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from grand Hotels to tiny treasures
man control, so the trope of the phoenix rising replaces effort
(and the potential for failure) with the image of a fully real-
ized success springing forth. It takes the story of one success-
ful family as representative of a system that is, improbably,
rebirthing itself — and it ignores the fact that the success of
one family does not repair the situations of scores of oth-
ers. If pockets of Detroit are already experiencing a renais-
sance, such narratives imply, then one need not ask the hard
questions about where the responsibility lies for the systemic
problems that are not magically repaired by one successful
new business. The great bird rising from the ashes highlights
a mythos of rebirth rather than insisting on difficult, practi-
cal, long-term, coordinated efforts, which are the only thing
that will really enable a post-industrial city to thrive again.
Ironically, though they may have roots in individual success
stories, such narratives often also subtly privilege a vision of
cities as buildings and economies, while deemphasizing that
these are ultimately places full of inhabitants whose individ-
ual lives matter — because they are narratives that take the
single success as representative of the success of the whole.
(Tange 2015, 10)
While not explicitly naming de Certeau, she makes a plea to
recognize space as practiced place: “as our current cultural mo-
ment has made vividly clear, if one is tasked with budget-cutting
and stop-gap measures, it is apparently all too easy to ignore the
human element of cities in favor of statistics, systemic biases,
or columns of accounts” (ibid., 10–11). Similarly, in reading Os-
man Khan’s performative sculpture Come Hell or High Water,
which was “part of the Museum of Contemporary Art Detroit’s
(MOCAD’s) show (in)Habitation: A Reconsideration of Domestic-
ity (June 7–July 13, 2013), Judith Hamera shows how the slow,
repeated flooding of a “quintessential American middle-class
Rustbelt living room” on display in a see-through acrylic con-
tainer “both evokes and disrupts images of Detroit’s crumbling
residential infrastructure” (Hamera 2014, 12, 13), while David
Shalliol draws welcome attention to how in Detroit Is No Dry
Siting Futurity
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Titel
- Siting Futurity
- Untertitel
- The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
- Autor
- Susan Ingram
- Verlag
- punctumbooks
- Ort
- New York
- Datum
- 2021
- Sprache
- englisch
- Lizenz
- CC BY-NC-SA 4.0
- ISBN
- 978-1-953035-48-6
- Abmessungen
- 12.6 x 20.2 cm
- Seiten
- 224
- Schlagwörter
- activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
- Kategorie
- Geographie, Land und Leute
Inhaltsverzeichnis
- Preface 11
- Introduction 19
- 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
- 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
- 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
- 4. Hardly Homemad(e): #Schlingensief’s Container 101
- 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
- 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
- 7. #Hallstatt: Welcome to Jurassic World 161
- Bibliography 189
- Filmography 215