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GAM 14 Exhibiting Matters

ISBN 978-3-86859-854-4 https://www.jovis.de/de/buecher/reihen/gam-graz-architecture-magazine/product/gam-14.html

GAM.15

GAM.15 will be dedicated to territorial justice. The notion of territorial justice relates to the spatial dimension of social justice; it refers to a system of spatial planning in which everyone is granted the same conditions of access to public goods and services (such as transport infrastructures, social services, health care, education, culture, employment) thus enabling access to the advantages of a societal network. As the gap between the richest and poorest members of society widens, a growing gulf between prosperous and relegated territories is physically manifesting itself; even in Europe. Bernardo Secchi, in his latest manifesto La citta dei ricchi e la citta dei poveri, invited urban researchers to embrace societal responsibilities by striving for territorial justice: “Urbanism,” writes Secchi, “has to assume a major and clearly defined responsibility when it comes to questions concerning the aggravation of social inequalities.” 1 For more than half a century now, the discipline of urbanism has operated on the basis of a growth-dependant paradigm. Its strategies have been based on market-led urban development and have sought to provide community benefits through market profits. The redistribution mechanisms have, however, failed or been eroded over time, leaving us in a state of territorial injustice. Yvonne Rydin, in her 2013 book about the future of planning, 2 urges us to consider values beyond the economic which could considerably drive efforts and new methods in planning and urbanism. Along similar lines, Pierre Veltz draws attention to the “centrifugal effect” of the city 3 and that in Western Europe, middle and low-income households are expelled from cities, towards peri-urban areas, due to real estate speculation. Many of them find themselves in rural communes with few collective amenities, far from the job market. The difficulties of everyday life, in particular housing and transport costs, are, amongst other factors, responsible for the rise of protests in Europe. As Rem Koolhaas rightly speculated, negligence of the countryside and its on-going problematic transformation is possibly a reason for the global trend in populism. 4 Governments, journalists, and scientists are focusing on the city, unaware of the dissatisfaction that lies outside of it. Many factors are contributing to the drastic transformation of extra-urban areas: brain drain, fragile populations (due to disproportionately elderly, poorly educated, new migrant community members), lack of, and distance to, employment, automation of agriculture, or climate change. These current circumstances have resulted in the fact that the countryside, worldwide, is transforming faster than the city. 5 And yet, our urban planning and urbanism disciplines often begin their utterances with the same mantra: “50% of the world’s population lives in cities”—as if the socio-spatial realities of the remaining 50% were not worth studying. Therefore, GAM.15—“Territorial Justice” invites you to look at the territories outside cities through the lens of equality and justice and to explore types of urbanism that encourage the development of well-being, the access to educational, cultural, social and health care infrastructures, as well as energy, water, and green resources. This call invites architects, urbanists, planners, geographers, landscape architects and cultural theorists to provide perspectives that challenge the current system of planning by looking beyond an urbanism that depends on economic growth, thus fostering territorial equality and justice. Abstracts (max. 500 words) on the topic “Territorial Justice” can be submitted, along with a short biography, to gam@tugraz.at by May 7, 2018. The submission deadline for finalized contributions is September 3rd, 2018. 1 “L’urbanistica ha forti, precise responsabilità nell’aggravarsi delle disuguaglianze.” Bernardo Secchi, La città dei ricchi e la città dei poveri (Bari, 2013), p. VII. 2 Yvonne Rydin, The Future of Planning. Beyond Growth Dependence (Bristol, 2013). 3 Pierre Veltz, “Fractures sociales, Fractures territoriales?” in Metis, February 17, 2017, accessed online: January 20, 2018, http://www.metiseurope.eu/fractures-sociales-fractures-territoriales_ fr_70_art_30504.html. 4 See Rem Koolhaas, “Countryside Architecture,” in Icon, September 23, 2014, accessed online: January, 20, 2018, https://www.iconeye.com/architecture/features/item/ 11031-rem-koolhaas-in-the-country. 5 Ibid. 296

AUTORINNEN | AUTHORS Bart De Baere ist Direktor des M HKA in Antwerpen, einem Museum für zeitgenössische Kunst, das sich mit der visuellen Kultur in ihrer Gesamtheit beschäftigt. Im Jahr 2015 hat er die 5. Moskauer Biennale gemeinsam mit Defne Ayas und Nicolaus Schafhausen kuratiert, die vor kurzem im Buch How to Gather (2017) vom M HKA Antwerpen, Witte de With Rotterdam, der Kunsthalle Wien und der V-A-C Stiftung, publiziert wurde. Bart De Baere is the director of the M HKA in Antwerp, a contemporary art museum, dealing with visual culture at large. In 2015 he curated the 5th Moscow Biennale together with Defne Ayas and Nicolaus Schafhausen, which has recently resulted in the book How to Gather (2017), published by M HKA Antwerp, Witte de With Rotterdam, Kunsthalle Wien and the V-A-C Foundation. He is now working with Anders Kreuger and Jan De Vree on the notion of museum research. Ivana Bago ist eine in Zagreb lebende Kunsthistorikerin, Schriftstellerin und Kuratorin. Sie ist Mitbegründerin des Delve | Institute for Duration, Location and Variables (www. delve.hr). Ihr Forschungsinteresse liegt in den Bereichen jugoslawische Kunst, Konzeptkunst, Ausstellungsgeschichte, Kunstgeschichte, Kunsttheorie, Kunst-Geschichtsschreibung nach 1989 und Dekoloniale Ästhetik. Derzeit arbeitet sie an ihrer Dissertation über (post-)jugoslawische Kunst und Ästhetik an der Duke University. Ivana Bago is an art historian, writer, and curator based in Zagreb. She is the co-founder of Delve | Institute for Duration, Location and Variables (www.delve. hr). Her research interests include Yugoslav art, conceptual art, exhibition history, art theory, post-1989 art historiographies and decolonial aesthetics. She is currently finishing her dissertation on (post-)Yugoslav art and aesthetics at Duke University. Ana Bezi ć ist eine archäologische Forscherin, die ebenfalls in anthropologischen und critical studies gearbeitet hat. Ihre aktuelle Forschung untersucht die Schnittstelle, Umsetzung und ethischen Auswirkungen von Kunst und Archäologie an Orten von Massenverbrechen. Derzeit ist sie Visiting Researcher am Cultural Studies Department der Universität von Rijeka. Seit 2009 ist sie Mitglied des Kunsttheorie-Kollektivs Spomenik/Monument Group. Ana Bezi ć is an archaeological scholar with a background in anthropological and critical studies. Her current research explores the intersection, transposition, and ethical implications of art and archaeology in places of mass atrocities. She is currently a visiting researcher in the Cultural Studies Department at the University of Rijeka. Since 2009, she has been a member of the art-theory group Grupa Spomenik/Monument Group. Nicolas Bourriaud ist ein französischer Kunstkritiker, -theoretiker und Kurator. Er ist Mitbegründer und Ko-Direktor des Palais de Tokyo in Paris (2000–2006), und Gulbenkian Kurator für Zeitgenössische Kunst am Tate Britain Museum. Gegenwärtig ist er Direktor des Montpellier Contemporain (MoCo), dem auch das La Panacée Kunstzentrum und die Ecole Supérieure des Beaux Arts und das zukünftige MoCo Museum angehören. Er ist Autor von Relationale Ästhetik (1998), Postproduction (2007), Radikant (2009), und The Exform (2015). Nicolas Bourriaud is a French art critic, theoretician, and curator. He was the cofounder and the co-director of the Palais de Tokyo in Paris (2000–2006) and Gulbenkian Curator for Contemporary Art at Tate Britain. Currently he is director of Montpellier Contemporain (MoCo), including La Panacée art center, Ecole Supérieure des Beaux-Arts and the future MoCo Museum. He is the author of Relational Aesthetics (1998), Postproduction (2007), The Radicant (2009) and The Exform (2015). Maria Bremer ist Kunsthistorikerin an der Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte in Rom. Ihre derzeitige Forschung untersucht das historiografische Potenzial des Mediums Ausstellung. 2017 promovierte sie an der Freien Universität Berlin mit einer Arbeit über die documenta Ausstellungen der 1970er Jahre. Ihre Forschungsschwerpunkte liegen in zeitgenössischer Kunst und Ausstellungsgeschichte mit einem Fokus auf Autorschaft, Kanonisierung und Geschichtsschreibung. Maria Bremer is an art historian at the Bibliotheca Hertziana – Max Planck Institute for Art History in Rome. Her current research explores the historiographical potential of the exhibition medium. She obtained her PhD at Freie Universität Berlin in 2017, with a thesis on the documenta editions of the 1970s. Her research interests lie in contemporary art and exhibition history, with a focus on authorship, canonization, and historiography. Das Museum of American Art in Berlin ist eine Bildungseinrichtung, die sich dem Zusammenfügen, Erhalten und Ausstellen von Erinnerungen an das MoMA International Programm und seiner Wechselausstellungen, widmet. Es sind diese meist von Dorothy Miller kuratierten MoMA Ausstellungen, die geholfen haben, im Westeuropa der Nachkriegszeit eine gemeinsame kulturelle Identität basierend auf Internationalisierung, Modernismus und Individualismus zu etablieren. Zusätzlich zu den Dauerausstellungen in der Stalinallee 91 in Berlin besitzt das Museum mehrere Sammlungen, die bei unterschiedlichen Ausstellungen gezeigt werden. The Museum of American Art in Berlin is an educational institution dedicated to assembling, preserving, and exhibiting memories on the MoMA International Program and its circulating exhibitions. It is those MoMA exhibitions, most of them curated by Dorothy Miller, that helped to establish in western Europe the post-war common cultural identity based on internationalism, modernism, and individualism. In addition to its permanent exhibits located at Stalinallee 91 in Berlin, the museum holds several collections shown at various exhibitions. Ekaterina Degot ist Kunsthistorikerin, Kunstkritikerin und Kuratorin. Sie befasst sich insbesondere mit ästhetischen und soziopolitischen Aspekten der Kunst in Russland und Osteuropa. Sie lehrte an russischen, europäischen und US-amerikanischen Universitäten, kuratierte u.a. den russischen Pavillon bei der Biennale von Venedig 2001, die erste Ural Industrial Biennale in Jekaterinenburg (2010) und entwickelte 2012 die Diskussionsplattform der ersten Kiew Biennale für Gegenwartskunst Arsenale „Kunst nach dem Ende der Welt“. Seit Januar 2018 ist sie Intendantin und Hauptkuratorin des Steirischen Herbst in Graz. Ekaterina Degot is an art historian, art critic, and curator. She has taught in Russian, European, and US-American Universities and curated, amongst others, the Russian pavilion at the Venice Biennial in 2001 as well as the first Ural Industrial Biennial in Jekaterinenburg (2010). In 2012 she developed “Art after the End of the World”, a discussion platform of the Kiev Biennial of Contemporary Art. In January 2018 she has been appointed intendant and main curator of the Steirischer Herbst in Graz. Ana Devi ć ist Kuratorin und lebt Zagreb. Sie ist aktives Mitglied des Kollektivs What, How and from Whom/WHW, das seit 2000 aktiv ist. WHW hat zahlreiche Ausstellungen kuratiert, wie zum Beispiel: “What keeps mankind alive?”, 11th Istanbul Biennial (2009) und “Really Useful Knowledge” MNRS, Madrid, (2014). Sie interessiert sich für diverse Situationen, in denen, wie T.J. Clark es definiert, Kunst und Politik einander nicht entkommen können. Sie ist Doktorandin an der Universität von Zadar. Ana Devi ćis a curator based in Zagreb. She is a member of the collective What, How and from Whom/WHW, active since 2000. WHW curated numerous exhibitions, such as: “What keeps mankind alive?” at the 11th Istanbul Biennial (2009) and “Really Useful Knowledge” at the MNRS, Madrid, (2014). She is interested in various situations, in which, as T. J. Clark defines it, art and politics could not escape each other. She is a doctoral candidate at the University of Zadar. Anselm Franke lebt und arbeitet als Kurator und Autor in Berlin. Seit 2013 ist er Leiter des Bereichs Bildende Kunst und Film am Haus der Kulturen der Welt. Zuvor war er Kurator an den KW Berlin und Direktor der Extra City Kunsthal in Antwerpen. Mit Stefanie Schulte Strathaus gründete er 2005 das Forum Expanded der Internationalen Filmfestspiele Berlin und ist seither Ko-Kurator. Anselm Franke lives and works in Berlin as a curator and author. He has been the head of the Department of Visual Arts and Film at Haus der Kulturen der Welt since 2013. He previously worked as a curator at KW Berlin and as director of the Extra City Kunsthal in Antwerp. In 2005 he and Stefanie Schulte Strathaus founded the Forum Expanded for the Berlin International Film Festival of which he has been co-curator since. Andrew Herscher ist Gründungmitglied einer Reihe von militanten Forschungskooperationen, wie etwa des We the people of Detroit Community Research Collective, Detroit Resists, und der Commune Research Commune. In seiner wissenschaftlichen Arbeit untersucht er die Architekturen von politischer Gewalt, von Migration und Vertreibung und von Widerstand und Selbstbestimmung an einer Reihe von Orten weltweit. Derzeit ist er Associate Professor an der University of Michigan. Andrew Herscher is a co-founding member of a series of militant research collaboratives including the We the People of Detroit Community Research Collective, Detroit Resists, and the Commune Research Commune. In his scholarly work, he explores the architecture of political violence, migration and displacement, and resistance and self-determination across a range of global sites. He is currently an Associate Professor at the University of Michigan. Christian Inderbitzin studierte Architektur an der ETH Zürich. 2005 gründet er zusammen mit Elli Mosayebi und Ron Edelaar ein eigenes Architekturbüro in Zürich. Bis 2015 arbeitete er als wissenschaftlicher Assistent am ETH Studio Basel. Danach war er Gastdozent an der TU Graz, Gastprofessor an der École polytechnique fédérale in Lausanne. Derzeit unterrichtet er zusammen mit Elli Mosayebi und Ron Edelaar an der ETH Zürich. Christian Inderbitzin studied architecture at the ETH Zurich. In 2005 he founded his own architectural office together with Elli Mosayebi and Ron Edelaar. Until 2015 he worked as a research assistant at ETH Studio Basel. After that he was a guest lecturer at TU Graz and taught as a guest professor at the École polytechnique fédérale in Lausanne. He is currently teaching together with Elli Mosayebi and Ron Edelaar at the ETH Zurich. Branislav Jakovljevi ć ist Associate Professor und Leiter des Lehrstuhls für Theater und Performance an der Stanford University. In seiner Forschung beschäftigt er sich mit Avantgarde und Experimentaltheater, Performance-Theorie, Performance und Politik 297