Camilo D. Trumper
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780520289901
- eISBN:
- 9780520964303
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520289901.001.0001
- Subject:
- History, Latin American History
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first ...
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Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.Less
Ephemeral Histories: Public Art, Politics and the Struggle for the Street in Chile is a cultural history of the street in Chile during the presidency of Salvador Allende, the hemisphere’s first democratically elected Socialist president. Santiago became a contested political arena during Allende’s 1000 days in power. Residents across the political spectrum engaged in a heated battle to claim public space and challenge the terms and limits of political contest. Santiaguinos occupied public spaces in ways that appear fleeting, ephemeral, or mundane, but that challenged the sites and forms of legitimate political debate in Chile. Ephemeral Histories studies the tactics of political conflict— marches and protest, posters and murals, and documentary film and street photography—and sheds light on the contours of a public sphere of political debate rooted in urban practice. Street art, for instance, was both vehicle and window into a wider attempt to claim public spaces as a means of reimaging political citizenship. Graffiti, posters and murals might last an hour or a day before they were torn down or painted over, but they allowed a wide range of urban residents to redefine how and where politics was done and debated, and to reimagine the very mode of legitimate political debate in democracy and again in dictatorship. In fact, santiaguinos turned again to ephemeral political practices to rebuild political networks and reestablish political debate after the bloody military coup that deposed Allende on September 11, 1973. Placing urban and visual culture at the center of a story of political change over time, Ephemeral Histories traces the connections and continuities in political citizenship and practice in democracy and dictatorship. It suggests that the regime’s violence did not represent a clean rupture with the past, but a brutal engagement with the history of urban politics under Allende.
Helena Y.W. Wu
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789621952
- eISBN:
- 9781800341661
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789621952.003.0004
- Subject:
- History, Cultural History
In Chapter 3, Tsang Tsou-choi—named “one of the oldest graffiti artists in the world” by the 50th Venice Biennale in 2003—comes into the picture. As a self-proclaimed “king” since the 1950s, Tsang ...
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In Chapter 3, Tsang Tsou-choi—named “one of the oldest graffiti artists in the world” by the 50th Venice Biennale in 2003—comes into the picture. As a self-proclaimed “king” since the 1950s, Tsang spent decades writing his family’s “(hi)stories” on different surfaces in the streets of Hong Kong, ranging from walls, lampposts and post boxes to electricity boxes. Alongside the writings he produced and the places he reinvented in the city, the connection Tsang made with the local territory and local history is examined in this chapter as a confluence of local relations which reverberate and fluctuate on their own according to different footprints and traces Tsang left in the city and in the mind of his fellow urban dwellers.Less
In Chapter 3, Tsang Tsou-choi—named “one of the oldest graffiti artists in the world” by the 50th Venice Biennale in 2003—comes into the picture. As a self-proclaimed “king” since the 1950s, Tsang spent decades writing his family’s “(hi)stories” on different surfaces in the streets of Hong Kong, ranging from walls, lampposts and post boxes to electricity boxes. Alongside the writings he produced and the places he reinvented in the city, the connection Tsang made with the local territory and local history is examined in this chapter as a confluence of local relations which reverberate and fluctuate on their own according to different footprints and traces Tsang left in the city and in the mind of his fellow urban dwellers.
Arek Dakessian, Célia Hassani, and Sarah Shmaitilly
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781447340508
- eISBN:
- 9781447355113
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447340508.003.0004
- Subject:
- Education, Philosophy and Theory of Education
In this chapter we reflect on street art in Beirut during the October 17 revolutionary moment, when a decades-long accumulation of social, political and economic ills culminated in unprecedented and ...
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In this chapter we reflect on street art in Beirut during the October 17 revolutionary moment, when a decades-long accumulation of social, political and economic ills culminated in unprecedented and sustained protest across Lebanon. Through our engagement with a series of murals, stencils and graffiti that emerged on Beirut’s walls around October 17, as well as numerous scribbles by anonymous citizens around these more formal works of art and on random public surfaces, we argue that street art might have mediated the formation of citizen subjectivities by ‘making public’ conversations, contestations and reflections previously restricted to the private and intimate spaces of home and family.Less
In this chapter we reflect on street art in Beirut during the October 17 revolutionary moment, when a decades-long accumulation of social, political and economic ills culminated in unprecedented and sustained protest across Lebanon. Through our engagement with a series of murals, stencils and graffiti that emerged on Beirut’s walls around October 17, as well as numerous scribbles by anonymous citizens around these more formal works of art and on random public surfaces, we argue that street art might have mediated the formation of citizen subjectivities by ‘making public’ conversations, contestations and reflections previously restricted to the private and intimate spaces of home and family.
Lia Brozgal
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781789622386
- eISBN:
- 9781800341289
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789622386.003.0002
- Subject:
- Literature, Film, Media, and Cultural Studies
Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or ...
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Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or obliquely, the stories of October 17. While anarchive is presented in 3 “waves”--the original scene (1961-1963); the return to the scene (1983-1999); and the post-Papon anarchive (1999-)—the chapter nonetheless seeks to tease out the limits of periodization, calling attention to continuities over time. Chapter 1 also looks at trends and problems within the anarchive, investigating, in particular: the “turn,” in the 3rd wave, to visual representation and performance; debates about demands for historical accuracy and truth in fiction; and the anarchive’s relationship to scholarship on cultural production and memory. This analysis is also infused with a concern for epi-phenomenal and meta-textual matters, how issues of circulation, translation, marketing, authorial status, genre, and medium bear upon interpretation.Less
Chapter 1 forms the essential foundation of the book, insofar as it names, describes, and thematises the contents of the anarchive—the cultural productions that have represented, directly or obliquely, the stories of October 17. While anarchive is presented in 3 “waves”--the original scene (1961-1963); the return to the scene (1983-1999); and the post-Papon anarchive (1999-)—the chapter nonetheless seeks to tease out the limits of periodization, calling attention to continuities over time. Chapter 1 also looks at trends and problems within the anarchive, investigating, in particular: the “turn,” in the 3rd wave, to visual representation and performance; debates about demands for historical accuracy and truth in fiction; and the anarchive’s relationship to scholarship on cultural production and memory. This analysis is also infused with a concern for epi-phenomenal and meta-textual matters, how issues of circulation, translation, marketing, authorial status, genre, and medium bear upon interpretation.
Mohammed Ali
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781447344995
- eISBN:
- 9781447345046
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781447344995.003.0015
- Subject:
- Sociology, Urban and Rural Studies
This chapter presents the personal reflections of painter Mohammed Ali on his experience as a creative producer and in his intermediary role as the founder of Soul City Arts, a cultural organisation ...
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This chapter presents the personal reflections of painter Mohammed Ali on his experience as a creative producer and in his intermediary role as the founder of Soul City Arts, a cultural organisation located in the Sparkbrook area of Birmingham that serves the locality and city while working with an international scope.Less
This chapter presents the personal reflections of painter Mohammed Ali on his experience as a creative producer and in his intermediary role as the founder of Soul City Arts, a cultural organisation located in the Sparkbrook area of Birmingham that serves the locality and city while working with an international scope.
