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084 Issue # 11/11 : PublIc Issues göre s¸ekillenir ve sonra mekân da yas¸ama göre s¸ekillenir. Koms¸uluk paylas¸ımı önemli, ancak o zaman mübadeleden bahsedebiliriz. Deneyimlerimiz farklı tabii ama kendini o öteki denen kis¸inin deneyimine açtıg˘ın oranda ötekilik farklılas¸abilir. Örneg˘in mahallede yas¸am biçimi farklı olan, azınlıktaki kis¸iler olarak belki de öteki olan bizlerdik. Bu "öteki" rolünün de sürekli yer deg˘is¸tirmesi sag˘lıklı deg˘il midir? Muktedir kılmak (empowerment) çok büyük bir iddia, bu demek oluyor ki, "güç bizde". Bunu neden birlikte yapı- lan bir s¸ey olarak ele almıyoruz? O noktada kis¸ilerin güçlendirilmesinden deg˘il mekânın, gündelik yas¸amın güçlendirilmesinden bahsedebiliriz. Güçlendirme tek bir tarafın yapabileceg˘i bir s¸ey deg˘il bence. Hele ki kent mekânından beslenen, kentin dinamig˘iyle ayakta kalan Oda Projesi tek bas¸ına bir güç olus¸turamaz. Açık uçluluk Derya: Oda Projesi'nin is¸lerinde "açık uçluluk"un rolü nedir? Claire Bishop October dergisinde yayınlanan yazısında "açık uçluluk" meselesini tartıs¸ıyor ve bunun problemli bir sanatsal strateji oldug˘unu söylüyor. 39 Sanat eg˘er politik mesaj vermek istiyorsa bunu "açık uçluluk" la deg˘il, izleyicisine kendini sorgulatan "yıkıcı" (disruptive) jestlerle yapabilir ancak diye düs¸ünüyor. Özge: Açık uçluluk bence bir ortamı paylas¸an kis¸ilerin (bizler de dahil) eylem halindeyken çok farkında olmadıg˘ı bir s¸ey. Bu süreç içinde belirlenir, yani bir projeyi en bas¸ından "açık uçlu" olarak kurgulayamayız. Katılımcıların ilis¸ki kurma arzusu devamlılık gösteriyorsa ya da bir etki/tepki durumu olus¸abildiyse ancak proje açık uçlu hale gelir. Sürece bir son nokta koymamak, ya da nokta kondug˘u anda yeni bir cümle ile devam etmek gibi. Yani açık uçluluk içinde de "bitmis¸ ürün"den bahsedebiliriz aslında. Ürün gibi duran nesnenin aslında bir araç is¸levi görüyor olus¸u "açık uçlulug˘u" tanımlar. 39 Bishop 2004.
085 Issue # 11/11 : PublIc Issues community-in-themaking Siri Peyer in an E-mail-Conversation with Jeanne van Heeswijk, conducted from February to June 2011 siri Peyer: Dear Jeanne, before talking about some of your work more specifically, I wanted to ask you if you have a theoretical understanding or explanation of how you define public space? Jeanne van Heeswijk: Public space in most of our contemporary cities is highly regulated. The term suggests that social interaction is obviously implied, but actually it is not. We see more and more people feeling left out in what is often a clinical understanding of the public domain. Something we often seem to forget is that the public domain is not evident. It is a source of conflict between residents, developers, and government. Just to be clear: the public domain is more than what we describe as public space: it is the actual physical space, the social interaction, the media, and the means of communication. All of these together determine someone's living environment. It concerns the space in which people live, and the relationships both with each other and with the outside world. To become an active citizen, you are not only a user of public space but you are also engaged in its creation and are an integral part of the image (imagining) of that space. The public domain is based on the meeting and confrontation of people, cultures, and ideas. It is exactly in that confrontation that new ideas and social formations originate. Public life is but for a small part oriented toward the physical environment. Furthermore, it is much more a process of social, economic, and cultural activities that move – certainly today – on various scale levels. At the heart of the processes, and especially those around which urban life revolves, cultural interventions are often the only manner in which an engagement in these processes can again be generated. We must no longer view the public domain solely as the result of economic and legal considerations, but instead we can start viewing and using it as the (per)formative basis of a community-in-the-making. Has this understanding changed because of your practical experience? For this it is important that more friction is created. For friction to occur, there must be more communal participation in that space. To realize this communal use, people must feel that the space actually be- longs to them. The question for me became to create places in which we, in discussion with one another, can face up to the confrontation in order to address one another as co-producers of the city. Can we make this arena of tension visible and develop instruments that make it possible to intervene? Can we collectively develop a public domain in which everyone has a place? And can we then develop the instruments that enable people to genuinely shape, deepen, sharpen, or question their daily surroundings. This needs a form of reciprocity, an exchange of knowledge, collectivization, and cohabitation in the process. (fig. 1,2) To assist the building of urban spaces that allow for cultural, social, economic, and political changes, I started to create platforms where people are able to encounter each other and where, on the basis of the meetings that take place, they can construct representations of their environment. In other words, I intervene in a given situation in such a way that those involved can increase the number and intensity of their ties. To this extent, I propose action programmes, incitements to conversation, sites of exhibition, and systems of circulation. For this, a practice of dealing with questions of urban spaces is needed, one that 1 — Freehouse – Tomorrow's Market - speak your mind, 2009, Rotterdam South. Photo: Jeanne van Heeswijk 2 — Freehouse – Tomorrow's Market — show your style, 2009, Rotterdam South. Photo: Marcel van der Meijs
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