Search

The article unpacks the multiple political implications of commissioned murals in contested urban space. It examines public artwork in Hogan’s Alley, a historically Black neighborhood in Vancouver, BC, situated on the unceded Indigenous territories of the Musqueam, Squamish, and Tsleil-Waututh Coast Salish Nations. Drawing from ethnographic field research and semi-structured interviews with local artists, policymakers and community activists, I read the mural Remember Hogan’s Alleny (2019), covering the sidewall of a subsidized housing project, as a contested public space. In this conflictual space, multiple pasts appear, disappear and reappear, oscillating between the celebration of Black culture, food and entertainment and the systematic displacement of Black residents and businesses. By contrasting diverging rationales, expectations and dreams regarding murals’ contributions to memory-making and cultural reconciliation, I trace where and how conflicts about public art inscribe themselves into the urban cultural fabric. The article intervenes into the predominantly ‘positive’ discussion of sanctioned public art to develop a more conflict-attuned understanding of artworks placed in the public realm. It deploys a framework of hauntology to discuss the appearance of ghosts invited into the public realm via official art commissions. These ghosts, becoming visible on urban walls via acts of placemaking, conjure memories of spatial displacement and racial discrimination, as well as stories of community care and healing. In sum, the article argues that the analytic of ghosts assists to foster an understanding of public art as always-already conflictual, thus inviting to stay with conflicts of belonging and memory, rather than to suppress them or shy away. By reflecting on what public art does politically – unpacking diverse narratives of the past that continue to mark present racial inequalities – the article contributes to sketching a conflict-oriented understanding of public space that is needed in cities wounded by racism and displacement.

The paper explores the politics of (dis)assembling borders within Europe. It examines the performance of the Berlin-based artist collective Zentrum für Politische Schönheit (Center for Political Beauty, ZPS) in 2014, in which artist activists temporarily removed white border crosses commemorating death at the former Berlin Wall. With this unauthorized displacement, ZPS sought to problematize ongoing violence and death at European borders. Via a three-part analysis of the performance Erster Europäischer Mauerfall (First European Fall of the Wall), the paper outlines a political framework for understanding art around and against borders – contributing to accounts on border art and the politics of borders. Staged as critique against the official commemoration of the 25th anniversary of the Fall of the Wall, perceived by ZPS as festivalized and thus apolitical event, the multiple performance acts highlight material and emotional movements. They oscillate between past and present border death, commemorated and forgotten border objects, bodies, places. In particular, ZPS aimed to denounce (implicit) hierarchies regarding how and whose death at European borders is remembered via acts of (dis)assembling. By unsolicitedly (re)moving Berlin’s border crosses (Act I), mobilizing over 100 activists to dismantle border fences and temporarily installing replica crosses at Southern EU borders and placing them in the hands of contemporary refugees (Act III), ZPS mobilized public concern about contemporary border politics and commemoration. The paper contributes to border studies that view borders as inherently complex and contingent symbolic, socio-spatial arrangements, which affect and are affected by objects, bodies, and policies that oscillate between contested absence and presence. Accompanied by controversial media coverage, the performance gathered (im)mobile bodies, moving objects, and multiple emotional responses about the what, where and who of Europe. Ultimately, politics of (dis)assembling unfold absence and presence to articulate mo(ve)ments of ‘the political’ as contestation against complacency and border violence.