The Journal of Public Space <h2>&nbsp;</h2> <h2><strong>"Public space </strong>in cities is a common good, meant to be open, inclusive and democratic,&nbsp;<strong>a fundamental human right for everybody</strong>."</h2> <p><span style="text-decoration: underline;"><strong><a href="" target="_blank" rel="noopener">Dr Luisa Bravo</a></strong></span><br><em>The Journal of Public Space</em>, Founder and Editor in Chief<br><em>City Space Architecture</em>, Founding Member and President<br>(from the <span style="text-decoration: underline;"><strong>statement</strong></span> submitted at the <span style="text-decoration: underline;"><a href="" target="_blank" rel="noopener"><strong>26th UN-Habitat Governing Council</strong> </a></span>held in Nairobi, Kenya, 8-12 May 2017 - reat the full statement <strong><a href="" target="_blank" rel="noopener">here</a></strong>)<br><strong>Stand up for Public Space!&nbsp;</strong> |&nbsp; UN-Habitat Global Urban Lecture by Dr Luisa Bravo (click <span style="text-decoration: underline;"><strong><a href="" target="_blank" rel="noopener">here</a></strong></span>)&nbsp; |&nbsp; A global campaign launched at the Habitat III conference in Quito, Ecuador, 2016 (click <span style="text-decoration: underline;"><strong><a href="" target="_blank" rel="noopener">here</a></strong></span>)</p> <p>&nbsp;</p> <p>The Journal of Public Space (<strong>ISSN 2206-9658)</strong> is a research project developed by <strong><a title="City Space Architecture" href="" target="_blank" rel="noopener">City Space Architecture</a></strong>, a non-profit organization based in Italy&nbsp;in partnership with <strong><a title="UN HABITAT" href="" target="_blank" rel="noopener">UN-Habitat</a></strong>,&nbsp;the United Nations Human Settlements&nbsp;Programme, based in Kenya.<br>The Journal of Public Space is the first, international, interdisciplinary, academic, open access journal entirely dedicated to public space. It speaks different languages and is open to embrace diversity, inconvenient dialogues and untold stories, from multidisciplinary fields and all countries, especially from those that usually do not have voice, overcoming the Western-oriented approach that is leading the current discourse.<br>As a proper public space, The Journal of Public Space is free, accessible and inclusive, providing a platform for emerging and consolidated researchers; it is intended to foster research, showcase best practices and inform discussion about the more and more important issues related to public spaces in our changing and evolving societies.</p> <p>&nbsp;</p> <p>Read more about the <a title="JPS Editorial Team" href="" target="_blank" rel="noopener">Editorial Team</a>.</p> City Space Architecture en-US The Journal of Public Space 2206-9658 <p>The Authors retain copyright for articles published in The Journal of Public Space, with first publication rights granted to the journal.&nbsp;Authors who publish with The Journal of Public Space agree to the following terms:<br>a. authors retain copyright and grant the journal right of first publication with the 'Work' simultaneously licensed under a Creative Commons Attribution Licence that allows others to share the Work with an acknowledgement of the Work's authorship and initial publication in this journal.<br>b. authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the 'Work' (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.<br>c. authors are permitted and encouraged to post their 'Work' online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published Work (see The Effect of Open Access - <a href="" target="_blank" rel="noopener"></a>).<br>Articles in this journal are published under the Creative Commons Attribution Licence (CC-BY-NC) -&nbsp;<a href="" target="_blank" rel="noopener"></a>. This is to get more legal certainty about what readers can do with published articles, and thus a wider dissemination and archiving, which in turn makes publishing with this journal more valuable for you, the authors.<br><span style="text-decoration: underline;">Creative Commons Attribution Licence (CC-BY-NC)</span> – what does that mean?<br>You are free to:<br>• <strong>Share</strong> - copy and redistribute the material in any medium or format<br>• <strong>Adapt</strong> - remix, transform, and build upon the material for any purpose, even commercially.<br>The licensor cannot revoke these freedoms as long as you follow the license terms.<br>Under the following terms:<br>• <strong>Attribution</strong> - You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.<br><strong>• NonCommercial</strong> — You may not use the material for commercial purposes.</p> Vol. 5 n. 4 | 2020 | FULL ISSUE <p><strong>Art and Activism in Public Space<br></strong>Editors: Luisa Bravo, Maggie McCormick, Fiona Hillary</p> <p>&nbsp;</p> <p><strong>DISCLAIMER</strong>: The designations employed and the presentation of the material in this journal do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries, or regarding its economic system or degree of development. The analysis, conclusions and recommendations of this publication do not necessarily reflect the views of the United Nations Human Settlements Programme. Reference in this journal of any specific commercial products, brand names, processes, or services, or the use of any trade, firm, or corporation name does not constitute endorsement, recommendation, or favouring by UN-Habitat or its officers, nor does such reference constitute an endorsement of UN-Habitat.</p> Luisa Bravo ##submission.copyrightStatement## 2020-12-01 2020-12-01 5 4 1 384 10.32891/jps.v5i4.1448 Reviewing and Speculating on Public Space Futures through a New Lens <p>This ‘Art and Activism in Public Space’ special issue of The Journal of Public Space reflects the dilemmas of the COVID-19 era and its impact on public space across the globe. While this issue’s beginnings were pre-COVID, its publication was impacted by the pandemic both in its timeline and in how the portfolios and articles will be read through a new lens. This issue presents a collection of projects from across Estonia, Finland, Italy, China, United Kingdom, Australia, Spain, Mexico, United States of America, Colombia, Japan, Cyprus, Hong Kong, Singapore, Canada, Denmark, Germany, Greece, Poland, Egypt. The portfolios and articles assert the important role of multidisciplinary inquiry and the integration of practice and theory in the investigation into and the active creation of, the complex and changing state of public space. The experience of a global pandemic and the increase in digital networks has led to a reviewing of the role of public space and fostered speculation on new approaches to public space culture.</p> Luisa Bravo Maggie McCormick Fiona Hillary ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 1 6 10.32891/jps.v5i4.1445 Art and Environmental Action, One Bird at a Time <p>The environmental problems of climate change and species decline can feel overwhelming. Individuals are often at a loss, questioning what impact they can actually have. Through chART Projects, we have witnessed the dramatic effect of community-engaged art as a direct path to environmental action and impact on local ecosystems. During the 27<sup>th</sup>International Ornithological Congress, bird enthusiasts from around the world focused their attention on Vancouver, Canada. This article is a reflection on how chART took advantage of this assembly, creating an ambitious venture aiming for a sustainable effect on the public’s relationship to urban birds. <em>As the Crow Flies</em> was a public art project bringing creative connections to urban birds directly into the hands of the public. Works included sited-sculpture, community-engaged interventions, projections, workshops, performances, and 6,000 ceramic crows.</p> <p>chART’s founder, Cameron Cartiere has been working with an interdisciplinary team to address the loss of pollinators through <em>Border Free Bees</em>. That research project used environment-based art to engage communities to take positive action in order to improve conditions for pollinators, with tremendous success. <em>As the Crow Flies</em> took a similar approach to highlight the loss of bird species and actions individuals could take to improve the odds for their feathered neighbours.</p> Cameron Cartiere ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 7 24 10.32891/jps.v5i4.1311 Play as a Player in Design <p>‘Move the Neighbourhood’ is a research project experimenting with co-designing playable installations for a public green space in Copenhagen through a design-based collaboration between children and design-researchers.<br>We employed a co-design process to investigate whether deconstructing the rules for both play and design could trigger new ways of thinking about playable spaces. The aim was to test a participatory process in order to identify what might be meaningful in relation to both play and designing for play, along a spectrum ranging from rules to collaborative improvisation. Our fieldwork cultivated what Haraway calls ‘response-ability’ in a ‘curious practice’ that explores the unanticipated in the collaboration between children and designers.<br>The metaphor of a ‘jelly cake’ from play-research was used to illustrate the messiness of play and to frame the discussion on collaborative design. We see play as a serious co-player that evokes collective worlds through productive, messy fields of action, and enables actors to engage in the co-design of playable public space.<br>In this article, we investigate how play can create agency, spark imagination and open up practices in both artistic and academic processes. Drawing on Barad’s concept of ‘intra-action’, we investigate design/play as a dynamic engine for exploring collaborative design practices as a dialogue between art, play and co-design.</p> <p>&nbsp;</p> Laura Winge Anne Margrethe Wagner Bettina Lamm ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 25 44 10.32891/jps.v5i4.1312 Where's the "Public" in Public Art <p>This paper analyses five public art projects exhibited in documenta 14 in Athens in 2017 that redefine and interact with the public space and therefore, form three different narratives on public space. These narratives are outlined according to the different interpretations of ‘public space’, ‘public sphere’ and democracy by the various artists. Our argument is structured as follows; firstly, we present an analysis of public art and its basic features drawing from contemporary literature. Secondly, we provide a number of key facts regarding documenta and documenta 14, outlining the main reasons we selected it as a reference point. Thirdly, we describe the three narratives about public space that we came up with after our field research and interviews with the respective artists: Sanja Iveković, Joar Nango, Rasheed Araeen, Mattin and Rick Lowe. We then discuss the relations between them and develop a model that unravels the way artists explore the public domain, look for locations, and redefine public space and the lived experience in the city. To do so, we engage with theoretical approaches as well as elaborations on specific artworks that engage the shifts and changes of the lived urban experience through art.</p> Danai Liodaki Giorgos Velegrakis ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 45 66 10.32891/jps.v5i4.1391 The Hope of Something Different <p>Educational theorist Gert Biesta proposes that we need to be “in the world without occupying the centre of the world.” (Biesta, 2017, p. 3). This injunction provides a frame with which to interrogate the hybrid practice of ecoart. This practice can be characterised by a concern for the relations of living things to each other, and to their environments. Learning in order to be able to act is critical. One aspect is collaboration with experts (whether those are scientists and environmental managers or inhabitants, including more-than-human). Another is building ‘commons’ and shared understanding being more important than novelty. Grant Kester has argued that there is an underlying paradigm shift in ‘aesthetic autonomy’, underpinned by a ‘trans-disciplinary interest in collective knowledge production’. (2013, np). This goes beyond questions of interdisciplinarity and its variations to raise more fundamental questions of agency. Drawing on the work of key practitioner/researchers (Jackie Brookner (1945-2015); Collins and Goto Studio, Helen Mayer Harrison (1927-2018) and Newton Harrison (b 1932)) and theorists (Bishop, Kester, Kagan) the meaning and implications of not ‘occupying the centre of the world’ will be explored as a motif for an art which can act in public space.</p> Chris Fremantle ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 67 86 10.32891/jps.v5i4.1385 #unmaskedselfiesinsolidarity <p>Contemporary mobile media affords new insights into social and creative practices while expanding our understanding of what kinds of public space matter. With the continual rise of the social in contemporary art which sees relationships as the medium, smartphones have become important devices for individual political expression, social exchange and now contemporary art. This article draws on media studies and contemporary art theories to discuss <em>#unmaskedselfiesinsolidarity</em> (2020), a socially engaged artwork engaging more than 300 contributors in a few short weeks within the online and physical spaces of RMIT University in the heart of Melbourne, Australia. This artwork was instigated during the initial February 2020 outbreak of the coronavirus in Wuhan, China in response to expressions of fear and isolation, travel bans, and growing racism targeting international students. It employed one of the most pervasive barometers of popular and public culture today, the selfie. Through its messages of care alongside signs of solidarity from Chinese students suffering anxiety and isolation, <em>#unmaskedselfiesinsolidarity</em> moved individual selfie expressions of identity into the realm of socially engaged arts and public space.</p> Klare Lanson Marnie Badham Tammy Wong Hulbert ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 87 106 10.32891/jps.v5i4.1390 Film Intervention in Public Space <p>Cinema has taken up the role of a social agent that introduced a variety of images and events to the public during critical times. This paper proposes the idea of using films as a tool to reclaim public space where a sense of belonging and dialogue restore to a meaningful place. During the January 2011 protests in Egypt, Tahrir Cinema, an independent revolutionary project composed of filmmakers and other artists, offered a space in Downtown Cairo and screened archival footage of the ongoing events to the protestors igniting civic debate and discussions. The traditional public space has undergone what Karl Kropf refers to as the phylogenetic change, i.e. form and function that is agreed upon by society and represents a common conception of certain spatial elements. Hence, the framework that this research will follow is a two-layer discourse, the existence of cinema in public spaces, and the existence of public spaces in cinema. Eventually, the paper seeks to enhance the social relationship between society, spaces, and cinematic narration – a vital tool to raise awareness about the right to the city.</p> Taher Abdel-Ghani ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 107 122 10.32891/jps.v5i4.1384 It’s (Red) Hot Outside! <p>From 2011’s Occupy movements to the Umbrella Movement Hong Kong to the recent Climate March in September 2019, typified by Extinction Rebellion’s performative acts of resistance, there’s been an exponential increase in protests around the world. People move together en masse to challenge economic inequality and political ineptitude; they demand racial justice and action against climate change and Indigenous land rights. Ideally, protests and forms of direct action generate new ideas where the use of bodies in space become conduits to spark debate, bring awareness, with the hope to change the discourse about urgent issues. The visual power of many bodies speaking both to each other and to a larger public offers a space everyone can safely participate in the social imaginary. This paper considers Extinction Rebellion's graphic and performative aesthetics.</p> <p>&nbsp;</p> Gretchen Coombs ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 123 136 10.32891/jps.v5i4.1407 Making Space <p>In recent times Singaporean artists have undertaken audacious artistic performances, actions and interventions in public space, highlighting the role of artists as provocateurs of debates around public space and their engagement with issues related to ethical urbanism. Between 2010 – 2020 artists working in diverse fields of artistic practice including visual art, street art, performance art, community arts and new genre public art begun to locate their artwork in public spaces, reaching new audiences whilst forging new conversations about access, inclusion and foregrounding issues around spatial justice. In contesting public space, artists have centralized citizens in a collective discourse around building and shaping the nation. The essay documents key projects, artists and organisations undertaking artistic responses in everyday places and examines the possibility of public art in expanding concepts of ‘the public’ through actions in Singapore’s public space, and demonstrating the role of artists in civil society.</p> <p>&nbsp;</p> Sharmila Wood ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 137 154 10.32891/jps.v5i4.1408 When Modern Monuments are an Act of Autoplagiarism <p>This paper discusses the autoplagiarism of monuments as a system for the reworking structure of the public space in the interdisciplinary meta-analysis. The research rises the problem of blocking art and art activism in the region. The theoretical part focuses on Polish legislation (acts of 1994, 1997, 2003, and 2016), the opinions of historians on the division between the terms “places of memory” and “places of gratitude” (Ożóg 2011; Czarnecka 2015; Jach 2018), and an overview of the classification of monuments in artistic theories (Krauss 1993; Lacy 1995; Kwon 2004; Ranciere 2004; Walsh 2013; Taylor and Altenburg, 2006; Bellentani and Panico, 2016). Insights into psychological theories related to aesthetic judgment are also presented as supportive statements (Ishizu and Zeki 2013; G. E. Vaillant, M. Bond, and C.O. Vaillant, 1986; Reicher 2003; Le Bon 1929). The research covers six case studies of erected and removed monuments in the area of Smaller Poland during the period from the end of 2017 to the first part of 2018. All samples are related to the stakeholder's reactions to the past Soviet presence in the area and their current aims. The conclusions suggest strategies which could be helpful to strengthen the public space and classification for the autoplagiarized monument.</p> Krzysztof Krzysztof ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 155 176 10.32891/jps.v5i4.1395 Photographing Moments to be Seen <p>The photographic work of Aotearoa <em>New Zealand </em>artist Edith Amituanai generates the confident self-assertion of publics that potentially shifts misperceptions of people and place for both subjects and their audiences. A belief in service, a characteristic legacy of Amituanai’s Sāmoan family background has led her to document people, particularly diverse diaspora communities, in the western suburbs of Auckland city where she also lives, and to documenting people more broadly in their neighbourhoods or personal environments. Her images have enabled largely unnoticed and hence provisional publics associated with disregarded public spaces to see themselves presented in mainstream society in art galleries, publications and social media, thereby potentially shifting the stereotypes of people and local places to aid a more complete depiction of a society beyond the dominant European settler demographic. Amituanai’s images of youth, family, cultural and interest group communities and those connected with educational institutions convey the multiple associations that connect individuals. While these associations can be aligned with Grant Kester’s concept of politically coherent communities’ or Michael Warner’s ‘counterpublics’ I argue that the people visible in Amituanai’s work or who take agency to respond to her photos are making themselves publics on their own terms, creating publics that are equal to any other public. The activation of public identity that claims shared space has occurred during the institutional exhibition of Amituanai’s images where subjects and visitors respond to photographs in demonstrations of their own agency<em>.</em></p> Zara Stanhope ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 177 192 10.32891/jps.v5i4.1424 Why Alice is not in Wonderland? <p>Why Alice is not in Wonderland? Countering the militarized status quo of Cyprus is a narrative, part of the author’s diary. It is a reflection on a critical spatial practice, a performative event, titled “Alice in Meridianland… or the counter-militarization action”, part of the Buffer Fringe Performance Festival, Nicosia, Cyprus, 2019. The critical spatial practice comments on Cyprus’ actual militarization status by offering alternative urban imaginaries for the urban commons of an island without armies. It has taken place along a loop of streets and public spaces both in the north and the south parts of divided Nicosia. “Alice in Meridianland” is a camouflage tactic to conceal its anti-militaristic nature while crossing the guarded checkpoints into the city’s north part. Two tricycles, pulling 3-meter long banners, have followed the loop in opposite directions, three times. They met at designated areas and formed instant spaces of playful interaction. The narrative unpacks the entanglements between the performative event and the city’s users of the streets and public spaces. It unfolds how the event has generated new associations between the public spaces and the feelings of the participants and of the author. How it readjusted their mental maps and urban imaginaries. The narrative is a reflective tool for critical spatial practices in producing situated knowledge.</p> Socrates Stratis ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 193 208 10.32891/jps.v5i4.1405 Artistic Acupuncture Missions <p>9 places in Europe, 9 artists and collectives, 9 hosts (European Festivals of Art in Public Space) and one multi-layered artistic framework and methodology –the acupuncture– to respond to specific challenges related to urban renewal, social justice or cultural identities. The IN SITU Network has developed this ambitious project in collaboration with its partners between autumn 2018 and the end of 2019. &nbsp;The artists have explored different territories and got to know their specific challenges by engaging in conversation with a wide range of stakeholders. After a short residency period the artists come up with their imaginative proposals, based on a fresh look and inquiry. Built on the analysis of the 9 artistic acupuncture missions, this portfolio aims at focusing on the innovative methodology and strategies employed by the artists in different and complex contexts. The text explores how the artists, in collaboration with their hosts, have developed their creative missions and interpreted the changing meanings, values and functions of public space.</p> Herman Bashiron Mendolicchio ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 209 220 10.32891/jps.v5i4.1383 Monuments of Compassion <p>The term ‘monument of compassion' is introduced to describe the essential features of the Monument To Animals We Do Not Mourn, as well as other animal monuments. Installed in Hartsdale Pet Cemetery in New York, The Monument To Animals We Do Not Mourn is unconventional in its representation of a marginalized group (farm animals), its challenge to dominant cultural narratives concerning this group, its interactivity, and its atypical location. It is an artist-driven, dialogic monument of dissent, offering cemetery visitors the opportunity to consider the suffering of farm animals in the same space that they mourn their beloved companion animals. The monument extends compassion to farm animals and affirms their value as individual beings, worthy of a full and natural life. Visitors who resonate with the monument’s message are invited to leave a stone at its base. As the stones accumulate, they will be collected and used to create another monument of compassion for typically unmourned animals.</p> Linda Brant ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 221 230 10.32891/jps.v5i4.1421 Treegazing <p>Treegazing was a public walking event held in the Fitzroy Gardens, Melbourne as part of Melbourne Design Week 2020 inviting the public to lift their gaze, be mindful whilst acknowledging the garden’s aesthetic design and history. This walk created a temporary community of strangers who co-experienced the majestic arboreal canopies of trees and plants, reducing ‘plant blindness’ (Schussler &amp; Wandersee, 1998).<br>Acknowledging the importance of ‘what stories are told’ and ‘making-kin’ (Haraway, 2016), this article explores collaborative visions between yoga and meditation practitioner Amanda Hawkey and artist Heather Hesterman. Investigating the dualities of silence/sound, open/enclosed, empty/busy and built/green spaces as a series of experiences. The act of mindful walking aims to connect the body to green spaces; to provide an embodied experience of nature.&nbsp; How might fundamental practices, as humans walking individually and together in public space be potential acts of transformation, of mindfulness, and environmental awareness - even subtle activism?<br>We argue that encouraging an engagement with nature via haptic and ocular modes&nbsp;of art practice and meditation&nbsp;may facilitate a deeper engagement with and/or increased appreciation for flora. Treegazing implicates the walkers to become part of a connective- fluidity that enacts the space not <em>within</em> as participants, witness nor viewers but offers a shared collective experience of both mobility and stillness <em>with</em> the landscape, a subtle activism that looks up and treads lightly to ‘<em>conspire – with </em>nature<em>.’</em></p> Heather Hesterman Amanda Hawkey ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 231 244 10.32891/jps.v5i4.1423 Alfombrismo: Ephimeral Art Utopia <p>The way in which we experience public space is closely related to the sociocultural and environmental conditions of the context.<br>Similar to the garden – in the strict philosophical sense- Traditional Tapestry ephemeral art represents a utopia; it stands for an aesthetic theory of beauty and a vision of happiness. Traditional ephemeral art is conceptualized as a utopian space where diverse elements, people, as well as a wide variety of activities converge; those are the ones who transform reality through cultural expression, exploring habits and values which pursue a common goal in a livingly way, and improve social coexistence.<br>Tapestry ephemeral art temporarily and actively transforms their surroundings. It is in that public space where it is embraced that a dialogue is modelled; a dialogue where not only formal appearance but also designing constructive one converge, as an artistic, philosophical, and spiritual expression of its community itself.&nbsp;<br>Such artistic intervention allows physical proximity; in a whole overview vision of urban context, design displays Mexican art values and transforms public space. The greater the proximity, the greater the change in the scale of the work, therefore, it is possible to feel immersed in the piece and identify the natural material, which in its arrangement and place, reveals the garden utopia –symbol of harmony between itself and the atmosphere portrayed in a living work of art.&nbsp;<br>Nowadays, the isolated streets in many different parts of the world reflect a universal reality which urges a re-connection with the natural environment to which we belong, as well as a transformation of the sociocultural interactions that emerge from responsibility, equality and the common good.</p> José Alejandro Lira Carmona ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 245 258 10.32891/jps.v5i4.1386 In-Between Windowscapes <p>This paper emphasizes that curatorial practice and site-specific art&nbsp;are essential aspects of the transition from artistic collaboration to&nbsp;collaborative&nbsp;curatorial practice and discovers the new potential of&nbsp;‘curator as collaborator’&nbsp;practice to cultivate community-based, collaborative and engaging cultural projects in public spaces. By examining the curatorial residency of my participation in Public Space 50 at RMIT University, Melbourne, Australia in 2017, this portfolio investigates how I, as a curator, explore art curation locations and methods to enable students to actively work collaboratively to plan, facilitate and produce public art projects. It asks how to turn public spaces into laboratories; how can student artists work together in public space; how to empower a creative student community through artistic collaboration and how artistic activation can be developed among creative participators of different cultures and backgrounds?</p> Chun Wai (Wilson) Yeung ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 259 272 10.32891/jps.v5i4.1418 A Tram Ride You Would Talk About <p>As an artist and junior researcher for the project “Public Transport as Public Space,” my aim is to understand atmospheres on urban public transport and the ways in which they can be changed through performative public art practice. Indefinite yet powerful, atmospheres, which emerge in the relation between a perceived environment and perceiving bodies (Böhme 2017), can be created deliberately through aesthetic work and used as a tool for shaping certain experiences and behaviors in public space (Allen 2006). For instance, visually attractive public artworks permanently integrated into the public transport environment may create atmospheres of safety and comfort, navigating passengers through this regulated public space. On the other hand, on public transport, where unacquainted people must travel shoulder to shoulder, different atmospheres emerge not only through material modifications but also through unexpected encounters and events (Bissell 2010). In this sense, performative public art interventions can intentionally “drum up the ambience” (Thibaud 2015) and imbue the atmosphere of commutes with elements that are surprising and out of the ordinary. This paper outlines some of my art projects, which aim to carefully disrupt casual rides on public transport by creating moments of strangeness and humor.</p> Aleksandra Ianchenko ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 273 282 10.32891/jps.v5i4.1403 Build Art, Build Resilience <p>Temporary urbanism practices are forms of appropriation of the public space by the citizens. They can be a powerful engine for urban regeneration and social innovation, empowering local communities to take ownership of urban spaces, promoting positive urban change. In particular, the collective creation of temporary art installations in public spaces can foster a sense of belonging and define new forms of civic participation, including unrepresented voices, and re-activate the public realm. The portfolio narrates the development of the “Co-Creation of Temporary Interventions in Public Space as a Tool for Community Resilience” (University of Portsmouth) project, which promotes and develops a series of tactical, small-sized, co-created, temporary interventions in public spaces, bringing together various local actors and underrepresented groups. Temporary urbanism initiatives can be very powerful tools; while the change they bring may be small at first and incremental, the varied ways in which such initiatives affect the city and its citizens lead to an extremely meaningful and long-term impact.</p> Guido Robazza ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 283 300 10.32891/jps.v5i4.1388 六/6: Finding Meaning <p>How will artistic exhibitions function in the post-pandemic world? Visiting museums and galleries is a health hazard. <em>六<span lang="EN-US">/6: Finding Meaning</span></em> is an attempt to offer an alternative. It embodies a novel exhibiting format called the <em>expanded exhibition</em>, which inhabits an expanded public space, between the physical and the digital. 六<span lang="EN-US">/6</span>shows us that, once liberated spatially, exhibitions can be effective tools of meaning-making and social change even in a post-pandemic world. By exploiting the interplay between the digital and the physical domains, expanded exhibitions such as 六<span lang="EN-US">/6</span> can build alternatives of cultural production that can cope with social distancing, while being participatory, democratic with respect to access, and politically transformative by displacing the colonialist hierarchy center/periphery.</p> Andrea Lorenzo Baldini ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 301 312 10.32891/jps.v5i4.1382 Temporary Text(iles) <p>Text and textiles share etymological roots and also have cultural and historical similarities. <em>Temporary Text(iles)</em> is project led research which investigates the relationship between text and textiles in hopes of harnessing its communicative powers. Techniques such as subtraction cutting, embroidery and writing are utilised to produce textile installations that are both performative and ephemeral. These spatial interventions are activated within contemporary art contexts and public spaces such as Altona beach, Campbell Arcade, Testing Grounds and Assembly Point. These experimental sites offer a gentle disruption to people’s everyday routine as well as a space for critical reflection and conversation.<br>In this chaotic time of global grief and tension, the author commits herself to understand the connections between environmental sustainability, forced migrations and the mistreatment against marginalized communities such as refugees and asylum seekers. <em>Temporary Text(iles)</em> describes the different spatial interventions in the research project and analyses its effect in relation to these major social issues.</p> Thao Nguyen ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 313 322 10.32891/jps.v5i4.1419 Just Keep Going - Polyphony <p><span data-contrast="auto">This</span><span data-contrast="auto">&nbsp;</span><span data-contrast="auto">portfolio</span><span data-contrast="none">&nbsp;</span><span data-contrast="auto">examines the possibility of my project ‘Just Keep Going’ series to nurture resilience for those experiencing uncanniness during periods of change and re-organization in the aftermath of extreme experiences.&nbsp;</span><span data-contrast="auto">Experiences in an action-oriented non-verbal polyphony environment that prioritizes the uniqueness of a holistic self while accepting the existence of diverse individuals who are participating in collective survival could foster that resilience.&nbsp;</span><span data-contrast="auto">My practice-led research aims to explore an expanded application of my Ikebana practice to my public Spatial Neural-Architectures while exploring a new way of understanding security, survival, and wellbeing. My research informs my art practice that includes the practices arising out of my life experience as a transnational voluntary evacuee to Australia from the 2011 Fukushima nuclear disaster in Japan.&nbsp;</span><span data-ccp-props="{}">&nbsp;<br></span><span data-contrast="auto">My portfolio shows the transformation of my artwork and my everyday life</span><span data-contrast="auto">. I investigate how my art practice could offer a therapeutic experience as well as a new cultural framework by examining the methods of Open Dialogue, the Biophilia Hypothesis, Ikebana Philosophy, and Sand-play Therapy. These methods&nbsp;open up&nbsp;new possibilities for a socially engaged</span><span data-contrast="auto">&nbsp;practice that addresses collective traumas in the midst/aftermath of global crisis and the social changes necessary for collective survival</span><span data-contrast="auto">.</span><span data-ccp-props="{}">&nbsp;</span></p> Ryoko Kose ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 323 338 10.32891/jps.v5i4.1422 Third Way Interventions in Public Space and Urban Design <p>As epitomized by the famous rivalry between Jane Jacobs and Robert Moses in the '60s New York, city planning and the understanding of public space has mainly oscillated between two opposing poles: the tidy and organized city planned with a top-down approach by architects using geometry to shape it, on one hand; and the messy and disorganized city, shaped with a bottom-up spirit, lacking planning, and allowing the traces of its inhabitants to take place, on the other. This article makes an analysis of the origin and nature of that opposition, putting in context different endeavors undertaken to tear it down. Going back to its Greek origin in the opposition between <em>technē</em> and <em>mousikē</em>, passing through Kant's concepts of the beautiful and the sublime, Nietzsche's opposition between the Apollonian and the Dionysian and ending up in Wölfflin's fundamental opposition between the Renaissance and the Baroque, it maps out this oscillating trend in history that favors the organized opposite full of rules in some periods, and the romantic one full of freedom in others, to provide a framework to explore endeavors that challenge those extremes in an attempt to take advantage of the benefits of both, as in &nbsp;18<sup>th</sup> century picturesque, John Habraken's approach and Stan Allen's concept of infrastructural urbanism. Within this framework, it examines projects where we explore at Pontifical Xavierian University, innovative approaches to urban and public space design that empower inhabitants to shape their own city (bottom-up), whilst maintaining a sense of order and composition through designed structures (top-down) that challenge Leon Battista Alberti's foundational criterion of architectural beauty: you can neither add nor subtract any element without destroying the harmony achieved.</p> Oscar Rodrigo Perilla ##submission.copyrightStatement## 2020-12-01 2020-12-01 5 4 339 352 10.32891/jps.v5i4.1406 Play in Melbourne City <p><em>Play in Melbourne City</em> outlines a series of playful incursions in Melbourne, Australia’s central city that hopes to act as a reminder of the potential power and influence that individual citizens have in disrupting, creating and recovering public space.<br>This is a practice-based exploration that uses Melbourne city as its site. Through a series of playful guerrilla theatre style incursions, the artist creates and embodies fictional characters that spontaneously appear throughout the city. Notions of the carnivalesque are harnessed through the use of masks, costumes and puppetry. Each character investigates and responds to a specific issue of spatial politics within the city, with the works importantly sitting outside of the scheduled template of gallery exhibitions and festivals.<br>For the conceptual framework, the artist draws on Henri Lefebvre’s ideas of the production of space and Chantal Mouffe’s ‘agonistic’ model of public space.</p> Suzannah Griffith ##submission.copyrightStatement## 2020-12-21 2020-12-21 5 4 353 367 10.32891/jps.v5i4.1420