we can call a public order. Here, there is a distance between the owner and the recipient. The word “order” acquires its double meaning of organization and directives for behavior. In this double interpretation, the owner of the order is the power structure. The order is codified…

new problems

Posted on June 1, 2011

There is a first, false idea that needs to be set aside, which is that the philosopher can speak about everything. This idea is exemplified by the TV philosopher: he talks about society’s problems, the problems of the present, and so on. Why is this idea false? Because the philosopher constructs his own problems, he is an inventor of problems, which is to say he is not someone who can be asked on television, night after night, what he thinks about what’s going on. A genuine philosopher is someone who decides on his own account what the important problems are, someone who proposes new problems for everyone. Philosophy is first and foremost this: the invention of new problems. –Alain Badiou. 2009. in conversation with…

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