Date: September 13-14, 2018
Venue: Herder Institute, Marburg, Germany
Organizers: Olga Sezneva, Department of Sociology, University of Amsterdam, Eszter Gantner, Herder Institute for Historical Research on East Central Europe
From the works of Walter Benjamin to writings of Andreas Huyssen, cities have been recognized in their role as depositories of history and memory. Different cities performed differently in this role, of course. Issues of ‘truth’ and ‘distortion’, ‘silencing’ and ‘forgetting’ were at the forefront of public discussions during the period of 1990s’ transitions in Eastern Europe and Russia (Czaplicka, Gelazis and Ruble, 2009). As capitalist economies took root and the ‘heritage industry’ expanded, political uses of the past gave way to its commercial exploitation (Labadi & Logan, 2015; Samutina and Stepanov, 2014). Quarter-of-a-century after the fall of the Berlin Wall, socialism and its legacy are no longer debated in terms of either ‘truth’ or ‘lie’ but urban ‘atmospherics’: structures of feelings, which are spatially generated but temporally significant. Artists are often the chosen agents of these creations who put their creative practices toward the reinscription of meaning and alternative activation of urban spaces (Goebel 2015).
Our is to examine and extend the existing knowledge about the political potential of heritage in the context of the post/socialist city, in the past and present.
We understand ‘heritage-making’ as an open-ended process by which urban built environment is positioned as valuable and socially and culturally significant for a group or a community across generations. The focus of the workshop, therefore, is on the tangible form primarily, or its mediated representations (as, for instance, in the case of digital reproductions). By ‘protest’ we mean practices subversive of the established political order, urban civic initiatives or outright protests. What unites these categories of action is the ethos of change, however implicit or ineffective from the point of view of achieving it.
History has taught us that under authoritarian regimes, it is often the artistic practices, including performance, that carried the political weight and expressed discontent — a role that may be relevant again for arts and artists in the current political climate of Eastern Europe and Russia. As this might be the case, trajectories of performative traditions of non-conformist art of the social period, and their possible influence on the current subversive practices form our special point of interest.
The workshop will take place on September 13 afternoon, concluding on September 14, afternoon.
Herder Institute has a limited number of travel grants to cover the participants’ commute and one night at a hotel. Participants are encouraged to seek support from their home institutions, where it is possible.