Art and Gentrification

Efterkrigstidens stadstillväxt har präglats av en allt glesare bebyggelse. Runt om de gamla stadskärnornas stenstäder har en ny sorts bebyggelse etablerats. Förorter, köpcentra och industrikvarter har byggts i ett” envånigt” landskap med mycket plats mellan husen. Detta ...

The nature of citizen laboratories is very diverse and includes very heterogeneous practices; This study will carry out a case analysis of the Medialab-Prado (hereinafter "MLP") and its impact in the local context, specifically of the district of Lavapiés. An initial diagnosis of the equipment allows to identify a certain paradoxical character in its relation with the environment: although the contents stimulate the production of local identity, it is also part of the urban regeneration project of the center, aimed at the symbolic revaluation of the neighborhoods Degradation of the district and therefore to its gentrification. The study explores the role of MLP in relation to local urban development through a qualitative methodological approach that addresses the various areas involved in the study object: the concept of citizen laboratory, culture as a motor of development, urban policies And local cultural and "bottom-up" neighborhood processes. This first approach to the laboratories in relation to their environment seeks to identify their synergies in a cross-cultural context and in this way to make visible the reach of culture beyond the quantitative criteria that are commonly used.

Gê Viana est une artiste visuelle brésilienne née en 1986 dans l'État du Maranhão, au nord-est du Brésil. Son travail artistique est marqué par la constitution d'archives, la mobilisation d'images d'archives et la réalisation de collages, de manipulations et de montages. Le présent article met l'accent sur deux séries produites par l'artiste : Paridades et Sobreposição da história. L'objectif est d'analyser comment, à partir de l'exploration d'une archive d'images coloniales (en particulier des photographies de voyageurs venus au Brésil pendant le XIX e siècle), Gê Viana réassemble ces images et propose une relecture de l'histoire du Brésil tout en plongeant dans ses propres origines. Il s'agit de montrer que la mobilisation de l'archive est un élément central dans sa production d'images qui cherchent à interroger le passé, mais aussi à guérir les blessures qu'il a produites.

I have recently finished a long period of time spent in academia. Since I was a young adult, I have been active in various dimensions of the anti-colonial-capitalist struggle. It was around 2008 when I became a part of a poor people's community in the west Toronto neighbourhood called The Junction where I was living and working. At that time, poor people were facing the onset of gentrification. Now, with gentrification in full flight and facing a condo building boom, the community has been dramatically reduced. But we are still here. 1 Through academia I was able to fund my arts and activist engagement with specific sites of poor people's inhabitation: a shelter, social housing, low barrier rentals, and a park that sits in the heart of the community. This work culminated in a PhD (2020) dissertation with the hilariously wordy title: Mending and Transforming the Torn Social Fabric: Lumpen Social Reproduction in Settler Urban Space as Relational Praxis Art 2 (ugh, I meant every word of it!). Out of critical discussions I was having in community where unhoused community members compared the shelter to prison, I decided to do a Post Doc (2022) that looked at those punitive neoliberal institutions of 'care' that frame, contain, and discipline poor peoples lives. My Post-Doc project was called: From Prison to Shelters: Resisting the Carceral Continuum 3 .

In territorio nemico Parte prima. Curatela, neoliberismo e governamentalità 17 L'autunno caldo del curatore. Lotte operaie e Harald Szeemann. Alle radici della soggettivazione neoliberale del lavoro artistico 34 Curare e governare. Nicolas Bourriaud e Hans Ulrich Obrist: La svolta governamentale della curatela Parte seconda. Alteristituzioni dell'arte nel populismo 47 Arte, populismo e svolta alteristituzionale 66 Alterististuzioni e arte. Tra governamentalità e autonomia Parte terza. Città, biennali, pandemia 89 Sale Docks, un'alteristituzione contro la valorizzazione neoliberale dell'arte 123 Per una critica dell'evento neoliberale. Picasso nel dispositivo del souvenir urbano 138 La Biennale ai tempi della pandemia. Abitare il vuoto, coprire la distanza 159 Bibliografia

The presentation aims to bring some clarification about the relationship in Estonian old-new architecture. Estonia has a very valuable historical and architectural heritage, bringing together works and urban ensembles from different eras and styles. The medieval period is represented by monuments dating back from more than 800 years, with Germanic and Norse influences. From Tsarist rule (1721-1920) has left important neoclassical buildings. Estonia's independence period between the two world wars (1920-1940) was particularly prolific in modern architecture, from Art Nouveau to International Style. Soviet occupation period (1944-1991), has left, outside of the dwelling houses some reference works. After regaining its independence, Estonian architecture oriented towards Scandinavian and Western models, while keeping in it the local spirit, which has led to some remarkable achievements.

Ever since they have become a numerous species, humans have enormously affected the environment often led by a conception of nature as something to exploit for their benefit. Colonialism has largely contributed to reshaping the ‘con-vironment’ through the transplantation of animals, people and crops and has been responsible for the development of a pseudoscientific discourse seeking to associate colonized people with animals and the natural world as an attempt to justify forms of violence, domination and exploitation. Drawing on Multimodal Critical Discourse Analysis, this chapter aims to explore the emergence of a social-ecological memory in Kara Walker’s monumental installation A Subtlety (2014, USA) which uses recyclable materials (sugar, with a clear reference to colonial history; wood; cork; and jesmonite) and, in contrast with usual monuments, is not permanent/invasive but offers a counter-discourse to colonial/environmental history pointing at a different understanding of the human relationship with the con-Vironment.

Wayne State University Law School 471 W. Palmer Avenue DETROIT, MICHIGAN 48202 Peter J. Hammer Professor of Law Office: (313) 577-0830 [email protected] September 1, 2014 The Honorable Stephen W. Rhodes United States Bankruptcy Court Eastern District of Michigan 211 West Fort Street Detroit, Michigan 48226 Dear Judge Rhodes: In response to your Order Regarding the Solicitation of Applications to Serve as the Court's Expert Witness on the Issue of Feasibility (April 2, 2014), 1 submitted my name for consideration. You were generous enough to include me in the final list of candidates interviewed in open court. In my application and interview, I raised a number of methodological concerns about the types of analyses and qualifications required to make a meaningful assessment of 1) the reasonableness of the assumptions that underlie the City's cash flow forecasts and projections and 2) the feasibility of the City's Plan of Adjustment (POA). (1) I was particularly concerned t...

Gentrification research has long had a pivotal role in urban knowledge production. One of the consequences has been the emergence of a sizable quantity of literature pointing out the destructive processes and effects of gentrification. Yet the current terrain of gentrification research is not adequate for comprehensive understanding or to mitigate the negative outcomes of this phenomenon. This necessitates reflection upon a framework of gentrification research that is deficient in terms of context and alternative forms of the phenomenon. This article addresses this gap by exploring and critically reviewing studies and the application of the conceptualization of limited gentrification around the world. The aim was to determine shortcomings and tendencies in limited gentrification research with the goal of raising awareness about producing alternatives to pervasive gentrification and to make room for much-needed theoretical and conceptual contributions.

and the Kresge Foundation are well-known programs funding creative placemaking. An excellent example of creative placemaking is the City of Philadelphia's Mural Arts Program. Funding for this $6.5 million annual program, dubbed a "city agency-non-profit hybrid," comes from a combination of grants and city monies. Each year the program engages "2,500 youth, 400 inmates and exoffenders, 300 professional artists, and 100 communities… in arts education, restorative justice programs, and mural creation." 2 The Mural Arts Program contributes to transforming Philadelphia into a city of murals that is enjoyed by citizens and visitors and fosters a shared sense of urban identity.

Todos los museos están haciendo un enorme esfuerzo para llegar de forma más directa, más rápida y más nítida a las clases medias. Lo cierto, sin embargo, es que buscarnos como visitantes, tratarnos de clientes o imaginarnos como consumidores constituye una oferta que está muy por debajo de la promesa que se nos hizo desde la Ilustración.
Y esta decepción que legítimamente experimentamos como ciudadanos, no decrece cuando los mensajes, la cartelería o la publicidad se le encarga a las empresas más punteras de diseño y el marketing.
Es paradójico que cuanto más invierten en comunicación, más alejada de nuestras vidas parece la oferta expositiva que ofrecen. Con frecuencia convertida en una pasarela de vanidades, hecha a base de grandes tenores, virtuosismos exquisitos, situaciones recónditas, detalles fatuos y mundos inalcanzables.
Todo para nosotros, pero sin nosotros. Nuestras vidas, nuestros sueños y nuestros deseos son demasiado vulgares y, desde luego, en absoluto musealizables.

Public Enquiries describes and critically contextualises Kerstin Bergendal's extraordinary and participatory art project PARK LEK, 2010-2014. This complex and multidimensional artwork contested, and ultimately transformed, the local government processes used to reshape a segregated urban area of Stockholm.

Centred around the artist book Cannibal Actif (2017) by Rochelle Goldberg, the authors explore three main vectors: oil, permeability, and cannibalism. As themes discussed throughout Goldberg’s book, these vectors also allow a new materialist reading of Cannibal Actif, one that investigates the intimate and eminently material intra-action between the public and the artist book as such. Moreover, oil, permeability, and cannibalism can ultimately lead us to a different understanding of the “consumption” of contemporary art.

I min avhandling Väntan. Etnografiskt kollage kring ett mellanrum (2009) låter jag välutbildade, medelålders storstadsbor berätta om sin väntan. Ett centralt tema i undersökningen visade sig vara informanternas längtan efter tillfällen för återhämtning, sprickor i tiden i vilka de kunde hitta tillbaka till det liv och till den själsliga närvaro som de upplevde sig ha förlorat i vardagens rutinartade stress. Berättelserna som jag fick till mig uttryckte inte sällan en närmast desperat avsaknad av andningshål för vila, kreativitet och självreflektion. I min undersökning kom väntan snart att artikulera sig som en metafor för vila, för vila och autenticitet i en modern storstadstillvaro i vilken görandet och imiterandet är centralt. I den här artikeln kommer jag att försöka iscensätta mellanrummets retorik så som den ofta presenterar sig i mitt avhandlingsmaterial. Artikelns titel anspelar på den positiva och nästintill poetiska ton som används i beskrivningarna av mellanrummet och hur ...

No decorrer dos �ltimos anos, algumas regi�es da cidade do Rio de Janeiro foram alvo de interven��es do poder p�blico que visavam a �pacifica��o�, isto �, a tomada do controle pelos agentes do Estado de territ�rios ent�o dominados por organiza��es ligadas ao tr�fico de drogas. A partir de um trabalho etnogr�fico realizado junto a uma dessas regi�es foi poss�vel perce-ber que, concomitante � implementa��o dessas a��es, houve um incremen-to do com�rcio local de bens e servi�os. O objetivo deste artigo � analisar as caracter�sticas desses empreendimentos econ�micos e apontar as prov�veis conex�es entre o seu desenvolvimento e a presen�a/aus�ncia/insufici�ncia do poder p�blico naquela regi�o. Tamb�m busco problematizar a defini��o das fronteiras entre legalidade/formalidade/legitimidade e ilegalidade/in-formalidade/ilegitimidade desses empreendimentos, considerando o ponto de vista de diversos segmentos da popula��o local, bem como a vis�o de agentes do Estado e de institui��es financei...

Entre les années 1980 et 2000, la ville de Buenos Aires a connu une multiplication inédite de lieux de culture, alternatifs aux circuits déjà existants. Ces lieux, souvent autogérés par les artistes ou par les habitants des quartiers, réussissent à contourner l'austérité budgétaire en vigueur dans le secteur culturel puis à survivre à la crise économique qui secoue l'Argentine en 2001. Parmi eux, les nouvelles salles du théâtre indépendant, labellisées postérieurement par les programmateurs et la presse sous le vocable « off », sont l'une des manifestations les plus visibles du phénomène. En effet, presque une centaine de nouvelles salles alternatives dédiées à l'activité théâtrale sont ouvertes à Buenos Aires entre la fin des années 1980 et les premières années 2000. Réinvestissant des espaces délaissés, ces lieux de théâtre, ouverts dans des quartiers péricentraux, configurent de nouveaux circuits de création, de diffusion et de socialisation artistique. Ils disposent souvent d'une jauge réduite et d'espaces de représentation « non conventionnels 2 », et accueillent les propositions artistiques les plus prometteuses d'une nouvelle génération d'artistes de la scène argentine des années post-dictature. Ils s'affirment ainsi dans le paysage culturel local comme des exemples de gestion culturelle

Gentrification presents a political problem for cities. Practicing democracy requires a commitment to and preservation of meaningful public space so as to support community voice. Democracy as a political institution requires the ability for diverse publics to gather and encounter one another in order to flourish. Gentrification threatens democratic practices by withering away of public space, and its effects particularly impact communities of color. Gentrification's negative spatial effects reduce the cumulative impact of voices of communities, reduce the diversity and availability of public space, and results in a thinner concept of urban community.

Wayne State University Law School 471 W. Palmer Avenue DETROIT, MICHIGAN 48202 Peter J. Hammer Professor of Law Office: (313) 577-0830 [email protected] September 1, 2014 The Honorable Stephen W. Rhodes United States Bankruptcy Court Eastern District of Michigan 211 West Fort Street Detroit, Michigan 48226 Dear Judge Rhodes: In response to your Order Regarding the Solicitation of Applications to Serve as the Court's Expert Witness on the Issue of Feasibility (April 2, 2014), 1 submitted my name for consideration. You were generous enough to include me in the final list of candidates interviewed in open court. In my application and interview, I raised a number of methodological concerns about the types of analyses and qualifications required to make a meaningful assessment of 1) the reasonableness of the assumptions that underlie the City's cash flow forecasts and projections and 2) the feasibility of the City's Plan of Adjustment (POA). (1) I was particularly concerned t...

A quick Google search of news articles mentioning gentrification found over 6,600 articles during March 2014 alone. City living is back. After half a century of relentless population decline and several false starts at revitalization, residential investment in America's urban centers began to pick up in the mid-1990s. In the ten years between the 2000 and 2010 decennial censuses, the housing stock in America's 50 largest central cities grew by 1.5 million dwelling units, or 8.3% percent. 1 As the Environmental Protection Agency has documented in a series of reports, this "back-to-the-city" construction trend continued even through the Great Recession. Multiple factors underlie this boomlet. Members of the millennial generation (those born between 1982 and 2004) proved themselves less interested than prior generations in getting married, having children, and moving to the suburbs. Urban crime rates fell significantly. Suburban highways became as congested as their urban counterparts. Pushed by successive presidential administrations and Congress, low-cost mortgage money grew more available to moderate-income and minority residents of older neighborhoods, enabling many of them to become homeowners. Between 2000 and 2008, the number of homeowners in America's 50 largest central cities rose by 0.6 million, pushing the homeownership rate to an all-time high of just under fifty percent. Not everyone greeted these changes favorably. Newspaper articles appeared in city after city citing the rising incidence of gentrification-a form of neighborhood change wherein developers and higher-income households buy-up residential properties in low-income neighborhoods for the purpose of inhabiting them, upgrading them, renting them out at a higher rent, or, in some cases, just flipping them. 2 The purported end result is the displacement of long-time and usually poorer residents. Residential upgrading was hardly limited to urban cores. Homebuilders were also hard at work in suburban communities and at the peri-urban edge building millions of large single-family homes. These "McMansions" as they were known, were typically larger than 3,000 square feet and included garage space for three cars. Just as urban upgrading was drawing popular criticism as gentrification, suburban upgrading was drawing comparable attacks for being unsustainable and contributing to sprawl. Of course, not everyone was lucky enough to live in an improving or even stable neighborhood. Behind the newspaper headlines and websites protesting gentrification and McMansion development, large numbers of urban and suburban residents continued living in neighborhoods where public and private investment had failed to keep pace with the ravages of time, depopulation, or economic decline. Not until the subprime mortgage bubble finally popped in 2008 did the vulnerability of both urban and suburban neighborhoods to macroeconomic and forces and financial policies finally become clear.

This article deals with the changes that have taken place in the Supilinn district in Tartu, Estonia due to the gentrification process. The gentrification process affects the cultural, social, economic, and physical environment of the area. People have been interested in this topic since the 1960s. Nowadays, there is also reason to discuss this issue in the context of Estonia and of the Supilinn district. Studying and understanding the processes that take place in the living environment, provides an opportunity to be more aware about them and to influence the development of these processes. This article provides an analysis of the conditions necessary for gentrification in the Supilinn district, describes the process of gentrification, and tries to assess the current developmental stage of the gentrification process. Cities are shaped by their people. Every area has a unique look that is shaped not only by the physical environment, but also by the principles, values, and wishes of i...

Decoloniality is a critical approach that seeks to dismantle the hegemonic and oppressive structures of Eurocentric epistemologies. It promotes reflection on how texts and knowledge production perpetuate othering and oppression. Imag(in)ing decoloniality along with ecocritical thinking, this paper envisions tropical ecology as transcending the constraints of dominant discourses and explores how graphic narrative aids in reconfiguring the boundaries between human subjectivity and decolonial-ecocritical aesthetics. The article emphasises the potential of multimodality to proffer novel approaches for considering the connections between human/nonhuman, nature/culture and the tropical/temperate, and advocates a decanonisation of literary genres to decentralise the power of logocentric discourse. More specifically, the paper examines three eco-graphic narratives-Martina and the Bridge of Time (2020), Dengue (2015), and Bhimayana (2011)-to demonstrate their capacity in articulating coloniality in the tropical environment to highlight the importance of addressing historical and cultural wounds. This intersection of decoloniality, ecocriticism, and graphic narrative, along with the notion of tropicality, allows us to witness the evolution of the fields in an exciting and complex way. In sum, we examine how graphic narrative can act as a decolonial option for the tropics.

The concept of "creative city" is becoming more and more popular in urban development theories. The development of the city was often associated with economic and spatial development. The development of broadly understood culture and creative industries was not always taken into account or appreciated. However, analyzes and studies of cities characterized by dynamic development showed a strong dependence of their development on the factor of creative industries. The concept of a "creative city" was developed and described in detail in his publications by Charles Landry, proving how the creative development of the city stimulates the rest of its life. The aim of the article is to show the practical dimension of the theory of Ch. Landry on the importance of creative industries in city development, based on the idea of the UNESCO Creative Cities Network. Project/methodology/approach: The research method used in the article focuses primarily on the socioeconomic analysis of the development of Polish cities, such as: Cracow, Katowice, Łódź and Wrocław, which are included in the UNESCO Creative Cities group. Findings: Cities that have acquired the status of creative cities undoubtedly have enormous cultural, historical and institutional potential. However, for a city to be creative, tradition and monuments are not enough. Without innovative thinking, noticing the need to invest in the development of "creative industries", and thus attracting representatives of the so-called the creative class responsible for smart and sustainable urban development, none of these cities would be successful. Originality/value: The article's innovation consists in an in-depth analysis of factors favoring the development of cities, with particular emphasis on the development of creative industries. The obtained results of the analysis and the formulated conclusions may allow for the use and implementation of similar solutions in other cities in order to stimulate their future development.

This article presents a study of state-society relations in the context of urban arts and cultural space. Focusing on the suburban Manila town of Angono, Philippines, the article examines how the emergence of place-based cultural activity is supported or obstructed by top-down policymaking, in particular the policy instrumentalization of culture to increase tourism. Divergent interests between the state and artist community are embodied by respective tensions between economic interest and the drive for personal expression. Based on interviews with artists and officials, this study's findings illustrate that power imbalances within the policy making process, principally between government and artists, have led not to the erasure of arts from the public sphere but to a bipartite cultural environment with tourist-oriented art promotion at one end and endogenous local art at the other. This distinction is apparent not only in physical space but also in patterns of interaction between established and emerging artists and between the arts community and local government. The article concludes by outlining how policy can better support cultural authenticity amidst commercial pressures, and how state-society relations are mediated in a creative pursuit whose interest is not exclusively economic.

The history of the Boyle Heights neighborhood of Los Angeles is a chronicle of Los Angelinos struggling against all odds to build community. Over generations, Jewish, African American, Mexican, and Japanese people were pushed to become one community in Boyle Heights, through racially restrictive covenants banning property sales to people of color. Boyle Heights is now a predominantly Mexican neighborhood with a history of anticapitalist, antiracist resistance: against the Vietnam War, against the gang and crack epidemics, against state brutality. This is the place where the coalition of antiwar Chicano activists including the Chicano Moratorium and the “Brown Berets” (who organized student walkouts in the late 1960s) held an antiwar march in 1970 attended by over thirty thousand people. Over the last twenty years, many women residents of Boyle Heights came together through the organization Union de Vecinos and fought to end violence from gang members and from police in their neighborhood, literally negotiating ceasefires between members of rival gangs. These struggles have created a strong sense of identity for the people of Boyle Heights, who want to enjoy the fruits of their labor over the decades.

But the city has a different idea for this neighborhood: after women risked their lives for this tightly knit community, once the neighborhood became “safe,” Los Angeles real estate developers, administrators, and politicians had a newfound interest in its development and began laying down plans for a new arts district, which will result in mass displacement. According to research from Union De Vecinos, over the last twenty years, more than $3 billion has been invested into Boyle Heights by the city and the state, resulting in the displacement of twenty-five hundred families at the hands of development. The Housing Authority actively pushed out families whose members had been formally criminalized or penalized via immigration status, credit, and police records. After decades fighting for their community, Boyle Heights residents are losing their businesses, their neighbors, and their homes, watching with grief as their neighborhood becomes a gentrified ghost of years past and a vulnerable [End Page 389] market for speculative development. And so the resistance continues today, against police brutality, immigration raids, and mass displacement, as Boyle Heights residents fight to protect their neighborhood from being disappeared by the state.

This project of aggressive arts-oriented development in Boyle Heights began with a $36 million “revitalization” project for the Sixth Street Bridge, started in 2015, which would connect the “new arts district” in Boyle Heights with the existing Arts District in Downtown Los Angeles, itself once a thriving multiethnic community that was turned into a gentrified “arts district” through arts-oriented development. The redevelopment has also included an expansion of the Metro public transit line, and the arrival of more than a dozen new art galleries, which took over factories and warehouses that closed after struggling to pay their increasing rents. These galleries were promoted and supported by local politicians, speculated on by investors, and rightly understood by the community to be an advance offense of gentrification. The community saw that Boyle Heights had been slated for specifically arts-oriented gentrification, and therefore an interruption in the arrival of outsider art, artists, and speculators was critical if the community was to stand a chance at protecting the neighborhood against successive waves of gentrification, like real estate development. In real estate parlance, an arts-centered neighborhood is a “beautiful up-and-coming” neighborhood, and a “beautiful up-and-coming” neighborhood is a lot harder to defend. Boyle Heights residents banded together to ask that these artists and gallerists leave their neighborhood. When artists invested in housing rights joined the fight, an alliance was born: B.H.A.A.A.D (Boyle Heights Alliance Against Artwashing and Displacement), made up of members from Union de Vecinos, Defend Boyle Heights, Los Angeles Tenants Union, School of Echoes, and multiple affinity groups of L.A. Artists. B.H.A.A.A.D. named a boycott of the nascent Boyle Heights “arts district” and all its galleries, calling for galleries to close their doors and leave...

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Les formes esthétiques naviguent souvent vers le haut de l’échelle sociale. Quand elles parviennent dans les classes supérieures, on les regarde avec nostalgie. Selon les milieux sociaux, on est satisfait de voir qu’elles ont acquis des atours « artistiques » ou un peu triste de les voir dépossédées de leur caractère spontané, distrayant, de l’énergie et parfois du militantisme de leurs débuts. D’autres formes d’expression prennent le relais, et la BD dans sa forme et par ses origines reste potentiellement populaire, donc véhicule possible de subversion, de transformations, de surprises.

At the nexi between urban aesthetics, power of the affluent elite, property and tourism destinations are complex intersections. These are explored utilising a critical theory approach within the context of neoliberalism and the concept of 'aesthetic common sense' is introduced. New conceptualisations of the ways in which tourists and others are influenced, demonstrate how they, through the processes of commodification and mediatisation, adopt the preferred aesthetics of the affluent elite. Cityscape aesthetics, incorporating both structural, top-down aspects (placemaking) and human agency (place-making) as co-performers in place making, impact on and influence, tourism destinations. An outcome is styled-for-status built environments and streetscapes. This is illustrated through the lens of Malta and its capital city Valletta, which presents a contemporary and dynamic exemplar.

Este artículo fue elaborado a partir de la investigación realizada en el marco de la tesis para optar al grado de Doctor(a) en Sociología por la Pontificia Universidad Católica de Chile, "Gestionando la inseguridad, produciendo ciudadanos: prácticas de cuidado vecinal en el chile neoliberal" (2018). La realización de la tesis y la redacción de este artículo contó con el apoyo de CEDEUS, Proyecto ANID/FONDAP 15110020.

Nous tenons ici à avertir les lecteur.ice.s de ce présent mémoire d'initiation à la recherche que l'identité des personnes interrogées dans le cadre de nos entretiens a été modifiée et réduite au prénom seul, de sorte de préserver l'anonymat de celles-ci. Nous souhaitons souligner que le titre de ce présent mémoire paraphrase celui de l'article de Marie-Hélène Bacqué et Yankel Fijalkow, découvert au cours de la rédaction de ce mémoire, intitulé « En attendant la gentrification : discours et politiques à la Goutte-d'Or (1982-2000) » (2006). Il s'agit donc d'une forme d'hommage à un titre d'article salutaire à notre endroit, tant il illustre avec clarté le travail que nous avons réalisé. Par ailleurs, nous avons également fait le choix de rédiger l'ensemble de ce document en écriture inclusive. De plus, nous avons décidé de nous passer au maximum des acronymes, pour ne pas empêcher la compréhension des non-initié.e.s. En premier lieu, je tiens à remercier Marion Dalibert, la directrice de ce présent mémoire d'initiation à la recherche, dont les cours en analyse critique des médias dispensés au fil de l'année universitaire ont suscité un profond enthousiasme en moi. De même, son implication dans les travaux de recherche menés en effectif réduit m'ont permis de découvrir que la colère pouvait être une excellente incitation à la recherche. Je tiens à souligner ici combien cette idée m'a enchanté. Secondement, je remercie Thierry, Jean-Jérôme et Philippe, les trois personnes avec lesquelles j'ai eu la chance de m'entretenir à l'occasion de mes recherches de terrain réalisées pour ce présent mémoire. Leur sympathie, leur confiance et leur compréhension m'ont été très bénéfiques étant donné qu'il s'agissait ici de ma première expérience de recherche. Enfin, je rends grâce à ma mère, Françoise Le Meur, qui a relu ce mémoire et m'a motivé jusqu'au bout de l'écriture alors que ma tendance à procrastiner m'a encore une fois joué de nombreux tours. Je suis également très reconnaissant envers mon amie Embla Karlsdóttir. Je tiens ici à lui exprimer ma plus profonde admiration, et à célébrer son existence qui donne de la ferveur à mon monde et dont la tendresse me libère de bien des maux.

A travers la presentation de deux operations de rehabilitation d'anciens ensembles architecturaux en logements pour artistes (les Ateliers Mommen et le Cheval Noir), cette communication et l'article qui en est tire abordent les problematiques liees a l'instrumentalisation de la culture par les pouvoirs publics en ville, et les consequences sociales et spatiales liees a de tels projets.

This chapter makes the case for comics as an artistic and narrative form that is particularly capable of capturing the density and dynamism of increasingly global cities, comprising as they both do a complex conglomeration of variously interrelated and unevenly autonomous moving parts. Whether the accumulations of capital that coagulate into points of urban redevelopment and gentrification,for example, or the interstices of slums and favelas that are at different times ignored by and resist- ant to the state, the unequal spaces of today’s cities are brought into a field of mutual play and narrative position by comics and graphic narratives. This aptitude for arresting the sociospatial dynamics of the city has been described variously as a “spatial form” (Fraser) and an “infra- structural form” (Davies), but as numerous critics have agreed, it is always a distinctly urban form (see Ahrens and Meteling). Comprising narrative building blocks and an architecture all their own, comics are able to intervene into the sociospatial dialectic of urban life (see Soja), not only revealing the infrastructure of the city as a material embodiment of competing and often invisible interests but also recalibrating and reconceiving urban space towards more socially and spatially just ends – often from the ground up.

A travers la presentation de deux operations de rehabilitation d'anciens ensembles architecturaux en logements pour artistes (les Ateliers Mommen et le Cheval Noir), cette communication et l'article qui en est tire abordent les problematiques liees a l'instrumentalisation de la culture par les pouvoirs publics en ville, et les consequences sociales et spatiales liees a de tels projets.

This chapter examines an aesthetic clash in the neighbourhood of Bos en Lommer in Amsterdam. One side of the street features decorated satel lite dishes attached to social housing, which constitutes a battleground for otherness. Such dishes are broadly opposed in Dutch public and institutional discourse for being "ugly," which amounts to xenophobia expressed in aesthetic terms. Opposite is a disused school building recently converted to an artspacecumhostel called WOW Amsterdam, a "crea tive incubator" that injects aesthetic difference and thereby the politics of gentrification into the area through foregrounding art, fashion and consumption. I argue that this clash shows how aesthetics are politics, and that the newlyinserted global gentrification aesthetic-following the creative incubator formula-displaces the aesthetics, and politics, of the battle for otherness across the street.