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| Srl | Item |
| 1 |
ID:
188575
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| Summary/Abstract |
Building on a critical gendered approach at the intersection of arts, women, and homelessness, this article calls attention to the structured layers of (in)visibilities of female agency, existence, and resilience. The arts have a special place and importance in civil society formation in relation to homelessness in Japanese cities today, so the aim is to elucidate the significant but understudied role of women in enhancing varied forms of resilience in the urban environment. Arts, activism, and, in particular, art activism on socio-political issues in Asian cities are typically perceived as methods of resistance against local and national governments, whereas their crucial contribution to urban resilience often remains unrecognized. By investigating the emergent forms of interdisciplinary arts in Tokyo and Osaka that are aimed at sustainability in less-privileged living conditions, this article contributes to the growing field of studies acknowledging how these circumstances are brought about not only by economic ruptures but also by gendered socio-structural and cultural factors. By recognizing the intricate parameters of the varied artistic practices, a more nuanced understanding of the gendered urban resilience in maintaining communities, neighborhoods, and cities can be gained.
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| 2 |
ID:
140509
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| Summary/Abstract |
Since the mid-1990s, growing urbanization has led to the rise of new forms, needs and sites for visual self-expression in urban public space in mainland China. Drawing on periods of intensive fieldwork in Beijing, Shanghai, Shenzhen and Hong Kong since 2006, this article suggests a new approach for examining the spatial politics of urban art images in China based on the concept of ‘site responsiveness’. Inspired by discussions on site-specific and site-oriented art and street art, this article aims to clarify the importance of both aesthetic analysis and comparative contextualization of urban art images in relation to (1) the reciprocal relationship between the urban art images and the site, and (2) international developments in the discourses on ‘graffiti’ and ‘street art’. This dual approach provides a starting point for a comprehensive sociospatial interpretation of the visual phenomenon in China while challenging the unproblematized use of the concept of graffiti in existing studies and offering two umbrella concepts – urban art images and creator of urban art images – to facilitate more nuanced research. By examining actions of visual self-expression at the grass-roots level, this article brings attention to an often neglected but crucial perspective to discussions of the city as a living organism and to the interrelations between art and urbanization.
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