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Zur Rolle von Kultur, Kapital und Konsum in der Gentrification. Die Rent-Gap- Theorie der Gentrifizierung und ihre Gültigkeitsbedingungen am Beispiel des Frankfurter A Comparative View of Eastern Germany, Poland, and the Czech Republic .. On the role of culture, capital and consumption in the process of gent.
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Prose of The Day — Poetic Resistance. The panel discussion will be held in German and in English. Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden?

Psychoanalytischen Praktiken folgend, schliesst das Projekt Part I: Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden? Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen? Aesthetic Agency and the Practices of Autonomy. Followed by a plenary discussion with the audience. And soup and bar. The studio might be a space with a certain degree of autonomy. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures.

At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today?

How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too? At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life. What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production?

At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production. It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment. How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.

The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Artists often and openly strive to gain cheap and large places in the city for working. The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings.


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How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing? How can they re-claim and negotiate in these social changes? Following psychoanalytic practices, the project Part I: What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art?

How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production working conditions and labor economic conditions? Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4. Wohin nehme ich mein Atelier mit? Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert.

Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist? Worin besteht ihr Wert? Dialogues or having a counterpart is very important in my working process. Since I am working at home, I am kind of isolated. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business.

Somehow this subverting procedure became a slogan of the trio. Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years. But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society. In the trio — who works exclusively in the collective — joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren.

The association, founded in by a group of sculptors, among which artist Heinz Niederer, settled there in AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich. This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. This event is part of the exhibition project Theorem 4. Aya Momose Exchange Diary In collaboration with Im Heung-soon. Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images.

Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. Doors open A temporary video installation of The Judgment by Kosta Tonev will be on display all evening. Presentation by Kosta Tonev , and discussion with the artist Kosta Tonev The Judgment , dual-channel video, 4 min 44 sec.

The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it. The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event.

In the second, a group of actors impersonate the characters of her story. At Kaserneareal in Basel: Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts. Nicole Bachmann, I say , But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works.

I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them. It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance. Video still This performance examines the relationship between language, voice and power.

Negotiating the materiality of speech and gestures, it investigates the power of the disembodied voice and its relationship to other bodies and find agency in this relationality. The piece deals with questions around the constitution of subjectivity and becoming an active agent through language both in a political or civil sense. It is important to mention the set up of the performance: The audience was led downstairs where the dancers were in place. The actor was upstairs, unknown to the audience.

They would only hear her voice. The performance is based on rehearsed improvisation, by which I mean there was a script and a choreography but each time the piece would be different through the interaction between the three performers. The piece is about how we can each find a language, a form of expression through different means, by language as well as an embodied vocabulary. Dance choreography by Patricia Langa.

Delphine Chapuis Schmitz poems fRom our time s Delphine Chapuis Schmitz will be reading from a collection of texts she is currently working on under the title poems fRom our time s , and will give a short presentation of her practice at the crossroads of visual art and experimental writing. This in-betweenness is the condition of taking place and the mechanism of giving meaning. The event is part of the curatorial research by Dimitrina Sevova, On the Politics of Language and the Aesthetics of Affect — Thinking of Art Beyond Representation in Contemporary Art Practices and Production , a qualitative curatorial research that maps out a cluster of artistic positions and reflects on their practices by means of relational and analytical techniques, from the perspective of the affective politics of the performative and the politics and aesthetics of language, conceptualizing further the relation between contemporary art, plural performativity, and the singular plural.

The research explores the potentiality of language as an artistic material and reflects on the relation between the performative and performance, practices and discourse, in voice-based and text-oriented art practices. The research asks how they relate a politics of place and the possibilities of language in the trajectory of the plural performative as a proliferation of difference.

The curatorial research reflects the role of language in contemporary art, and artistic practices that form a critical fabulation and involve other experimental forms of artistic research that bring together aesthetic practices and knowledge production.

The main objective of this research is to ask how art produces knowledge by other means and opens onto a new ethico-aesthetic paradigm. The focus of my research is on artists whose practices and aesthetics embody a materialism of alterity and the translatability at the heart of the unpredictability of an event, testing the limits of how language can articulate the body and the space. The artistic positions are selected for their experimental approach to language and voice-based practices, the inventive and critical way they work with performative strategies, and how they deal with the system of circulation and collection of information, with knowledge production and the aesthetics of affect, and operate within expanded discursive fields.

I would not want to split a certain flux of practices and artists into generations. Because of this, the research is situated across what is defined as a generation. The artists and their practices are approached not as insulated cases in a monographic framework, which would have focused on individual art works or an artistic oeuvre.

Rather, my aim is to give, through the research, a sense of a vibrant art scene of resonating practices and overlapping contexts. For me, it is more important to map and reflect on how they are related and shared in certain approaches and trajectories in their work. I did a series of interviews, conversations face to face, and studio visits, and followed the artists in different public activities during the period of the research. The focal point of the curatorial selection in the process of mapping is a new generation of Swiss artists who work with language and the aesthetics of affect.

Their practices can no longer be considered peripheral to the system of art, or alternative, on the edge of the art institutional context, as they form a new and fascinating direction in contemporary art. At the same time, the research emphasizes the differences in practices amid the cluster of selected artists, and the shift in the means of production in contemporary art at large, and its context as it has expanded into sociality, politics and daily life.

There is an upcoming modest publication, composed of an analytico-reflective text that sums up my curatorial reflections, insights, encounters. It will be accompanied by the collected documentation, and conversations and interviews with the selected artists recorded in the context of this research. Dimitrina Sevova, This project is supported by a curatorial research grant of Pro Helvetia. Final event at Kochstrasse 1 From So, you shape the piece during rehearsal. And you have an agreement that improvisation is possible as you perform.

You never know what comes after what. You never know the duration of any of the fragments. It can be short, it can be made longer. It depends on who performs it, since everybody can perform any of it. Did you research on the logic of different plays and games to elaborate this approach?

We researched not so much games. The square pieces of Beckett are around, as are aspects of minimal dance. The voice brings about the movement. What relation this voice needs to the others, or what relation what is said needs to the others, and to the space, is what brings the movement. Whether what you want to say needs to be heard everywhere, or needs to be heard only in one square meter, its physicality will be different. We can talk about a lot of things with just these five words.

A lot of different meaning can emerge. The movement there was a bit similar. But it was entirely interpretation, with no rules or protocol. It simply means civilization. In the focus is the question how it is possible for people who had to flee, to take part in the shaping of a space. Physical space is always also social space. The one who acts, takes part.

After half a year of common work KUNSTASYL and the administration of the home have decided to found a project of their own, in which people who fled, and locals, live together from the beginning. Es bedeute einfach Zivilisation. Im Zentrum steht die Frage, wie es gelingen kann, Menschen, die fliehen mussten, an der Gestaltung von Raum zu beteiligen.

Physischer Raum bedeutet immer auch sozialer Raum: Wer handelt, nimmt teil. The deeper you get, the more you find yourself in a strangely working world with its own logic and language, in which you have to adapt yourself and learn the proper vocabulary. Contrary to the Wonderland, the Art World is visible to the outside of it and some objects even become general knowledge. In resonance with Cora Piantoni's exhibition Buon Lavoro! Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.

Prose of The Day — Poetic Resistance. The panel discussion will be held in German and in English. Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden?


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Psychoanalytischen Praktiken folgend, schliesst das Projekt Part I: Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden? Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen? Aesthetic Agency and the Practices of Autonomy. Followed by a plenary discussion with the audience.

And soup and bar. The studio might be a space with a certain degree of autonomy. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor.

What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today? How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too?

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At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life.


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  • What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production.

    It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment. How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet.

    The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Artists often and openly strive to gain cheap and large places in the city for working. The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings.

    How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing? How can they re-claim and negotiate in these social changes? Following psychoanalytic practices, the project Part I: What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art?

    How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production working conditions and labor economic conditions? Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4. Wohin nehme ich mein Atelier mit? Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert.

    Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist? Worin besteht ihr Wert? Dialogues or having a counterpart is very important in my working process.

    Since I am working at home, I am kind of isolated. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business. Somehow this subverting procedure became a slogan of the trio. Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years. But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society.

    In the trio — who works exclusively in the collective — joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren. The association, founded in by a group of sculptors, among which artist Heinz Niederer, settled there in AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich.

    This overall environment has influenced in many ways the artistic practice of Mickry 3. Not least because the area seems to be an ideal place not only to work — but to spend time. This event is part of the exhibition project Theorem 4. Aya Momose Exchange Diary In collaboration with Im Heung-soon. Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images.

    Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. Doors open A temporary video installation of The Judgment by Kosta Tonev will be on display all evening.

    Presentation by Kosta Tonev , and discussion with the artist Kosta Tonev The Judgment , dual-channel video, 4 min 44 sec. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it.

    The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event. In the second, a group of actors impersonate the characters of her story. At Kaserneareal in Basel: Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts.

    Nicole Bachmann, I say , But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works. I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them.

    It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance. Video still This performance examines the relationship between language, voice and power. Negotiating the materiality of speech and gestures, it investigates the power of the disembodied voice and its relationship to other bodies and find agency in this relationality.

    The piece deals with questions around the constitution of subjectivity and becoming an active agent through language both in a political or civil sense. It is important to mention the set up of the performance: The audience was led downstairs where the dancers were in place. The actor was upstairs, unknown to the audience. They would only hear her voice. The performance is based on rehearsed improvisation, by which I mean there was a script and a choreography but each time the piece would be different through the interaction between the three performers.

    The piece is about how we can each find a language, a form of expression through different means, by language as well as an embodied vocabulary. Dance choreography by Patricia Langa. Delphine Chapuis Schmitz poems fRom our time s Delphine Chapuis Schmitz will be reading from a collection of texts she is currently working on under the title poems fRom our time s , and will give a short presentation of her practice at the crossroads of visual art and experimental writing.

    This in-betweenness is the condition of taking place and the mechanism of giving meaning. The event is part of the curatorial research by Dimitrina Sevova, On the Politics of Language and the Aesthetics of Affect — Thinking of Art Beyond Representation in Contemporary Art Practices and Production , a qualitative curatorial research that maps out a cluster of artistic positions and reflects on their practices by means of relational and analytical techniques, from the perspective of the affective politics of the performative and the politics and aesthetics of language, conceptualizing further the relation between contemporary art, plural performativity, and the singular plural.

    The research explores the potentiality of language as an artistic material and reflects on the relation between the performative and performance, practices and discourse, in voice-based and text-oriented art practices. The research asks how they relate a politics of place and the possibilities of language in the trajectory of the plural performative as a proliferation of difference. The curatorial research reflects the role of language in contemporary art, and artistic practices that form a critical fabulation and involve other experimental forms of artistic research that bring together aesthetic practices and knowledge production.

    The main objective of this research is to ask how art produces knowledge by other means and opens onto a new ethico-aesthetic paradigm. The focus of my research is on artists whose practices and aesthetics embody a materialism of alterity and the translatability at the heart of the unpredictability of an event, testing the limits of how language can articulate the body and the space.

    The artistic positions are selected for their experimental approach to language and voice-based practices, the inventive and critical way they work with performative strategies, and how they deal with the system of circulation and collection of information, with knowledge production and the aesthetics of affect, and operate within expanded discursive fields. I would not want to split a certain flux of practices and artists into generations. Because of this, the research is situated across what is defined as a generation.

    The artists and their practices are approached not as insulated cases in a monographic framework, which would have focused on individual art works or an artistic oeuvre. Rather, my aim is to give, through the research, a sense of a vibrant art scene of resonating practices and overlapping contexts. For me, it is more important to map and reflect on how they are related and shared in certain approaches and trajectories in their work.

    I did a series of interviews, conversations face to face, and studio visits, and followed the artists in different public activities during the period of the research. The focal point of the curatorial selection in the process of mapping is a new generation of Swiss artists who work with language and the aesthetics of affect.

    Their practices can no longer be considered peripheral to the system of art, or alternative, on the edge of the art institutional context, as they form a new and fascinating direction in contemporary art. At the same time, the research emphasizes the differences in practices amid the cluster of selected artists, and the shift in the means of production in contemporary art at large, and its context as it has expanded into sociality, politics and daily life.

    There is an upcoming modest publication, composed of an analytico-reflective text that sums up my curatorial reflections, insights, encounters. It will be accompanied by the collected documentation, and conversations and interviews with the selected artists recorded in the context of this research. Dimitrina Sevova, This project is supported by a curatorial research grant of Pro Helvetia.

    Final event at Kochstrasse 1 From So, you shape the piece during rehearsal. And you have an agreement that improvisation is possible as you perform. You never know what comes after what.