‘I am Tower of Hamlets’: enchanted encounters and the limit to art’s connectivity

‘I am Tower of Hamlets, as I am in Tower of Hamlets, just like a lot of other people are’ (2011–2012) was an artwork by Argentinian artist Amalia Pica, and involved a pink-granite sculpture touring around different homes in the London Borough of Tower Hamlets for one year. This paper offers a geographical investigation into the type of encounters and relations created by this artwork. Rather than assume the progressive role of such art encounters, the paper casts a critical eye on to the actual forms of association that they foster and the normative social logics they may perpetuate. In doing so, it suggests that while enchanted, ‘meaningful’ encounters did occur between participants and the sculpture, these occurred within a pre-existing art community, something which compounded problematic class boundaries. Thus, the paper utilises this artwork to identify how encounters can be meaningful whilst maintaining embedded social and cultural divisions. It concludes with a discussion on the relationship between art and the geographies of encounter.     

The Italian party system’s three functional arenas after the 2018 election: the tsunami after the earthquake

The aim of this article is to assess to what extent the ‘change’ after the 2018 Italian election can be observed in the electoral, parliamentary and governmental arenas. We use the indicators of party ‘volatility’ and ‘innovation’ to measure the change in each arena. The time span is the period 1948–2018, with a specific focus on the time after the watershed election of 1994. In this respect, we have identified a crucial difference between the 1994 change and that of 2013–18: if 1994 was the single moment of passage from one party system to another, in the 2010s the change did not happen in a single moment. Only after the next election, if volatility and innovation in the three arenas is reduced substantially, could we claim that a new party system has developed, that could be considered the ‘third party system’ of the Italian Republic.     

Cultural actors as agents of generating social co-presences within the place: Istanbul’s contemporary art scene

This paper builds on the designation of cultural actors’ actions as a decisive factor in the emergence of urban patterns of art-driven social co-presences in Istanbul. It contributes to the creative city debate from the perspective of community development by incorporating the contemporary arts into urban social space making efforts. Methodologically, the locations of art organizations in the contemporary arts scene of Istanbul are approached as an urban pattern of art driven social co-presences that resulted from the ‘collective action’ in which a multitude of cultural actors are involved. We find that the clusters of art organizations serve as multidimensional social interactions among artist communities. There are, however, inefficiencies in spreading this interactive networking throughout different social segments. Research findings conclude that the cultural actors as agents of generating social co-presences within the place, are not effectively contributing to the society’s social coherence, particularly in terms of creating links with disadvantageous neighbourhood residents.     

Managing mass migration after the war: The case of Sarajevo’s unification in 1996

This study analyses the immediate consequences of the transition from war to peace in Sarajevo, the capital city of Bosnia–Herzegovina. It focuses on the management of a tense security situation related to the postwar unification of the city, which was divided between warring belligerents during the Bosnian conflict. Firstly, it shows how ethno-nationalist leaders' visions and practices of ethnic homogenization continued after the end of the war as the result of the Dayton Peace Agreement (DPA). The principal tool of their postwar ‘ethnic engineering’ endeavour was to maintain and generate an atmosphere of fear, based on anticipated discrimination, maltreatment, and persecution from former belligerents. Secondly, this study explores how experienced wartime violence and related transformations in personal identities and social positioning activated latent boundaries between groups and made individuals more disposed to forms of group identification. As a result, the mass migration of people out and into Sarajevo strengthened the grip over the territories assigned to former adversaries by the DPA. This article argues that studying the mutually constitutive roles of the elite's ethnic engineering as well as ordinary people's experiences is necessary to understand how organised wartime violence transformed into structural, institutional, and other less visible forms during the postwar period. Ethno-nationalists’ discourses and points of view demonstrate how wartime violence channelled the postwar lives of Sarajevo's residents into a desired spatio-political arrangement.     

Gladstone’s Land: the changing face of Edinburgh’s Royal Mile

SUMMARY: This paper presents the results of recent archaeological research into the building known as Gladstone’s Land on Edinburgh’s Royal Mile. The aim of the research was to examine to what extent historical fabric had survived in light of extensive historical intervention. The building is a surviving example of Edinburgh’s Old Town urban architecture, which is characterized by tall structures with a shop front and densely occupied residential spaces. The paper presents evidence of the development of the building from the 16th century to its conservation in the 20th century. This development involved the replacement of formerly timber elements in stone and the creation of ornate painted interiors. The history of the building and the archaeological evidence embedded within it offer evidence of the life and changing architectural trends of Scotland’s capital. It also adds to our current understanding of heritage practice in the 20th century, raising issues of authenticity and the social construction of visitor-oriented heritage.     

Accommodating ‘design’: introducing the Western concept into Soviet art theory in the 1950s–60s

This article investigates the background of Soviet industrial design in Soviet art theory. Instead of considering design's interconnection with technology and science, or with consumption and everyday life, the author traces its conceptualisation as a new artistic phenomenon. Using archival records of professional discussions, polemical articles in the art press and design projects, the author looks at how industrial design was incorporated into the Soviet order of things. She concludes that accommodation of the Western model was the way to reform the system of socialism from inside, typical for the Soviet intelligentsia of the 1960s.     

‘Germany’s salvation’: Carl Schmitt’s teleological history of the Second Reich

Although Schmitt’s enthusiastic conversion to National Socialism is well known, his short history of the German Kaiserreich, published in 1934, remains neglected in Anglophone scholarship. This article contextualizes Schmitt’s narrative through the National Socialist conception of history and its accompanying teleology leading to the formation of the Third Reich. By placing Schmitt’s historical text in conversation with his earlier Staat, Bewegung, Volk, this article argues that Schmitt appropriated the history of the Kaiserreich to construct liberalism as a social pathology which could only be cured through the ‘concrete state theory’ he outlined in Staat, Bewegung, Volk. Furthermore, this article argues that Schmitt’s history relied heavily on propagandistic clichés of the Third Reich and thereby functioned as a rhetorical legitimation of Hitler’s rise to power.     

‘The gentle art of re-perceiving’: post-ceasefire identity in the poetry of Alan Gillis

This article discusses post-ceasefire identity in Northern Ireland, as examined in the poetry of Alan Gillis. Emphasising the novelty of Gillis's work (and connecting this with his status as one of the first generation ‘peace poets’), the article argues for awareness of complexity and uncertainty within the poems, suggesting formation of the ‘new’ as, in poetry as in society, a difficult, ambiguous task productive of an aesthetics of transition. Focusing particularly on the ten year gap between the signing of the Good Friday Agreement in 1998 and the implementation of devolved government in 2007 (and with reference to political writings from this period), it examines the relationship between poetic and political agency, aligning Gillis's approach to form, language and syntax with a dualistic sense of opportunity and disempowerment. Also examined are themes of consumerism and the globalising of identity attendant on economic/political ‘normalisation’, with reference to theoretical approaches by Walter Benjamin and Cairns Craig.     

The management and memory of fascist monumental art in postwar and contemporary Italy: the case of Luigi Montanarini’s Apotheosis of Fascism

In postwar Germany, the Allies and the German authorities moved quickly and systematically to destroy or physically remove all traces of Nazi art. No such process occurred in postwar Italy. This meant that hundreds of ideologically inspired statues, mosaics, murals and other artefacts survived into the republican period. This article uses Luigi Montanarini’s mural, the Apotheosis of Fascism, as a case study to examine the management, meaning and memory of fascist monumental art (and, more broadly, fascist monumental architecture) in postwar and contemporary Italy. To date, memory studies of fascism have largely overlooked the artistic and architectural legacies of the dictatorship. This article helps to address this historiographical lacuna and speaks to current debates and controversies in Italy surrounding the meaning and significance of historic fascism.     

UNESCO’s project to ‘Revive the Spirit of Mosul’: Iraqi and Syrian opinion on heritage reconstruction after the Islamic State

ABSTRACT

Following the devastation of the northern Iraqi city of Mosul by the Islamic State (IS), UNESCO launched a project to ‘Revive the Spirit of Mosul’. This article critically reflects on this UNESCO-led project, drawing on 47 interviews with Syrians and Iraqis, as well as documenting the implications of UNESCO’s efforts in earlier (post-)conflict heritage reconstruction projects in the Balkans, Afghanistan and Mali. Specifically, this article focuses on two sites in Mosul, both deliberately destroyed by the IS and both nominated by UNESCO for reconstruction. The data analysed reveal that heritage reconstruction projects, especially in complex (post-)conflict environments such as Iraq, requires ongoing, nuanced and careful engagement with local populations to succeed. Failure to do so leaves both local people and their heritage sites vulnerable to renewed attacks and therefore ultimately undermines UNESCO’s broader mission to foster peace.     

Disruptive marginality: The representation of wildness in Lope de Vega’s Baroque dramatic art

Abstract

The theatrical production of Baroque Iberia exhibits an obsession with wildness that remains to be fully explored. By the time Segismundo takes the stage dressed in animal pelts in Calderón’s La vida es sueño, the wild figure had already enjoyed a long history on the Spanish stage, first appearing in Lope de Vega’s El nacimiento de Ursón y Valentín in 1588. Enduring popularity until Bances Candamo’s 1693 comedia, La piedra filosofal, this steady preoccupation with the concept of wildness offers unique insights on the evolving landscape of Baroque ideologies over time, which are rarely considered diachronically. Dramatic representations of wildness signify the transgression of a prescribed norm—be it social, political, racial, or otherwise—which leads to its necessary elimination to resolve the conflict of a given play. In this article, I will plot the trajectory of dramatic conventions in their diminishing ability to resolve the recurring problem of wildness, thus offering a literary history of the comedia’s social efficacy as it struggled to sustain the weight of its own ideological commitments. Furthermore, I will examine the implications of my approach on longstanding debates on the ideological function of Baroque Iberian drama by analyzing the theoretical problem inherent in the existence of the marginal terrain wildness inhabits. My approach considers who stands to benefit from social order and those who, like the wild figure, find themselves excluded. At a time of renewed energy for exclusionary ideologies, aspirations of encompassing the marginalized are as important today as they were in 1588.