You know what I'm talking about? Yeah, yes, okay. So I just want to start our session by with an acknowledgment of country.
I will just give you a minute. To to read it but So we want to acknowledge that we are meeting on the unceated territories of independent nations and we want to honor.
Elders and we thank offers nation delegates in the room for their contributions to knowledge in the discipline.
Alright. And now. Let's go right into our panel. Welcome to The session urban eyed between community and eye washing.
I organized this this panel session because I'm also very interested in this topic. I also do research on it.
I'm not sure if I washing is the right term as you know it comes from It's sort of an adaptation of greenwashing, right?
It's something that corporations and other actors do when they use art to pursue ulterior motives that may or may not undermine the intentions of artists and And so I was trying to.
Situate I in the city between this in this tension field right between Ireland as a way of supporting communities and having these inclusive potentials but also it has a potential as it is used by city by cities and other actors it has a potential to exclude and to be How do you say that?
Sort of hijack for other purposes, right? And so I wanted to to set our session up in this in this sort of field of tension.
Also, there were 2 other fantastic sessions on a similar topic. I hope you were able to catch them from the IRCO 3.
So they were. Pretty interesting too. But let's get started with our panel. I thank everyone to be here, especially our audience members.
It's early. Thank you so much. And so let's get started right away. With Koko Yamamoto and she's giving a talk creating legitimacy to regenerate urban inner areas.
How art under the creative city policy changes the local context. And I will open your.
Thank you, Maggie. I'm Yamamoto from Japan. It's my great honor to be here to take a part of this session.
Yeah. Okay, thank you. Today I'm going to talk about a regenerate urban inner areas how out under the creative city policy changes the areas how out under the creative city policy changes the local context and the creative city policy changes the local context and most of my discussion is about it changes the local context and most of my discussion is about a case of Yokohama
Japan.
Today there are many theories of a creative cities and some of previous studies have discussed about entrepreneurial version of the creative city such as from the perspective of neoliberal urban management and perspectives that see art and entertainment as a possible cause of identification and redevelopment.
When modern art is associated with a regional development policy at especially modern art effectively serves to conceal previous local history and culture and recreate them under the guise of community revitalization without respect for the local context.
With a case of 2 inner areas of Oklahoma, Japan, I will discuss how art can work for renewing a context that allows and concealed displacement of vulnerable urban communities.
Also, What is difference between art projects in urban inner areas in terms of achieving? To conceal and displace the urban vulnerable.
In this paper, local context is used as how local residents understand their own culture, activities and activism and it also reflects local identity as well.
I did, some interviews to organizations, groups and residents in the neighborhoods and individuals. And the, participant of the vision in Yokohama area.
Before getting into Oklahoma case I'll describe about Creative City policy as regional development policy in Japanese context.
In Japan are demonstration policies have often supported the normative idea that art can solve social program. The economic recession in 1,989 had caused a state of shift from a developmental to post developmental regime.
The state initiated the urban innocence policy in 2,000 in pursuit of nationwide urban rate development.
Arbang Lena's policy contributed to construct entertainment establishment and to provide safe urban spaces.
In areas facing a decline of community vitality both urban and rural local municipalities have focused on policy to revitalize urban inner areas with within modern art projects and events in all over the country.
1,900, and 89.
Yokohama Expo took place in new development area Minatoli and it was beginning of this new development project in Yokohama.
The map shows new development area above and ISA Yokohama to. Here. While new development areas attract people or downtown and business district Khananga area here, urban inner area had been facing the grind of small and medium enterprises of his vacancy decrease in number of employees.
In 2,000 Yokohama City started a new basic plan for rebatterization of city center and this plan focused on the Khanai Kanga area or downtown area.
Or or downtown and business district. That youkuhamat Rennale took place in 2,001 at Minotomura area.
The Yokohama city began its great obesity policy in 2,004. The policy was planned to liberate modern art projects to regenerate in a city areas.
Your Oklahoma City government also initiated urban development projects for new creative spaces. Just before the Keri Bisetti poracy started, the revised local autonomy law was started in 2,003 major change of the law was introduced of new space system in management or agricultural facilities.
Private organizations became able to manage public culture for facilities. This new system was also introduced. Into creative city policy in Yokohama and worked well.
Especially for management incubation centers and artist studios.
Regeneration of Khanai Konga areas was a major purpose of the creative city policy of Yokohama and formation of creative coal was one of the main measure of Achievement.
This included building creative hub for artists providing all historical public and private buildings for artist studios are studios expecting to improve by charity and land value.
One of the example is Bashamich area.
Butasha Michi area is here. And here are the 2 other areas are 2 in our areas which I will mention later.
Co-opernito and Cotubuki.
This is our former industrial facility to export this building to export raw silk and no longer in use. It was changed into studios for artists and architect in 2,005 and 6 then used for art related cultural events and shared office from 2,010.
Because it attracted so much popularity, this renovation improved image of the area and contribute increase in land prices.
It made commercial facilities for middle class increased in the district. The building of early studios and other narrated spaces.
Sean with yellow allo. This one and those spaces were in time limited use.
In 2,016 the area was redeveloped and commercial facilities and high-rise condos by major developers were open in 2,010 at 2,020 and in 2,022 the city hall relocated to this developed popular district.
We can call it one of typical forms of gentrification using art.
Kubernetes was a former brothel town formed after World War 2. Anti-prostitution law was held in 1,959 but many numbers of brothel shops had continued to remain.
In 22,004 the local neighborhood association and the world office petitioned the national government to intensify.
In 2,006, Korea City project of Yokohama City started at And at that time, most brothels in Kovanicho shut down.
Renovating and renting those former brothel spaces was in incorporated into Yokohama's squarei, bassidi poris create deep city policies to create new community environment.
In 2,008 the first art festival in Corganito was held and attracted many visitors.
Nonprofit organization Dak Khanateo Area Management Center started in 2,009.
It managed all operated events and projects including lenting and buying former Brussels to renovate for our studios and galleries.
The area management was done many by this organization, cooperating with residents, shopkeepers, poorest and the local municipalities.
So far, Koganicho had been noted as a success example of overcoming a negative history by using art.
However, however, at the same time, it has been erasing negative history and building a new story.
The new story is the art. Are the area where overcame illegal business and change into healthy neighborhood with modern art.
This is mainly because local shopkeepers do not want the area to be represented with sex work. What happened in Korganicho was cutting off its historical background as for Marathon Town and othering 6 workers.
There was no refraction to the fact that neighborhood previously lived with exported, vulnerable people. The neighborhood has been changed into a middle-class area and tourist spot.
Condominiums and population have increased in numbers. Graph one shows transition of a population of coconutio area.
Then we moved to another inner area, Kotubuki. Cotubkey is a former day diverse town formed in the 1,900 fiftys after the list of confiscation by the US military.
The day neighbors worked as dog walkers since the 1,970. And after that worked construction sites.
From its beginning, Cotabuki had been lower income urban community that does not subject to urban planning.
However, there has been which history of activism and culture in Kotabuki. One of the reasons was many worked as dog walkers.
Different from construction sites working at POOT literally make workers stabilized in never food and form families.
Since the 1970, SA wide range of civic activism activities to support laborers and residents were held in Kotabuki.
That included labor movement, cultural and cultural and activities, community social education, literacy education, summer festival, and so on.
Cotopy changed its social characteristics to welfare dependent town since the 1,990. The main change was increased in very few needs, especially the main change was increased in very few needs, especially the injuries and the, especially the burglaries and the disabled living on social welfare.
Many numbers of single elderly persons in need have started living in Kotabuki to receive social welfare.
Currently, among 6,000 of the residents over 90% labor on public assistance. Graph 2 shows transition of population and cortex.
In Kotabuki, one nonprofit art organization, Cotter Biki Alternative Network KN, began the activities in 2,008 with the grants of the city, KN, organized at hmm, as decency, public performance, walking tour and symposium in
Cotubuki. They could get recognition from outside the Cotabuki because those were held in a new town previously described as a skit law in the Yokohama's great Ability Policy, Cotopy described as an abundant old area with various social issues, powerless and inactive
neighborhood. However, there has been civic activism with long history and public support for the There is residents.
The fact that KAn's activities were attracted people outside the town but related to formation to a new image and a story that art can revitalize challenging neighborhood even though there was little change.
And they do not related to local people and groups. The art project in Kotabuki ended up being temporary and made barely little change on regional structure vocabulary.
In terms of the art programs in Kotabuki, there are lack of Korean regeneration plan from the city and lack of wide range cooperation with local organizations and groups.
In Japan, at the maturation policies have often supported the normative idea that art can solve social programs.
With this known art project under the Creative City Policy have unintentionally sought to change public recognition of an air in a city areas to be regenerated.
Under this recognition in our city's own history, culture and activism are often neglected and sometimes regeneration without project can rewrite and renew story of its local history.
But there are often, there are some difference between each inner areas and that comes from government purpose of regeneration.
In a case of Kokanicho, the city had a very clear purpose of regional regeneration plan.
So a wide range corporation of local and public organization was taken. When society recognized art can regenerate and revitalize challenging areas and that idea is accepted widely it leads to reproduction of that recognition.
Then in contribute to conceal negative effect of rate development on vulnerable people. On the other hand, in a case of Cotubuki, the city did not have a career regional plan so that purpose of art project was not clear.
There was certain recognition to art projects in Cotubuki from outside the area, but there was lack of collaboration with local groups and lack of understanding and respect to the local history.
Culture and society. Japanese context, local man as parties have used art especially modern art to revitalize and restructure our inner areas.
So how out can work for renewing a local context is very much related to how local municipality intend to treat vulnerable urban communities in the urban planning and it also gives many impact to management of art project and the inference to urban community.
Thank you very much.
Okay. The microphone. Thank you Coco for giving a really interesting talk and for sticking really really well to the time limit.
So stop sure. Oh no, don't stop here. All right, let's just move through the presentations and keep do a discussion at the end.
The next speaker. Is Peter Wassett from Blynn and I let you read your own title.
Good morning everyone. Thank you Maggie for organizing. This panel and thank you for having me It's an honor to contribute with my research and thank you.
People watching online and you who actually came here this morning after farewell party to be honest. I wouldn't have come, you know, this morning, no way.
So thank you, I really appreciate it. In my talk
Yeah. And I slightly changed the title but the meaning is kind of more or less saying it's only but the terminology is now more precise.
I would like to present some preliminary results of my undergoing our research on the phenomenon and macromials in Colombia and Latin America in general.
Macro murals represent one of the 3 case studies in my ceremonial. I mean, surface for urban innovation.
Project that attempts to establish a new understanding of how innovations that go forward to globally emerge and move locally applied and what is their impact.
And Macron Muru is essentially a massive painting that covers dozens, sometimes evens. Hundreds of houses in both neighborhoods.
And let me start with a 3 ethnographic encounters. About a year ago I was conducting, conducting fieldwork in Mexico.
Although my main field side has been Columbia, I knew there was a very famous Macromurro in Pachuka Desoto.
Which been crucial for many realisations in Latin America. So I decided to travel there. Make some pictures, possibly some interviews.
I managed to schedule an interview with Enrique. The coordinator member of the Hermann crew.
The group responsible for the Macromuro and Pachuka. And during our conversation about how the project has influenced other cities and other countries.
He expressed some frustration about how people often seek guidance from them. And then, And this actually led me to dove deeper into the history of these macro paintings outside Columbia.
So I arranged. Orange, an interview with the artist from Netherlands. Who went into a project in Rio de Janeiro.
Which I had previously visited for years ago. And during the interview I discovered that this particular mirror is likely one of the oldest macro paintings in Latin America.
And possibly in the world. And as we discussed. To history and of their projects. I once again heard the story about how the artist and his partner were excluded from the project they were consulting on and surprisingly it was the project in Pachuka.
About 2 months ago, I had the opportunity to interview a prominent Colombian politician who has an opportunity to interview a prominent Colombian politician who served during the administration when all the macromros in Bogota were when enquired into about their sources of inspiration and knowing that they both Pachuka and Rio actually
played a role in the development of Macron. The politician insisted that they came up with the idea of themselves.
So at that point I become certain that there was something intriguing here, something worthy of examination. So in this presentation.
I will rather telescopically shed light on. How macromerals have emerged and spread across Latin America.
Over time. However, instead of focusing on on determining which narrative is true and who might be misrepresenting the facts.
I want to explore the practical implications of these ruptures in inspiration and mobility. And drawing on geographical approaches to policy mobility and some conceptual tools.
From sociology of organization. I am to demonstrate how these raptures offer the potential for novelty in the artistic field and urban policy demand.
By doing so, I believe we can gain a better understanding of the possible. The impacts of macro paintings on or in our cities.
So, macro murals have become major trend in recent years through which diverse actors together try to transform communities in cities of the Global South by painting their material environment.
As the term implies, the main feature resulting in their extraordinary visibility on urban surfaces is usually their magnitude.
This is measured by either the size of Morrow's Plane or the number of houses it covers, usually followed by the number of people affected.
This idea has been continuously adopted by various projects across Latin America. I will, and Lima was inaugurated as El Makur Muriel Mas Grande of Peru, the biggest mockery, Maz Grande Del Peru, the biggest monumental in Peru.
Macromiro, Dallas Palmitas in Pachuka Tesoto was considered Al Moura Mas Grande D Mexico.
No biggest Maduro in Mexico. And Lombardy Posa in Colombia was even classified as El Mas Grande, the biggest in the world.
So my terminals can be characterized by a tendency or can be characterized by a tendency or can be characterized by a tendency or more precisely politics to chase a magnitude.
But it's really a size or scale. They are defining a tribute. I believe not, based on a relational ontology.
I go beyond this macro tendency and claim that while the dimensions are important macro paintings are more typical for their unique assemblage of components and relations.
To me, they represent the culture form to which diverse actors aim at the transformation of marginal or poor territories through painting and other practices that is made by its unique socio material, ecology and host impacts transgress.
So specialty delimited by its practices as well as outcome. Or put it slightly different, their collective endeavor.
Very often in form of urban policy. That in but also some practices of infrastructure development. That is realised on the surfaces of housing, houses.
Forming together some visual pattern. And it is based explicitly on the inside, outside division. Micro painting simply is not a big Murray on a wall as you can see in this picture.
Or you could see in many, many cities in the world. Because you can actually see it from far distance as well as experience it from inside.
There are a number of topics and principles. Of policy mobility approaches and I will not list them. All here we could actually hear a wonderful presentation of Jamie Peck and Nick Tilder in this very room like 2 days ago but especially 2 principles are inspiring for my ethnographic research.
The first in the mobility of ideas. It is important to focus on the role diverse actors and their agency not only policy experts in my case are artists but also NGOs or politicians.
And diverse channels. They are transferred, such as visits, calls. Conferences. And the second policies an idea travel other incomplete packages.
They are often simplified and even they mutate during those travels thanks to different personal or collective agendas or simply different institutions.
However, while the policy mobility approaches explicitly put the emphasis on mutations in mobility and just extreme and it is kind of extremely important for my research to my knowledge they do not ask the question to what extent is it sort of permutation?
And when we can regard it as a kind of invention. For this season, I am informed by thinking of and concepts from sociology of organization.
Domain about is something articulated in a circle sequence of indeterminate situations that can be induced as reminded Hunter and Farias.
And in reference to the famous work of Budget and Power on the networks and markets then. We can distinguish between innovation and invention.
Innovation brings together familiar concepts. Practices or ideas. While invention actually changed the way things are done.
This diagram shows the timeline of paintings in Latin America, which my research assistant greater such assistant Alekandra Fernandez and I conducted interviews about the the full line signifies inspiration.
While the dotted line indicates succession. So it means that the similar collective or same collective of actors has undertaken another project.
Together we conducted interviews on 18 in individual projects across 6 countries. And carry out by 8 different collectives.
Additionally, I personally visited 7 of these projects. On the one project from Brazil we interviewed but is missing from this diagram because we have no information about its inspiration.
Also I'm aware of few more projects in Mexico and one in Haiti and one in Brazil for which we have no information and one in Brazil for which we have no information and they are not included.
On the bottom then you can see a listed project from US and Indonesia that both inspired some of the project projects in Latin America.
In the following discussion, I was strategically focus on 3 cases. In Rio, Pachuka and Bogota as well as 2 transfers between them.
I've chosen these cases on based on like the importance by other projects. As well as actually they present some form of rupture in in that transfer.
Yeah, maybe slightly older, but we'll see. Probably not probably. The image here illustrates the Murro in Santa Mara Fala in Rio and was painted by Dutch artist Hassan Nahan in 2,010.
The project involved 34 houses funded by private color company. Santa Mara has become well known place not only It was the first traveler to undergo the so-called classification process around 2,008.
But he also hosted the Michael Jackson famous video. They don't care about us. In 2,008.
Well, Santa Marta was not their first project in Rio, the first being the painting boy with a kite through the painting Boy with a kite through which the idea using surfaces of individual houses as an urban canvas was invented using surfaces of individual houses as an urban canvas was invented using surfaces of individual houses as an urban canvas was invented as stated in
a. It was the first project that was as an urban canvas was invented as an urban canvas was invented as stated in a quote.
It was the first project that involved the community, private company and urban authorities. After these projects the artist gained the global fame and undertook numerous commission and realizations including well-known Philly painting project.
They have also gone at several cities including Pachuka and Bogota. And similar conditions of invention can be observed in 2 other projects from the diagram.
Lose NASA's in Brazil and La Pass in Colombia.
In Columbia, for instance, they came up with the idea by themselves, but there's such the internet to explain it to the community and they found a macromole in Pachuka.
So they kind of invented it the same way but were in part at the same time but were in part at the same time.
Regarding the Portuguese, Macron was created as mentioned at the beginning by Herman Crew who painted 209 houses in Los Angeles, 2,015 and then later other neighborhoods closed by 2,000 2,017 and 2,018 the main team of Muro is La Beja Irosa the
windy beauty which is the nickname for the city. Macroniro was climbed by the largest macromole in Mexico and later even in the world.
Unlike the projected in Santa Mara This was explicitly part of the central governmental program. No small velvet bars, please move us.
And the neighbourhood was chosen due to its high delinquency rate. As a government-led project it received heavy promotion and pictures of paintings.
Paintings spread across the internet through both local and international media. Andrika consulted several projects including the one in Montreal in Mexico and Manhatti or Manati in Puerto Rico.
But he did not formally participate in any of them despite his desire to be involved. He had engaged in general discussions with other artists who preferred undertaken undertake the projects independently.
The crucial fact to know is that the H in Han were initially chosen to paint Pachuka and were even invited by the local authorities as I mentioned in following quote.
However, they were eventually excluded without an explicit reason.
And the last case is so, Maro, in Bogota, painted by Bogotillon Ink, who painted 300 or 83 houses in Los Angeles neighborhood 2,017.
The team was Mortal Elio de la Vida, River of the Life. It was probably the first figureative macrometer in Latin America featuring girl on earth, in Latin America featuring girl on earth holding flowers symbolizing community's memory.
And the community choose this team from the 3 different options. The project was celebrated as the largest macromole in Columbia and was one of the Bukotas governmental program.
Habitat during ENDERY-cAPPENNIOXS administration between 2,016 and 2,019.
The coordination and funding was provided by the habitat secretary in collaboration with the Fonders, Fonda's foundation or this spin-off.
Of company that produce colors. And the, focus on, projects, social aspects and conducted workshops with the community.
Under the administration a total number of 5 projects of this nature race were realised in Bogota. And and also additionally from the Criminal Pentukon.
As they cooked at several small projects across Columbia, including 2 rows macromoros in Puerto, Colombia and Uziakuri that you can see in a following.
Slide
While it is known that members of Corporation, TERROR SARS, visited Pachuka for inspiration and Haas and Han provided consultation Bogota.
There was no information available to the artists regarding other projects as indicated in the quote. So I'll skip this and get to the Conclusion.
So why is this relevant or important after all? How can it help us to understand macro paintings in Latin American cities or?
Art in cities in general. There are probably many ways how to tell the story of emergence and developmental macroscopic paintings in Latin America, both in terms of personal narratives or or attributes based on which a given story is told.
But I believe that the one I presented, the story inspiration and friction between innovation and invention is particularly with our because it leads us possible classification of macroscale paintings and these that these circumstances co-create.
If you look at the diagram once again. Are actually 3 clusters they marketed by inspiration rupture and each of them represent this, they marketed by inspiration rupture and each of them represent this thing form of mackerel and each of them represent this thing form of macromural.
I call them Grant Muraus. Macro murals and a large macromoros.
Grant Murals are those done bottom up coordinated by artists to empower community. My camera are those realized as a part of official government or strategy targeting inclusion of community strategy targeting inclusion of community and finally large macromulus are once created explicitly with economic goals.
And rather horizontally. So I argue that this classification actually enables us. To go beyond common valuation dichotomy of naive inclusion on one hand or simplistic painting the poor on the other to what's more situational understanding of possible impacts macro paintings.
Based on their divers goals such as empowerment, inclusion or tourism as well as their unique circumstances of their making.
Once again, this work is still in progress. So I'm really happy to learn from you and make it better.
Thank you for listening.
Thank you so much Peter. Super interesting work. And, okay. Now we are going to.
I online and we have a participant Per Smets from the Netherlands. Pair. You there?
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Yes, I'm there.
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Good. Right. It's. It.
So I want to talk about, some different, arts issues. In Amsterdam.
That I want to. Look into city and arts. I will tell you a bit more about it and there's one of the French persons which challenged a lot of issues about arts issue, cause, yeah.
And I'm will tell about him and he gets really nice insights about. How people are dealing with arts and I make a step to what maybe, strip.
And that shows you that you are moving in and out at the same movement. So it sounds as strange, but when you see the pictures, you understand what's going on.
There's really, a project I'm following since. Quite some time and that's moving arts project and they are working in neighborhoods.
And they really trying to interact with the people living in the neighborhood. Trying to organize, things together and, and there's a lot of background information about this.
When you look at this, city and arts.
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Yeah. Okay, let's try. So, I'm was looking on the material of Olson.
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Yeah, okay. And there are different ways of looking at this. said it's quite interesting to see what's going on there and and he makes use of, And he said, in fact, you work on some political action when you look, to, interventions in the artistic fields
and and that you have to look what's going on there. What is happening with experiences people have in this space And then you always have to look.
What's happening in this public space and how can you reconfigure? How, things take place in that setting.
The same is about free thinking and thinking about what is considered plausible, but really people want to go.
And you got the third part is of reframing. That enables transformation and critical experiences.
By looking in all these small elements, it's searching how you, can bring the people together.
Should I work together in a community or not? Or should I? Look more to the end as well.
Approaches. And. Don't say it's, more the collective, which, would, or in focus.
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And bring you, groups. Where the looking at. Yeah, there is always some movement taking place and looking how are we dealing with these issues.
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Yeah. But, based on here, it's quite in addressing that he is trying to, Find out what's going on and that he wants to have a redistribution of the things people see.
And is it really there or should you look in a different way to it? So, when he looks at this art issue, then it's always.
That's important of a role, to look at the distance. What he's seeing and.
The relations of roles and borders between territories. This sounds quite abstract in a way, but it's trying to figure out.
What's happening in these places? And they together the vision between different, roles people have.
And how again they fit together or should they divided it's always a matter of searching and trying to find the right, to.
For that purpose, he also looks into multidisciplinarity. Crossing borders and all kind of.
I activities.
Yeah.
No, I get to this Mobius strip. And that makes it quite interesting. What's called known, but, that is, When you translate it, you got a completely different way of, thinking what you really see.
And you have, you, down to see whether people are walking inside or outside. the place, and there are always 2 sides and then he starts walking somewhere you always get to the others part again.
And that means that you can have endless walking. But there's more, this model also offers to look into a higher But in the same, in the same time.
When you are looking to it. It turns around. That the people who are in the powers. They could be, just in a few, minutes later.
Turning out of the system or they get in a lower and say, but working on these issues will really make things upside down and it creates a different ways of of looking reality on reality and how things are changing in very short times.
And roles, people have in, this, creates a lot of, changes but also, triggers also complete different territories.
It's not always clear where, you are.
I'm be working with these issues and then it becomes quite interesting to see how you, can grab it somehow and And the most important things, both as a big as, fridge in the end.
I'm, have have quite academic background. Was working together with these artists while working with in a complete different way and we get really fractions between an academic focus and a non academic focus.
In the academic focus. There were quite some in-depth interviews with neighborhood restaurants. Residence and observations and that was done quite well.
But when, these people were, involved with the same, people who were interviewed and They help them all time by giving them answers.
And they brought in all kinds, of, new ways. Mean you don't know how to deal with it You just get them then and ask them.
Shall I help you to explain it, how it is? So, you got a lot of and small amounts of for generalization but in fact it didn't work and it was itching a lot.
Oh
It was too much steering. So, questions and helping participants who understand, the teams of, the moving arts project.
And even then people are there, they were always helped. I can tell you how it is. And,
It's really a part of the. Game and taking place. This moving arts project That started in 2,010.
And I've seen them in the beginning. In that neighborhood. That I.
Worked around 2 teams of, home. And later on on identity issues and brief presentation.
And they, developed a lot of things. The pictures there are just a few examples.
They made the postal for their lost program
And that is a program with open doors. That you should open the doors when you invite people. And they just, use the topics in such a way that you don't have to real door.
But still the wooden, structures. Give you some sense of a door, but still it isn't.
The same day that in the middle with making some constructions and some, exhibitions of different way so they could use boots and and what the tree is and how you a distracted or abstracted again.
And then they ask these people also, very, interesting questions. And they said, can you, take care of somebody else?
So they had also different, questions they could ask people. And. Bet it was not always easy.
To understand it. They also said, are you tolerant? Does the government come, care about you?
Do you have influence? Are you normal? And these are the people. Which are getting into the project.
They got all these questions and they had really big discussions about it.
So my There's a group sitting on the right and they were making some performances and they were singing, dancing and all kind of stuff and they'll show you a bit more about them.
Hey, you go.
But what was happening in this project? It's still okay.
Yeah, it's okay. So I can give you 5 more minutes.
Yeah, that is possible. Then you get this. Open those projects that I tried to work on on co-creation and in different base and trying to link people and giving performance and singing, dancing, deliberation and all kind of.
Talking about And here you see, that I bear working with these open doors. They made a performance where the a lot of people were coming there.
They made all these artificial, parts which are used. By. Trees and all kind of thing on the right side you see a door and the door.
But was used. In a way that.
People who were involved in government issues and will not help. They really, one, figure was Place behind the door and locked up after the door.
To show. What's happening with people when they are dealing with, governmental issues Then in the meantime, they were.
Singing there and dancing and having compositions and only a half or 20Â min or something that only could come up.
But I also bit, this is the same place with from the other side and there's also one of the exhibitions there And.
Oh.
Is happening with these base of trying to fit things together. That. Looking how can we fit together this academic part and non academic part how you can link people Letting in a neighborhood with low income name roots and other neighbors, how could they fed together?
How can you bring things together in a way? That goes beyond just academic approaches and all different kinds of ultimate is for dealing with art and creating new insights.
It was. Really a very incentive that I even said when you had. A silent majority that doesn't speak about issues.
During the performances that I, had one person with just dancing this, silent, majority.
So it's really, Bringing together different elements and trying to Combine them in. That you have to different layers into it.
And the process of fitting things together is in an ongoing process and that gives insight. How, more insights come in how to deal with, social integration but also, local infrastructure.
Thank you a lot for your time today.
Thank you Pat and thank everybody for your patience. It did work out in the end. We have about 15 people in the audience now so and we also moving on to our and share.
Pierre, can you please and share your screen?
Oh yeah, I will do. Stop share.
There we go. All right, so we get we come to our last presentation by Elin Baird and she has a co-author and she will tell us about it, right?
Okay. So, Elaine, please.
Good morning everyone. Thank you for being here this early on the last day of the The Congress, I am Elin Bax, before part of the Catholic University of Leuven in Belgium.
And I'm recently starting a PhD about a circular collaborations and the renovation of social housing, so still a bit on the same topic.
But this summer to do we doved. My co-author is Caroline Newton. She's part of the University of Delft.
And she will join virtually. I have to say I'm not a sociologist. I have a background in architecture, urban design and urban planning as well as my Go writer.
So today I'm going to present you to findings of a 3 year research. I studied the role and the contribution of artist collectives who are temporary occupying buildings in social housing neighborhoods.
The social housing neighborhoods, they are in a transition and transformation. They are all part of an urban renewal project.
So especially I'm going to tell you about these fears of conflict that exist. First, I start with a brief interject introduction of the who or why to get you a better understanding.
And then I explain why I used a participatory action research and how I used the critical planning of Marcus.
And how I collected the data. Third, maybe the most interesting part is the results, the examples of these fares of conflict, what I understand about this.
Followed by the analysis where I give the 3 roles the artists have a little bit like Pierre. With some examples of some case studies.
I end with a conclusion where I talk about city branding, gentrification, art washing effects and That's about it.
So on this slides you see the diagrams of the concepts that led to my research questions. So the navigating spares of conflicts of artists collectives and temporary use in social housing redevelopment in City of Ghent.
Belgium. Temporary use can be something very layered, a bit complex, but most of the time it's very context specific.
So it's not easy to bring it open to the whole world. Where the the study is centered in New Ghent.
It's a social neighborhood in Belgium. It's a mix of high rise buildings and single family houses.
On the picture on the right you see graffiti art by one of the local artists who was also part of the main artist collective, I call it Collective New Gant that I used for this research.
The case city takes place in an urban renewal project. So the sixth towers you see on these buildings, they will be demolished.
Because they were built with cheaper materials in the past. So you can probably imagine the size of very big impact on all the people living in these buildings.
And most of the time it's lower income people. They have to move out very fast. But artists can move in.
Over 10 years the stars will be rebuilt and these artists take at residence in these buildings for over 10 years, which is quite a long time.
So what can be their role during these 10 years of occupation? In policy papers that did a policy study also, the social housing company says specifically that there is no space and time for participation with the inhabitants.
So maybe the artists take over this role. Can an artist give locals and voice in this moving out process or in this rebuilding process because A lot of people can come back to the neighbourhood, but a lot of people are relocated all over the city.
They have to start new jobs with tickets to new schools. So a lot of the time also the artists were helping these kids.
Looking for new friends. They had a social role. So what do I mean mean with these artist collectives?
It's most of the time a young group of young people just at school and or finished school. Do they have the skill to, participate with these people?
There were a lot of dreams and aspirations from these young artists, but a social translation transition sometimes felt very far away.
And also the artists struggled a little bit to find their way to the inhabitants, maybe also due to the pandemic.
Then this diagram shows how temporary uses, how these artists intervene between the expectations of the city of the expectations of the inhabitants but also the ones the artists have.
So one thing we learned and also Cocoa set is very clear. Artist or temporary use cannot solve major societal problems as very often as assumed.
So the young artist where most of the time just looking for a cheap space in a city that is very getting very expensive.
But the city is then at their point not so clear about what they want. They want the that they don't have to put a lot of energy and money into the artists but they also want the artists to mean something for the inhabitants but what do they mean?
What can they mean? So, but then you have the artists who are not always so pleased with the introduction of their new neighbors, the artists.
So, okay. I use the definition for temporary use. By early dismats. She is almost poetic but she says a temporary user organic area developments.
That they give a challenging perspectives of more tangible, inclusive social, spatial and government governance dynamics.
So the picture you see It's an art installation. It's really about participation. I use this example because the artist really tries to.
I use this example because the artist really tries to translate. I use this example because the artist really tries to translate political, urban and urban design strategies and concepts, urban and urban design strategies and concepts into something tangible, urban and urban design strategies and concepts into something tangible and understandable for the inhabitants, which is not always very
easy. And concept into something tangible and understandable for the inhabitants, which is not always very easy.
So they are literally building bridges between the inhabitants, which is not always very easy. So they are literally building bridges between the immediate living environment, personal stories and So the correct platform you see over looks a parking lot.
It's a parking lot that in the near future probably will become a green park. So it makes it possible for the inhabitants to literally go on the platform and rethink their neighborhood, their space to imagine new futures.
I go quick quick through the methods. It's in a way an autopsy because as a student I was still part of this artist's collective which made it not always so easy to step out but also stay.
Academic but also be described as very good. I used participative action research which helps me to achieve more meaningful findings and recommendations by utilizing this collective wisdom of the researchers, also the participants and the communities.
It was very appropriate to undertake these studies that because it involved most of the time marginalized and disempowered people.
Used planning of Mercuse because it's very clear about his analyzes, his 4 steps so he analyze, expose a proposed and politicized.
So he analyzed the problem because this was maybe the most difficult step because I was so inside the process.
The problem analyzed was that there are different agendas. So as I said before, the agenda of the city, the artists and inhabitants.
I expose my finding these fears of conflict. I proposed a solution like this tree I will tell about as later the 3 roles artists can have.
These neighborhoods and I politicized so I wrote a manifest of 10 points and delivered it to the city council social housing company and other artists collectives in the neighborhood.
8 in-depth interviews, 3 years of observations, 15 case studies and 12 inter art intervention and its short policy analyzes.
So the results, what do I mean with this fares of conflict? As I said before, young artists are looking for different aspects that the city government maybe would imply.
But Also, there was one artist's collective, composites, they actually do not believe in these fearsome conflict.
They really use this fair zone conflict. You really use this fair sum of conflict to help the the neighborhood move so they are sure of the fact that they need pluralism.
A city needs this. And then other. Collectives artists collective on some that they were already very clear of their position.
They called themselves mediator between the city.
So the 3 rules I defined to 3 roles as the artist as a creative vacancy guard as a social cultural activator or as an urban planner which is maybe for me the most interesting part.
I will explain this by 3 examples. The first one is one of the collective new guns. So the buildings became empty and criminality enters the buildings more easily so the people were not feeling safe.
Also the artists were not feeling safe. So in a way they were like a creative vacancy guard. Then the artist as a social cultural activator I use the example of an art installation during the pandemic.
A very big pamphlet was installed that said, how are you going to miss me? And postcards were delivered to the inhabitants.
They could write down what they're going to miss about their neighborhoods. Some inhabitants answered that they were going to miss the parking lot.
Remember the big plays in the parking lot? It made people think. And other ones said they were going to miss their neighbors and other ones they were going to miss just nothing.
So to conclude, artists collective this social-cultural activators can revitalize neighborhoods through collaborative projects.
The third example which I found a very interesting one is inflammatory quality and ambit is 3 artists and they played a ferry boat for one full day.
You could think why would they do this but the city we're planning is planning to build a new bridge at this location so they collected stories of these people.
About this place. They imagine new futures. So temporary uses, users, artists can also drift, drive urban change into a desirable direction.
Collect urban information that may be urban planners otherwise would never find.
Artwashing city branding gentrification. Vibrant or seen is the dream of many mayors.
So implementing artists collectives in vacant buildings can be used by city governments to improve the neighborhood and therefore for city branding.
Nevertheless, in my case, this was not the case. Because it stays a social neighborhood afterwards. But this will not say that just outside of the borders of the social neighborhoods gentrification will take place.
So this research, research also found that in this case we will not. Generalize it, found that it does not gentrify.
So it stays at local and social neighborhood. Art washing there are different form of forms of art washing developer led artists led local authority led community led But this research has shown that it is possible for artists to work in regeneration projects.
Without participating in art washing, although they have to be very conscious about this. So projects are at least likely to contribute to art washing one day benefit the needs of the community.
To conclude, so artists can intervene in this fear of conflict, which is sometimes very difficult to find their position in this firm.
And artist collectives are also quite unable to provide solution to major societal challenges as Coco said.
And the power of temporary use really rests in this ability to continue to interrogate its surroundings and imagine futures.
Like with the boat and and the bridge. So I will end with the quote of Aleman Eagam who is also a researcher but also has an artist collective in the social neighborhood that the project in the end is what we do together.
Together is in this fear of conflict. So that was it for today. Thank you for your attention. This early
Thank you, Elin and Karen Caroline. So we had 4 excellent talks sort of in the tension field between cities and other municipality governments.
Communities in the interests of locals and long term residents and then artists somewhere in the middle as either temporary, transitional users or at projects that are being somehow used to advance the interest of either of these actors.
And so I invite. Or online participants and people here to ask questions. Start a discussion.
All right. Yes, go ahead and. Please tell us who you are and I think this microphone works.
Thank you. Thanks for all those presentations that I really enjoyed them. I've got a question for, Elaine, is it?
Yeah. And my name is Greta. I'm from the University of Sydney and the architecture design and planning department.
I was wondering if you could give us some more background as to why those buildings were empty. You know, if there was still 10 years worth of, you know, you know, they weren't going to be demolished for another 10 years.
Was it that people were evicted so that yeah how did people end up? Not using them and then that they were sort of you know for they were then able to be used by the artists who I imagine you know were possibly more sort of middle-class people and yes I don't know if you just explain that.
Maybe, could I ask our 3 speakers to come here and then maybe that makes it easier and there's a microphone as well.
So if I understood your question right, the buildings became empty because they were built with very cheap materials so they had to be demolished and the concrete was sinking into the ground literally.
So the social housing company decided to demolish one building at a time. Everyone in one building had to move out, which was a very difficult process because It's very low income people, most of them don't speaking and plmage in my case.
So the artists always have to move from one building to the other. They move with the residents. They help the residents move.
So in the end. They every year they move to another building. So the buildings also become empty.
I don't know if this answers your question if you have more. All right, thank you.
Sabina had a hand up. Online, okay, go ahead.
Thanks, Maggie. And thank you all for your very great presentations. Huh. Here we go again.
1Â s. 1Â s we have to do our Go, wiggle. Okay, go ahead.
It's fine, now I do.
I can put them in writing as well if it doesn't work. Okay, so my questions are for the first 2 presenters.
Thank you for your talk. I found it. I found it really excellent how you were very clear about how There's a rewriting of history that is happening with these policies led by the creative city.
So I want to ask you. If there is. Anyway, if you've done this or if you're planning to do it.
Do you think that your research could feed into policy. To make sure that there's a bit less of this rewriting happening.
Or Maybe it's a bit less violent. If we want to stick with this metaphor of the violence of the image.
So can I can ask the other question as well, Maggie?
Yes, but just tell us also who you are.
Yes, sorry. My name is Savina Andron, and I'm based at the University of Melbourne and I research urban walls and surfaces so that's hence my interest in particularly in the first 2 presentations and Peter for you I think you're doing very innovative
stuff. I really enjoyed particularly your methods and your approaches. My question to you is where I know this is still early days in terms of your research, but I'm curious where do you think this will go?
In terms of How will we? Where in the world in what forms and in what kind of policies structures will these macro murals develop?
And to both of you and maybe the other 2 presenters can speak about this too. Is there a virus that we're making with images here?
Because we're very used to talking about, you know. Graffiti tags for example is being violent and these are an undesirable.
But is there a violence of beauty? Here.
Yes, nicely put, Sabina. Thank you.
Oh, Savina, thank you for, your question. The great question. Yeah, far I have the far eye as I understand I think in Japanese context the sociological contribution to the the city running or city management especially to creative city policy is not so much they we do not have much How to change our
city creativity point C, especially in terms of regeneration, the areas. But what I can do as a sociologist is to to to 2 collective data of the local history and also local neighbors and that to present not only in academics field but also in public especially neighborhood neighborhood and especially to the people outside in a city areas
outside Cotabuki and Kolganicho and I think the the people who wanted to come to Cotabuki and Kohni.
And interested in art are also interested in its local history and how what local people think about and their lives so but it's not not connected to the city policy do not have any connection to those norages and information.
So as the for you to walker as me have something. Can do something which can contribute those people to give information related to the local history and local the information which they potentially want.
To and I want to learn. Yes, thank you. We can help change the narrative.
I mean, that's perhaps all we can do
Thank you, Sabina, for a great question. So. Can you speak anywhere?
With it. Thank you again for the great questions. Yeah where it goes It's difficult to say but I think it's important to think about those macro murals.
And I tried it. I could do that more in cycles than. Of minority because it seems that before and there were cases of I wouldn't call them macro murals or Muros at all.
They were just paintings, you know, that there's this tradition in Europe and Latin America as well, like a painting, just villages, same color, usually white.
There was something similar before and there are some Like, it's not Makuruials anymore but just paintings in Mexican cities that you can see neighborhoods.
It there is no iconography, no figurative painting, but just paintings and they are given just color so it seems like there's some kind of cycle that And, and I saw Jamie by Connecticut or, they were talking about like a shape of these policies that Some cities they usually started there are like a bunch
of cities who following this and then they kind of disappear. So I don't think it's that lenar but it's more like a cyclic that similar forms being used like a different cities and time periods.
And the other thing of That is sort of crucial in terms of these macro paintings is topography that kind of So like a limit.
Where and we can like do that. Because in Latin America is always about mountains, hills must be visible.
So it's difficult to do that in Europe. Or in Asia, but there are still art collectives they try to like approach it similar but different.
Tomorrow I'm going to Indonesia to do a minor field working. Bungs, because small allergies and dog paintings are more.
Horizontal so that real topography is something that limits a usage of that. And violence of beauty that's super interesting.
Oh comment it like from the different ankle. I think it's not coincidence that there are so many macro murals and large paintings in Columbia and an Also other countries.
I really think it's a
It's not much about like a policy, like a painting poverty improvement, I think and I need to develop some metallurgical tool at how to approach it.
I think there is a trauma from lack of violence and and 50 years longer conflict in Columbia. And actually people that are picking like a specific topics and teams you know like a nature You know, or you know the girl on her raft memories and this kind of stuff those are and colorful you know it's not easy to I got
recently questioned at other conference. And it was something like those paintings are so colorful, you know, it's not.
Actually, aesthetically pleasant, but there is a politics of negotiation that these cars are used you know it's not only little companies produce these cars but there's also the people wanted them and they wanted them because there is for sure some kind of trauma.
Behind his paintings but I really need to I can't go there. There's trauma in order.
I need to develop some talk at how to approach attention. Thank you. Thank you, Peter. Other other questions or comments?
Yes, go ahead.
So I'm Augusta from the University of Queensland. I have a question for Peter as well.
Kind of, yeah, your research as a whole. Cause you focused really on circulations of ideas and projects I guess.
But did you find a way to kind of tie that to a study of local impact So this economical context.
Practices or values because It's something I had a frustration with before working on policy circulations but not seeing the impacts on the ground and in studying them.
So have you find a way to kind of link those 2 levels the macro level and the Thank you.
Excellent question. Thank you. Yeah, thank you. Oh, yes.
Again, great question.
Yeah, you know, I, I know that this topic of, of inspiration is kind of.
You know, macro, I've been doing research about impacts as well. It's still in progress.
And it takes time because I really I was thinking at the beginning also to make some survey in some of those neighborhoods why it's so complicated so I decided to focus on ethnography and trying to quieter importantly people So it will take some time, but it seems.
You know and that It's quite interesting. I mentioned it when we were talking with Maggie yesterday.
That dose. Economically oriented. Paintings have I have had, a, like a immediate impact.
On communities in terms of like a promoting tourism. And but also learning skills. I visited you.
Of course, I was just like a small village and in coast and nothing was happening there and they created these paintings and tourists started coming and a tourist not international but a local tourist.
Is a real big market for local tourists and they thought people how to make these fresh juices from fruits and so on.
And there are like your early cases. That during one year there was an increase of number of restaurants, which is like a really partial indicator.
By its teams in a small context it has a really impact like it gave. Some people extra money, some people go to employ it and also there's this aspect like like encounters and interaction between people you know when They've never had, they're kind of glad that if even like an international global tourist.
Come to a village, you know, they have a chance to talk. And so there's something happening and it seems.
That at those economic let, transformation. Might be in terms of their goals. More successful than kind of inclusion.
Oriented like for example a Mariposa you know like people took it very pragmatically that is better than nothing, you know, like something actually happened.
And but there are some people criticizing as well no it's a small Thank you Peter. There's another question for you by an online participant so I wanna just ask you to answer that quickly but it's about whether you know that these macro paintings have been used for political campaigns like is there some political
manipulation related to these murals? Yeah, for sure. Pretty sure. Yes, you know, like a murals and, graphic distributor that has been part of, that has been part of politics in Colombia and Bogota, there has been part of politics in Colombia and
Bogota. Before Pena Lossa, current president Petro, he actually promoted Gaffety and murals and for like an artist could come to Bogota and if they promise they were paying something like left wing you know that is like a with Petros agenda they go to money and for sure like when I did
interview with Pena, he kind of mentioned that he wanted to be visible from from like a airplane, and for sure he's, busy taking notes and using it and being very active.
I had a question for, is there a question for PAYER, our online?
A participant. But I was wondering what kind of community this is and how the response was from the local people, whether they were, and how the response was from the local people, whether they were all embracing from the local people, whether they were all embracing these artist interventions, they were all embracing these artist interventions, that you
studied this artist interventions, that you studied so creatively or whether there was a more. Did you study it so creatively or whether there was a more mixed or ambivalent.
Did you study it so creatively or whether there was a more mixed or ambivalent response?
It was. They were moving from one area to another area. And they rebuilt up everything again and then you see that in different context that people had different and interactions also with the people living in the areas.
So in the Southeast area of Amsterdam. You had that more people really very challenging the people moving around and And I really, We are more tough and other places.
Then they really at the place. And in this more in the center of, Amsterdam.
That I bear more, they know more each other and they don't see it as not so much as outsiders.
And there's a huge difference when you have southeast in, Amsterdam. It's a black.
A dominant area. And that's not always, And when the situation are not. Composed of different kind of people, then, it's creates more, frictions.
Because they can also be conflict or disagreement in the communities about the use of it, right?
Very sure.
Yeah.
Some might embrace it. More than others. Other thank you. Other questions?
I also wanted to ask Koko again because you gave us a very differentiated sort of comparative case study, in initiatives and art policy plays out differently in the same city but in 3 different locations, right?
And in the end you said it's the city government. It's the governmental structures that make a difference.
But you study it in the same city. So I wonder what specifically about these localities. So I wonder what specifically about these local context created the differences in the same city.
I wonder what specifically about these local context created the differences in the case outcomes that you observed?
Oh, thank you. You mean the difference? A man that the impact? Well, you showed us one case where the I was used to gentrify and then but the middle case was sort of in the middle.
You said the artist interventions did not lead to displacement or or even development and it was more of a temporary influence.
And. Why was it? One of the reasons is or and or I can say main reason is the a critic city policy in Yokohama is basically very much focused on economic revitalization in our business district.
So that was a Bashamichi. Okay. Close to the development development area and Kuwait.
The second one is has another reason. It's very much related to the national policy to crack down undocumented anyone.
So the most are 6 workers are undocumented in actually the trafficking survivors. But, it's not, it's, on the surface, it's the the result of the city's creative city policy and reality is very much related to the national international policy.
So it's with, I mean what I take away and that's also my observation about studying the impact of art on communities and cities that you really have to be very nuanced and you have to account for many different local layers of government and also cultural context and sort of normative context and also diverse communities, because there's different narratives about
who owns the community and and often they are in conflict and artists might be aligned with or by default with one of these narratives and by default with one of these narratives and then sort of wedged against other people or sort of take a role take an instrumental role that they really don't don't want to take and so
Elena I found your case interesting because you showed us that the artist somehow can resist that, right, or that they can find ways of have meaningful a role for the community.
But also it is temporary and I wonder what happens after the neighborhoods become redeveloped and the artist and say thank you okay you have all this done go please go away and then we can start.
Please go away and then we can start. I mean, maybe not gentrifying, but my experience with redeveloped public housing or social housing is that these areas get destroyed and then only certain people are being able to move back in and that's already sort of a sanitizing.
Social improvement project you know redevelopment of social housing. Yeah. Yes, go ahead, please.
Hi everyone, my name is Marek. I'm from the University of Melbourne. Thanks for everyone's presentations that being wonderful to listen to.
In thinking about my question or being like oh how do I phrase this in a way. I want to build on what has just been talked about in terms of problems within communities as well.
And I think a good way to think about this the way I think about it is early in 2020 I was just before the pandemic got out of hand I was able to go to the Philippines with the university.
And there was an informal settlement that was facing. Great development within that area there were multiple groups who were trying to come together to work out better outcomes for the people living in that settlement.
But actually what was occurring in some ways were these leaders had different ideas about what was best for. Their community for the area.
I guess I just served this as a way as a reflection to get more nuanced answers from each of your racism projects about what are the problems, what are the internal conflicts that you perhaps faced?
Or maybe there weren't any. And that's okay as well. And just as a I Peter just in particular you mentioned that there was a group or a couple or an artist that was excluded from the project, but I don't recall hearing reasons why.
Maybe that's something I missed. Thank you.
Would anybody like to? We apply his cohesion. In the, the case city of collective new gun tour like a lot of internal conflicts, it's already started with maybe how they work together because there was a lot of different artists, it was fashion designers, painters, more people who worked with
co-creative artists and actually the city government were looking for co-creative artist, which in the end it was just beginning artist.
But is there any artist that is not creative? I mean. They were creative, but, I mean, and the city government expected them to work from and with the stories of the inhabitants okay which was not the case I can also tell you how it ended.
The artist's collective did not get the funding anymore from the city and already moved out. But also there were little conflicts in who takes the lead, who has the biggest voice, who has biggest ideas.
And in the end there were so many ideas and no one took the lead, so nothing happened. There were also a couple artists kicked out.
Because some artists were Fineially not so stable and the end they become like the You were not allowed to sleep in your arts, and they inhabited the Tower really, which was not so respectful towards the people who had, which was not so respectful towards the people who had been so respectful towards the people who had to move out.
So there were strict rules about how you could use that. So there were strict rules about how you could use your art space.
I this answers your question. I was so these were only workspaces not living spaces. I see okay now we get another piece and I clicks in.
Okay, we have time for a couple more responses if you would like to answer the question about conflicts among artists.
Yes. Thank you for question. That's also a great question. I found some internal conflict in Coventry, the second case, especially then at the first beginning the architect and artist could use the spaces very freely and but in the time with time transition the city policy got get into more and more and the some artists and architect are
hated to the city to use by the city to promote this space to like tour a sport. Or the success of the city.
So some artists and architect moved out. And so, the result of the area we, can see now is, be just after the those artists architect moved away and not anymore so out in the those are related organization and people know much understood understand very well that they What they do now is very much related to the
poracy to revitalize and for a kind of to making kind of tourist port. Yes, I also have experienced this.
I just have different levels of willingness to collaborate with city governments and some have been burned and they just refuse any kind of collaboration, right?
They just like to stay in the more illegal. Realm or just use private funding and don't accept any sort of official role because of they are afraid they are being co opted into another project.
All right, let me close on this note. Thank you so much for all participants. Thank you everybody online.
Who went to the audience and so if you are interested in cities and art I invite you to maybe continue the conversation downstairs.
I will just you can have coffee downstairs and and please mingle and. Stick around and ask the presenters for their contact and papers if you would like to continue.
Thank you so much.
Yes