The optics of dispossession: urban precarity as political art. (1st December 2021)

• Record Type: Journal Article
• Authors: Linke, Uli
• Editors: Buchanan, Andy
• Is Part Of: Architecture_media_politics_society. Volume 20:Number 1(2021)
• Publication Date: 2021-12-01
• Subjects: race -- space -- city -- slum -- ghetto -- art -- representation -- optics -- image; Architecture -- Political aspects -- Periodicals; Architecture and state -- Periodicals; Architecture and society -- Periodicals; 720.103
• DOI: 10.14324/111.444.amps.2021v20i1.004
• Languages: English
• ISSNs: 2050-9006

Abstract

Abstract : How are conditions of urban dispossession sustained and perpetuated by the way peoples on the margins of the world economy are imagined and brought to public visibility? With a focus on the works of European artists, this article explores the image-making projects whereby ghettos, shanty communities and favelas are represented as iconic lifeworlds of the poor. Competing representations of urban poverty are manufactured for public attention by aesthetic, symbolic and affective means, ranging from a romance of despair or humanitarian compassion to a nostalgic longing for premodern signs of a deprived but simpler life. In contrast to the racialised human form, which is central to iconographies of the North American Black ghetto, the shanty-town inhabitants and city builders of the Global South are typically rendered visually absent: a tropology of people's disempowerment and dispossession. Although often encoded by a critique of intensifying inequalities, the globalised traffic in urban poverty-art relies on an image-making process that is grounded in a detachment from social life. The representations of urban dispossession tend to produce a repertoire of free-floating emblems and signs that can be variously deployed, assembled, appropriated and discarded. Such visual templates are globally consumed as works of art that can alter urban imaginaries, encourage tourism and local economic development as much as neoliberal subjectification. After analysing a range of such artistic endeavours, this article concludes by focusing attention on how an image-maker's commitment to humanising optics of urban dispossession can transform non-representational art to become a practice of truth.