Visual Culture of Post-Industrial Europe investigates visual cultural projects in Europe from the 1970s onwards in response to industrial closures, resultant unemployment, diminished social services and shattered identities. Typically, art and visual cultural creations at one-time thriving European heartlands strive to make the industrial past visible, negotiable, and re-imaginable. Authors discuss varied and multiple types of art and visual culture that remember the sometimes-invisible past, create community in the face of social disintegration, and navigate the dissonance between past and present material reality. They also examine art and visual objects at post-industrial European sites for their aesthetic, historical, and sociological role within official and unofficial, government and community regeneration and re-vitalisation efforts. Sites range from former coal and steel plants in Duisburg, through shipyards and harbours of Gdansk and Hamburg, a Moscow paper factory and textile factories in Albania, to still-functioning Croatian metalworks.
- Cover
- Table of Contents
- Introduction: Picturing Post-industrialism
- Visual Culture and the Regeneration of European Landscapes
- Section One: Negotiating Contested Spaces
- 1. Erasure and Recovery
- Representing Labour in the De-industrializing Space of the Gdańsk Shipyard
- 2. Re-imaging the Belfast Waterfront
- De-industrialization and Visual Culture in Sailortown and Queen’s Island
- 3. Countering Post-industrial Capitalism in the Former Yugoslavia through Art
- The Example of the Mural Factories to the Workers
- Section Two: The Body in Industrial Space as a Stage for Cultural Reintegration
- 4. A Discursive Site of Memory for Industry
- Landschaftspark, North Duisburg
- 5. Reclaiming Industrial Heritage through Affect
- Art Interventions in the Ruined Factories of Post-socialist Albania
- Section Three: Cinematic and Photographic Memories
- 6. Industrial Ruins, Malaise, and Ambivalent Nostalgia
- Reflections on the Post-socialist Condition in Contemporary Balkan Cinemas
- 7. From Document to Enactment
- Transindustrial Sequences of European Maritime Industries on Film (1970s–2020)
- 8. Visualizing West Belfast, 1976–85
- Documentary Photography and the Politics of Nostalgia
- Section Four: Images in Exhibition
- 9. Personal Traces in the Soviet Industrial Aftermath
- Pavel Otdelnov’s Promzona and Haim Sokol’s Paper Memory Exhibitions in Moscow
- Anna Arutyunyan and Andrey Egorov
- 10. Negotiating the Future of Post-industrial Sites through Artistic Practices
- The 1975 Venice Biennale Project on the Stucky Mill
- Section Five: Post-Industrial Design
- 11. Pylon-Spotting in The Architectural Review 1950s–1980s
- 12. Picturing Post-industrial Societies in Franco-Belgian Comic Books
- 13. Where Is the Artisan?
- Post-industrial Alternatives from the Radical Design Movement
- Bibliography
- Index
- List of Illustrations
- Figure 1.1: Gate number 2 and building of the European Solidarity Center. Photo: ECS, CC BY 4.0.
- Figure 1.2: View of Grzegorz Klaman’s Gates after their removal from original site by the developer. Photo: Magda Szcześniak.
- Figure 1.3: Iwona Zając painting over her mural. Photo: Magda Małyjasiak.
- Figure 2.1: The Blinks Sculpture. Photo: Angela Poulter, 2020.
- Figure 2.2: Wheels of Progress. Photo: Angela Poulter, 2020.
- Figure 2.3: Pilot Street Mural. Photo: Angela Poulter, 2020.
- Figure 2.4: Save Our Shipyard. Photo: Pacemaker Press, 29-07-2019.
- Figure 3.1: Factories to the Workers mural. Photo: The author, 2018.
- Figure 5.1: Enisa Cenaliaj, Welcome, Dear Workers (Mirësevini të Dashur Punëtorë), 2005, Former Stalin Textile Factory, Kombinat neighbourhood, Tirana, Albania. Photo: Courtesy of the artist.
- Figure 5.2: Milena Jovićević, Sustainable Privatization, festival of contemporary art Informal Mind, curated by MAM foundation, Metallurgical Complex of Elbasan, Albania, performed by Ana Dragić, 2014. Photo: Ranko Djanković.
- Figure 5.3: Driant Zeneli, Maybe the Cosmos Is Not So Extraordinary, two-channel video installation, 10 min. 19 sec., 2019. Courtesy of Foundation In Between Art and Film.
- Figure 6.1: Sanja on the cruise ship, You Have the Night, dir. Ivan Salatić, 2018.
- Figure 6.2: Mrs. J. and her daughter Koviljka roam through an abandoned factory, Requiem for Mrs. J., dir. Bojan Vuletić, 2017.
- Figure 6.3: Abandoned industrial machinery covered by plastic sheets, I Am an Old Communist Hag, dir. Stere Gulea, 2013.
- Figure 6.4: Momo wanders the empty town selling fish, You Have the Night, dir. Ivan Salatić, 2018.
- Figure 8.1: Martin Nangle, Panoramic View of West Belfast Looking towards Shankill, Ardoyne, Cave Hill, 1976. Source: Ulster Museum BELUM.W2016.20.176.
- Figure 8.2: Martin Nangle, View of Pound Loney, Lower Falls, 1974. Source: Ulster Museum BELUM.W2016.20.75.
- Figure 8.3: Martin Nangle, McDonnell Street off Grosvenor Road, with Spires of St Peter’s to Rear (described as Pound Loney in print description), 1976. Source: Ulster Museum BELUM.W2016.20.122.
- Figure 8.4: Martin Nangle, Man Driving Pony and Cart Past Bricked-Up Houses on Clonfadden Crescent Near Divis Flats, 1982. Source: Ulster Museum BELUM.W2016.20.218.
- Figure 10.1: Stucky Mill, Giudecca, Venice, 2007. Didier Descouens – Own work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=37622786.
- Figure 10.2: Giulio Paolini, Platea (Theatre Stalls). Exhibition A Proposito del Mulino Stucky, Magazzini del Sale alle Zattere, Venice, 1975. Courtesy Archivio Storico della Biennale di Venezia (ASAC), Venice.
- Figure 10.3: Environmedia, Urban Intervention of Environmental Communication and Collective Creativity, Giudecca, Venice, 1975. Courtesy Archivio Storico della Biennale di Venezia (ASAC), Venice.
- Figure 11.1: “Encroachment,” The Architectural Review, October 1955.
- Figure 11.2: “Glass on the Marsh: Offices and Warehouse, Thamesmead,” The Architectural Review, July 1974.
- Figure 11.3: “Vallo di Diano,” The Architectural Review, December 1981.
- Figure 12.1: History and pedagogy through drawings and words. Xavier Bétaucourt and Jean-Luc Loyer, Sortir de terre “à 198 kilomètres de la pyramide…” (Tournai: éditions de la Gouttière, 2019), 19.
- Figure 13.1: Ettore Sottsass Jr., Photograph of Agra, Domus, 1963. Archivio Domus. Copyright Editoriale Domus S.p.A.
- Figure 13.2: Ettore Sottsass Jr. and George Sowden, Intelligent Terminal System TC 800, 1974, manufactured by Olivetti.
- Figure 13.3: Dress Arabic, A Competition for the Libyan National Costume published in Domus showing designs for clothing production by Dario Bartolini and Lucia Bartolini. 1974. Archivio Domus. Copyright Editoriale Domus S.p.A.
- Figure 13.4: Enzo Mari, Where Is the Artisan?, Milan Triennial, 1981–82.
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