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By Nicolas Whybrow

To Henri Lefebvre, the gap and "lived everydayness" of the inter-dependent, multi-faceted urban produces manifold probabilities of identifiction and cognizance via frequently imperceptible interactions and practices. paintings and the town takes this remark as its cue to ascertain the position of artwork opposed to a backdrop of worldwide emerging city populations, making an allowance for the newer performative and relational "turns" of paintings that experience sought of their urban settings to spot a partaking spectator -- an implicated citizen. In exploring how works of art current themselves as a way through which to navigate and plot town for a writing interlocutor, Nicolas Whybrow discusses diversified examples, representing 3 key smooth modalities of city arts perform. the 1st, jogging, contains works by way of Richard Wentworth, Francis Al?s, Mark Walllinger and others, the second one, play, contains artwork by way of Antony Gormley, Mark Quinn and Carsten H?ller. The 3rd, cultural reminiscence, Whybrow addresses throughout the debatable city holocaust memorial websites of Peter Eisenman's memorial in Berlin and Rachel Whiteread's in Vienna.

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For Appadurai, then, reconciling these two experiences is the principal challenge to imagining a global future for cities. 6875in IBBK018/Whybrow ISBN: xxx x xxxxx xxx x October 8, 2010 2 Relational writing SPATIAL PRACTICE My interest in the notion of relationality extends beyond that which may be attributed strictly to the socio-aesthetic principles set out by Bourriaud (or, indeed, discontented adaptations of his theory). For me the term presents an opportunity to view art as containing the potential to be seen to be doing work or to be ‘serious play’ – as performing contextually, if not necessarily in context – as well as for that work/play to be seen to come about, or come into its own, as the product of an encounter with an interlocutor or spectator.

However, as I hinted at in Chapter 1, the situationists’ ‘constructed situation’ is, in Bourriaud’s interpretation at least, intended, above all ‘to replace artistic representation by the experimental realisation of artistic energy in everyday settings’ (Bourriaud 2002a: 84). Artistic practice as Bourriaud would advocate it, on the other hand, corresponds to a ‘relational world’: ‘it is always a relationship with the other, at the same time as it represents a relationship with the world’ (85). 6875in IBBK018/Whybrow ISBN: xxx x xxxxx xxx x October 8, 2010 A N D T H E C I T Y interstice, updates situationism and reconciles it, as far as it is possible, with the art world’ (85) – and it is perhaps somewhere in between the city (as social site or place), the artwork (as sensuous map) and the interlocutor (as embodied participant and writer) that the relational triad I would seek to establish here operates.

In Right to the City, which, as the title suggests, polemically asserts the urban dweller’s claim to participatory citizenship, he writes that such a ‘renewed f eˆ te’ was ‘fundamentally linked to play’ and involved, in an echo perhaps of Hall’s ‘modernism in the streets’, ‘subordinating to play rather than to subordinate play to the “seriousness” of culturalism [. 12 Thus, approaching Lefebvre’s conclusion (with which we began), that the future of art is urban, ‘theatre’ – having been co-opted and institutionalised effectively by a privileged, complacent constituency of society – needs to be both re-situated and sought (or encountered) on the street.

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