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The Artistic Mode of Revolution: From Gentrification to Occupation →

lovearth:

Artists are hardly unaware of their positioning by urban elites, from the municipal and real estate interests to the high-end collectors and museum trustees. Ironically, perhaps, this is also the moment in which social engagement on the part of artists is an increasingly viable modality within the art world, and young curators specialize in social practice projects. Many artists have gone to school in the hopes of gaining marketability and often thereby incurring a heavy debt burden. Schools have gradually become the managers and shapers of artistic development; on the one hand, they prepare artists to enter the art market, and on the other, through departments of “public practice” and “social practice,” they mold the disciplinary restrictions of an art that might be regarded as a minor govern­ment apparatus. These programs are secular seminaries of “new forms of activism, community-based practice, alternative organization, and participatory leadership in the arts” that explore “the myriad links between art and society to examine the ways in which artists … engage with civic issues, artic­ulate their voice in the public realm.”

To look again at the United States—but not only there—arts and architecture institutions are quite pleased to be swept along by the creative-class urban-planning tide. The distinctly old-economy, luxury-vehicle maker BMW has joined with the Guggenheim Museum to create “a mobile laboratory traveling around the world to inspire innovative ideas for urban life,” with the names of some high-profile artist and architect attached. The “Lab” firmly ties the corporation, the museum, architecture, art, and entertainment to the embourgeoisement of cities.. Urban citizenship has replaced other forms of halo-polishing for so-called corporate citizens. By the way, they all like bikes. As does Urban Omnibus—which also likes “Art as urban activator.”

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