By Daniel Hinchcliffe, Judith Rugg
This moment quantity investigates the multi-disciplinary terrain of area and tradition, extending the limits of urbanism and addressing problems with public area. It demonstrates that serious figuring out of cultural interventions in public house is now appropriate to various disciplines. Contributions contain works on: the exam of "authentic" public house in Barcelona; the connection of the paintings of Doris Salcedo to the unseen areas in Birmingham; the results of gender within the construction of The Wapping undertaking in East London; the self-representation of asylum-seekers from Bosnia-Herzegovina; the difficulty of the "imagined" group on the subject of the Irish in Britain; and the importance of assemblage within the paintings of Mierle Laderman Ukeles and the worldwide significance of neighborhood activities in collaborations among ecologists and artists.
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Extra resources for Advances in Art & Urban Futures: Recoveries and Reclamations (Advances in Art & Urban Futures)
As a headquarters for the Women's Playhouse Trust, The Wapping Project has embodied the Foucauldian idea of heterotopic space. In danger of becoming isolated and removed through its geographical and ideological location, yet dedicated to addressing just that, through its 'otherness' the building in its function, representation and use manifests several aspects of heterotopias. In its function of ‘home’ and references to the industrial, The Wapping Project juxtaposes different spaces that are incompatible to each other and that are also linked to different times (past and future).
Nevertheless, in the UK there has been a proliferation of regeneration schemes which, whilst conforming to strategies consistent with the development of ﬂagships (Smyth, 1994), have undertaken this in a way that is aesthetically referenced. It is a truism to declare this is a partial view. But in a very real sense it is partial because increasingly the transformation of cities has been conﬁned to selective (and select) parts of the urban environment. This cultural turn has followed area-based strategies in the same way that ‘urban policy’ developed from the 1970s onwards (Pacione, 1997).
Although London can be said to expanding eastwards, Wapping is no Hoxton with its manufactured cultural identity and Holiday Inn. But marginalisation assumes an edge which must be maintained in order for a site of resistance to exist. Several productions commissioned by the Trust address the sense of alienation experienced by people in urban environments or by women. For example, Shiny Nylon, produced in 1994 and staged in S - Shed, Royal Docks, a ‘vast, fog - bound warehouse space’, focused on issues of powerlessness and homelessness in the lives of edge-of-the-city dwellers.