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Künstlerische Praxis in der neoliberalen Stadt
Series: Urban Studies
Zur Politik der Ästhetik

216 OLIVER SCHEYTT [ID]FACTORY: The Thought Factory 217THE THOUGHT FACTORY The [ID]factory is a space for reflection on utopias, social movements, pedagogical experiments and participatory processes. A heterotopia in Foucault’s sense, with an accordingly non-linear orientation and a suf- ficient amount of indeterminate space. In the same way as Laumann un- derstands the museum as an alternative, unruly place, a place where the new is possible, ‘otherness’ can manifest, suppressed knowledge can sur- face, and counter-narratives find their place.1 We see the

medium or vehicle for performance, theatre, and conceptual art practice. Within these evolutionary strains, leftist theories and practices of the body as they appeared in Taiwanese culture are aspects worth pursuing and contextualizing. They came into being along with the re-evalua- 1 | Wang Mo-lin is a pioneer of Taiwan’s lit tle theatre movement. The quote is taken from a conversation between Wang Mo-lin and Amy Cheng which took place in March of 2012. Amy Cheng146 tion of social and cultural consciousness and Taiwan’s many social movements of the 1980s

University of Hildes- heim. In her work she focuses 332 on a current understanding of transculturality in the field of curatorial practice and art mediation with special re- gard to documenta. (Pages 213–230) • Antigoni Memou is Senior Lecturer in Art History at the School of Arts and Digital Industries at the University of East London. Her book Photography and Social Movements: From the Globalisation of the Move- ment (1968) to the Movement Against Globalisation (2001) was published by Manchester University Press in 2013. (Pages 75–88) • Birgit Mersmann

necessary. Zheng: I don’t think you can separate his ability to idyllise sexuality from his use of Shaanxi paper cutting as an artistic medium. I think the surprising thing for me is how, by using a traditional artistic medium, he’s able, to some extent, to deal with the effects of modern power dynamics. It’s hard to really say that Xi Ya Die’s work is directly related to gay rights, gay marriage or other such social movements. But by using these traditional paper cutting techniques to portray the human body and the vitality that animates it, he’s making a statement

Class“ legte Edward P. Thompson 1963 eine Studie vor, die auf die (Selbst-)Erschaffung der Arbeiterklasse (statt ihrer automatischen Entstehung aus den Produktionsverhältnissen) abhob und die für die soziale Bewegungsforschung zentral wurde: So rekurrieren auch Arturo Escobar und Sonia Alvarez in ihrem Buch „The Making of Social Movements in Latin America“ (1992) auf Thompson. Mit dem Ansatz von Escobar und Alvarez wiederum wurden kulturwis- senschaftliche Ansätze in die sozialwissenschaftliche Bewegungs- forschung integriert (vgl. Kaltmeier/Kastner/Tuider 2004). JENS

, in the same way as the figure of the fragment orients contemporary thinking. Both had an important role concerning the way to observe, interpret and build the city. We find the traces of them not only in discourses about the city, but also in the physical constitution of the same modern and contemporary city. We find them in the discourses of architects and urbanists, but also of all the scholars crossing the depth of social movements. We find them in literature, in the visual arts as in ver- nacular language. They cross, meeting great resistance, the space

. 2008. “Drawing Escape Tunnels through Borders; Cartographic Research Experiments by Eu- ropean Social Movements.” In An Atlas of Radical Cartography, ed. Lize Mogel and Alexis Bhagat, p. 63-64. Los Angeles: The Journal of Aest- hetics & Protest Press. Colomina, Beatriz. 1994. Privacy and Publicity; Modern Architecture as Mass Media. Cambridge/London: The MIT Press. Corner, James. 1999. “The Agency of Mapping.” In Mappings, ed. Denis Cosgrove. London: Reaktion Books. Cosgrove, Denis. 2006. “Cartocity.” In Else/Where: Mapping. New Carto- graphies of Networks and

conditions are they made? And where do they circulate? What is their relation to legal and political discourses? How are social movements appropriating these im- ages, transforming them for their own ends? And under what circum- stances can these images develop a momentum of their own? The rep- resentation of illegalization can only be properly analyzed in relation to the actual concrete form: This requires the analysis of the actual visual images, fi gures, symbols, narratives, metaphors—the material forms— in which symbolic meaning is circulated. Images and their