Notes

1 Re-imagining Johannesburg: Nomadic Notions

1. This chapter is adapted from an article Sounding the City first publishedin Kunstforum International (Gurney, 2013) in a special issue on urbanperformance.

2. For more information about Johannesburg positioning itself as a ‘world-class city’, see Gurney, K. Winter 2012. Inside the World-Class City. In:O’Toole, S. and Tavengwa, T. (eds). Cityscapes. Issue 02. ACC: Cape Town.

3. Visual art is broadly regarded in this text as part of the fine art disciplines,including performance, time-based, digital and new media art.

4. Performance in the contemporary art world is generally a contrived sce-nario, sometimes involving participation strategies, that aims to activateways of seeing through encounter either live or mediated.

5. Figures from the Gauteng City Region Observatory (GCRO) based on 2011census data state that internal migrants comprise over a third of theGauteng population and less than 10 per cent were born outside the coun-try. Thus, although 44 per cent are migrants, the majority of these (78 percent) are internal migrants (Peberdy, 2013, p.4).

6. This is the same building that appears in Chapter 8: ‘Living the City’.7. See Gurney, K. 15 January 2012. Life of a Piano. Sunday Independent.

Reprinted as Muted Tones: The Evolving Life of Distressed Musical Instru-ments. In: CCTV, A Zine for Local Ideas in Global Practice. 1(1) Launch Issue,August 2012. Johannesburg.

8. 12 April 2012. The Politics of Imagination in Contemporary South Africa. WitsSchool of the Arts: Open Lecture Series, University of the Witwatersrand.

2 Curating the Ephemeral City

1. This chapter draws upon a presentation delivered at a symposium ‘NewImaginaries/New Publics’ that the author convened on behalf of AfricanCentre for Cities and Goethe-Institut, in February 2012 at Goethe-InstitutJohannesburg.

2. See Chapter 3 for a more detailed account of Shoe Shop and visit www.shoeshopproject.co.za

3. See Chapter 4 for a more detailed account of A MAZE.Interact and visithttp://archive.a-maze.net/interact-2012/a-maze-interact-2012/index.html

4. See Chapter 5 for a more detailed account of Spines and visit www.united-african-utopias.com

5. Culture Now: Bob and Roberta Smith. 11 January 2013. ICA: London.Author’s notes.

169

170 Notes

6. For context see Gurney, K. 2012. The Fractured Public Interest. In: RhodesJournalism Review. Issue 32, p.8.

7. See Chapter 7 for more.8. Professor Federico Freschi is now Dean of the University of

Johannesburg’s Faculty of Art, Design and Architecture.9. 5 December 2012. Contextualising the Contemporary. Goodman Gallery:

Johannesburg. Author’s notes.10. The author thanks a conversation with Melinda Silverman for bringing

her to this term.11. Lesley Perkes died in February 2015, after this text was written.12. www.gamejam.co.za/Games/ReConstitution_Hill13. A MAZE Symposium (September 2012). Alexander Theatre: Johannesburg.

Author’s notes.14. Backhouse, J. 26 July 2012. Thoughts on a Technology-Enabled, Disembodied

Future. Wits School of Arts. Author’s notes.15. Sennett has more recently convened a contemporary project, an urban

forum Theatrum Mundi, to enliven these kinds of ideas and consider whatbrings life to a city.

16. Derived from Soja’s 1996 book, Thirdspace: Journeys to LA and Other Realand Imagined Places. Oxford: Blackwell.

17. Chapter 1 offers more examples of recent urban performance art inJohannesburg.

3 Walking the Footloose City

1. www.shoeshopproject.co.za2. Goethe-Institut Programme. April–June 2012.3. See Gurney, K. January 2013. That’i Cover Okestra. In: Rolling Stone. Issue

14, p.19.4. Public Affairs Institute and City Press. 16 & 17 April 2012. A View From

Roodepoort: City, Identity and Governance in Post-Apartheid South Africa.Johannesburg: Wits University.

5. Documenta 13. [Online] Available: http://d13.documenta.de/#welcome/[Accessed 10 July 2012].

6. Chapter 5 engages further with participatory art strategies in its analysisof Spines.

7. Poster replications of artworks were available at the project hub for thepublic to paste up at will, thereby extending the formal curation of theexhibition, and to photograph their placement and document this viasocial media.

8. Shoe Shop presentation, De Beer Street project hub, 25 May 2012.9. Steve Pile also outlines what Law calls ‘an alternative to dualistic episte-

mologies’, which incorporates the notion of a new geometry of knowl-edge, or a ‘third space’ (1997, p.109). Oldenburg (1989) speaks about‘third places’ like coffee houses, Bhabha (1994) about third space interms of hybridity, Augé (1995) of non-lieux or postmodern spaces, and

Notes 171

Nuttall of creolisation with respect to the cultural archive and notions ofentanglement (2009).

10. Oxford English Dictionary definition: ‘the resumption of harmoniousrelations’.

11. Thabiso Sekgala died in October 2014, after this text was written.12. I later discovered remnants of this poster by Thabiso Sekgala Pankop

(2010) on a wall in Troyeville, images of which appear in Chapter 7.

4 Playing the Cyborg City

1. Playing the City: Urban Games. 6 June 2011. Centre for Urban and BuiltEnvironment Studies (CUBES), University of the Witwatersrand. Author’snotes.

2. http://archive.a-maze.net/interact-2012/a-maze-interact-2012/index.html3. Further iterations of A MAZE have taken place in Johannesburg since this

inaugural event.4. This is the coding for the most open privacy setting option on Facebook.5. www.bmwguggenheimlab.org/urbanologyonline6. http://wsoa.wits.ac.za/digital-arts/2012/08/28/the-a-maze-festival-game-

jam/7. Thoughts on a Technology-Enabled, Disembodied Future. 26 July 2012. Wits

School of Arts, Braamfontein. Author’s notes.8. www.fieldofficebudapest.com9. http://pixelproject.com/wam/

10. This term is taken from a paper where it is coined by Atkinson and Willis(2009).

5 Performing the Spectral City

1. ‘Spectral’ city is inspired by Simone (2004) who sets out four notions ofurban becoming, including the spectral.

2. www.united-african-utopias.com3. See Chapter 7 for reference to how natural commons and social commons

are becoming more aligned (towards an Art of the Commons).4. 2012. Museum of Art and Design (MOAD), Maboneng Precinct. Convened

by Trinity Session.5. The author first presented some of these ideas on a panel about partici-

pation and public art at ‘Thinking the City’, part of ‘Infecting the City’public art festival at a symposium, Africa Centre, 6 Spin Street, Cape Town,March 2012 (unpublished), hosted by Gordon Institute for Performing andCreative Arts.

6. Sotho, or Sesotho, is one of South Africa’s 11 official languages and alsothe official language of neighbouring Lesotho.

7. The title is drawn from Anna Tsing’s book Friction (2005).8. This kind of notion is more fully explored in the relationship of New

Imaginaries artists to uncertainty, in Chapter 6.

172 Notes

6 Silo-Breaker: Art and the Uncertainty Principle

1. June 2013. Johannesburg Workshop on Theory and Criticism. WitsAppollonia Theatre. Author’s notes. See also Gurney, K. 2013. PerformingTheory. In: Cityscapes, Issue 04, pp.134–5.

2. Some ideas informing this chapter were first delivered in an unpublishedpaper ‘Nomadic Notions: Art & The Uncertainty Principle’ presented bythe author at the ‘Cities on the Move’ conference hosted by University ofthe Western Cape. 3 July 2013. Milnerton, Cape Town.

3. Dancing in Other Words: Festival of Poets & Poetry. 10 and 11 May 2013.Spier Estate, Stellenbosch.

7 Towards an Art of the Commons

1. 12 April 2012. The Politics of Imagination in Contemporary South Africa. WitsSchool of the Arts: Open Lecture Series, University of the Witwatersrand.

2. 15 August 2013. Quality and the Brain. Hiddingh Campus: University ofCape Town (UCT). Professor Solms is also head of the Department ofPsychology at UCT.

3. For a textured narrative about fire and protest linking the social and cul-tural/artistic spheres, see: Gurney, K. September 2013. Ethnography ofa Flame. In: Critical Arts: South-North Cultural and Media Studies, 27: 4,pp.439–43.

4. The author acknowledges and thanks Thato Mogotsi for related discus-sions regarding their curatorship of Sounding Out, a group exhibition atthe Bag Factory Artists’ Studios in Newtown, 2012.

5. In addition to the national arts policy reviews covered, Cape Town Citywas developing its first public arts strategy during 2013 as part of a cre-ative industries policy. City of Johannesburg already has a public artpolicy in place.

6. ‘The economy, stupid!’ was coined by a political strategist to Bill Clinton’s1992 US presidential campaign and has since become a snowclone withvariations such as ‘It’s the deficit, stupid!’ or ‘It’s the corporation, stupid!’entering political parlance.

7. See https://www.dac.gov.za/taxonomy/term/379 for more informationon this policy framework.

8. The Arts Minister in 2014 is Nathi Mthethwa.9. 14 April 2011. Mzansi’s Golden Economy. Conference programme.

Newtown: Johannesburg.10. Mzansi’s Golden Economy funding guidelines published on the DAC’s

website stipulate that public art projects must:

– advocate for change perceptions of the arts at all levels;– promote participation in and enjoyment of the arts at community

level;– reduce dependency on government’s financial assistance;

Notes 173

– encourage inclusion of cultural matters in urban planning frameworks,processes and accountability to communities;

– stimulate local economic activities that contribute to local andregional economies (2014, p. 11).

11. The author’s current research concerns value vectors of contemporary fineart production in a broader exploration of how art moves, centred upona spatially rooted study in a Johannesburg inner city atelier that buildsupon these findings.

8 Living the Everyday City

1. This draws upon an article first written for UrbanAfrica portal, AfricanCentre for Cities at University of Cape Town.

2. Names and some other details have been changed.

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Index

Note: Page numbers in italics indicate photographs.

absence and presence, 12, 26,65, 147

Absent Present. Angelika Levi, 65academic register, 19, 166aesthetics, 53–4, 116affect

and consciousness, 144and economics, 150–1

African Centre for Cities,166–7

Alexandra township, 108–9In House Project, 35–7,

108–10ambient sound, 6–7, 10–12

see also soundAmin, Ash

and commons, 20, 21, 105and Graham, Stephen. The

Ordinary City, 13Anderson, Leila, 35–6, 37,

110–11Andrew, David, 57–8Anne Historical

Millennium Bar, 137–8, 138shoeshine performance, 24–5,

47, 48apartheid, 3, 94, 109

Group Areas Act (1950), 3architectural drawing, 126architecture

of imagination, 144Secured by Design, 69–70without walls, 23, 43–4

artand commons, 21, 48–52, 54, 58,

105, 155–9contemporary, 40, 52, 116,

121, 142

and error, 124, 125–7see also arts; under public art

art and politics, 48–56art as autonomous, 53and commonality, 48–52micro and macro-politics, 55and other spheres, 53–6,

57–60and political activism, 52, 55and shoes, 57–8and social change, 52–3see also protest; public policy

on artartatwork (AAW!), 26, 42,

63, 131art interventions, 21–2, 39, 94Artist-Aided Design. Eduardo

Cachucho, 86, 125–6artist’s walks

Donna Kukuma, 47and kwaito, 7, 23–4, 45–7MC Mma Tseleng, 45–7see also city walks

artivism, 48see also art and politics

artseconomic invisibility of, 70, 91,

156–9instrumentalisation of, 3as public good, 156, 157and risk and knowledge process,

141–2arts strategy, see public policy on artAtkinson, R and Willis, P

slipping and seguing, 30, 80, 119,136, 147

transparent city, 30, 91

184

Index 185

audiencesinstrumentalising of, 116responses of, 1, 2, 36, 101, 112,

115, 117–18see also participation

awkwardness, 65, 118

Backhouse, Judy, 28–9Baloi, Gito, 8Bedtime Stories. Lesley Perkes and

Johannes Dreyer, 38Being Wrong: Adventures in the Margin

of Error. Kathryn Schultz, 123–4,136

Berlin, 16, 27, 29, 78, 89Bieber, Jodi

Going Home, 26, 62–3, 131, 132Bob and Roberta Smith (aka Patrick

Brill), 19, 20body the, 88, 134, 147

and the cyborg, 77embodied engagement, 38, 43, 58,

107, 123as mediator, 28–9, 69, 76, 77

Boemo babo ntate Bothata,113–14

Boleslavský, Andrej, 29, 83Borderless. Trinity Session, 4Boyer, M., 74Braamfontein, 7–8, 22–3, 27, 29, 41,

68, 80, 93, 144Braidotti, Rosi, 55–6

nomadic ethics, 21–2, 40, 95–6,105, 120

Brazil, 156Bridge, Gary, 117Brill, Patrick, 19

Cachucho, Eduardo. Artist-AidedDesign, 86, 125–6

CAD (computer-aided design), 126Café Exchange. Donna Kukuma, 8capture (of art), 3, 40, 157Carlsson, Chris, 104Cartiere, C and Willis, S., 38

Central Methodist Church, 26,62–3, 131

Center for Historical Re-enactment.Na Ku Randza, 8, 9, 10, 11

Chatterton, Paul, 4, 51Chaudhuri, Amit, 140Chipkin, Ivor, 48–9Chop Shop: A game jam, 75–8, 127–8chop shopping, 27–8Chris Palmer, 73, 76, 77cities

ideal city, 105–6and movement, literature on, 25of the North and the South,

14–15transparent city, 30, 78, 91–2

citizenship, 21City of Johannesburg, 2, 8, 150

see also Johannesburg; publicpolicy on art

city walkshumanising process of, 44–5Shoe Shop, 22–5, 42–8, 133see also artist’s walks

Clayton, James, 127coercion, 116Cohen, Steven. Chandelier, 5Cold Stream, 85–6Collectivism, 2Comaroff, Jean & John, 14commodifiable value, 15, 157commonality

and art and politics, 48–52disparate realms of, 50and gated complexes, 48–50and migrants, 51and protest music, 140and values and experience, 50–2

common ground, 149search for, 48–52, 62–4

commons, 20–1and art, 21, 52, 54, 58, 105, 155–9the city as, 51and gaming, 71, 76official and personal, 51and pragmatism and labelling, 52

186 Index

commons – continuedand public art, 156and public good, 157–9and public space, 108–11, 149–50and refrain, 122–3, 148and rightful citizenship, 21and spatial justice, 51and third space, 33, 35, 39, 65, 69,

103, 110, 147–8and utopianism, 34, 104–5and value, 157and a zone of freedom, 21see also public space; urban

commonsCommon Sense, 35–6, 110–11communing, 21

and music, 148and uncertainty, 140–1

Communion. Penny Siopis, 54computer-aided design (CAD), 126Conductor’s Fear of the Soloist, The.

Mario Marchisella, 6–7conflict minerals, 90connective aesthetics, 53, 116consciousness

and affect, 144and imagination, 102, 144shared, 50–1

Constitution Hill, 43, 75contemporary art, 40, 52, 116,

121, 142see also art

controland regulation, 25, 136and uncertainty, 133, 136

Conversations on a Sunday Afternoon.Khalo Matabane, 64–5,134–5

Cosmo City, 49counter publics, 2, 107creative economy, 3, 20, 40, 150,

151–2culture

cultural differences, 115, 119and policy, 151–3and space, 150

cybercities, 73, 74–5cyborg city, 18, 30, 77cyborgs, 75, 77cyborg urbanization, 30, 77

dala collective, 23dance, 34, 115, 136

see also Ntsoana ContemporaryDance Theatre

Dance Umbrella 2011, 2death and gaming, 87–8Death and Life of Great American

Cities, The. Jane Jacobs, 44–5Detroit selling public art, 19–20Diabaté, Fatoumata, 26, 63–4Die Gute Fabrik. Johann Sebastian

Joust, 83, 88, 91digital world

and the body, 28–9and hybridity, 18, 30, 69, 71, 74,

91; see also cyborg city; virtualworld

displace and the echo, 139–40doublespeak, 18, 54Dreyer, Johannes, 38

echoes, 18, 139–40see also refrains

economic invisibilityof the arts, 70, 156–9of nature, 157–8

economic lensof public art policy, 15, 145public policy on art, 52, 145,

153–5economics and affect, 71, 116,

150–1effort, 12, 70emancipation and utopianism,

106–7embodied engagement, 38, 43, 58,

107, 123Empire. Hardt, M and Negri, A.,

71, 104empowerment and participation,

117

Index 187

encroachment and security and risk,69–70

ephemeral curatorial modes, 2,15–16, 17, 38–40, 122, 135,136, 145

ephemeralityand permanent, concrete, 2–3, 145and public art policy, 3, 15, 40,

151–5error

and art, 124, 125–7trial and, and video game design,

127–9and uncertainty, 123–4see also uncertainty

Eskimos, The, 29–30, 80, 80Etongo, Christian, 113evictions, 1, 5, 21experiment, 89, 150, 166

filmA MAZE.Interact, 68, 92Shoe Shop, 17, 22, 54–5, 64–5,

138–9Spines, 106, 134–5

finance and flux, 120–1financial capture, 3, 40, 157financial futures, 141Fire Walker. Gerhard Marx and

William Kentridge, 144–7, 150Flipside, 28–30, 78–84, 129–30, 130found sounds, 24, 46free speech, 20Freschi, Federico, 21Friction. Anna Tsing, 119future, the, 42

and imagination, 15, 31, 94, 120–1and the public, 122and refugees, 59and risk, 141–2

Gablik, Suzy, 53, 115–16game jams, 27, 75–6, 127–8games for cities, 81–4

see also A MAZE.Interactgamification, 71

gaming, 27, 29–30, 71–2for actual city-making, 72and board games, 85as a narrative media, 73site-specific games, 81see also A MAZE.Interact; video

game designGandy, Matthew, 77gated complexes, 48–9, 50GDP, 152, 153, 154–5gentrification, 5, 115geographies, postcolonial, 13–14, 21geography of public space, 47geopolitical flux, 146Geyser, Mike, 28Glissant, Édouard, 140, 146globalisation, 42–3, 152–3global South

knowledge production in, 143and postcolonial geographies,

13–14, 21Goethe-Institut, x–xi, 41, 137, 166Going Home. Jodi Bieber, 62–3, 131Golding, Johnny, 148Gold, John R., 105–6Gottlieb, Baruch. iMine, 87, 89–90governments selling public art,

19–20Grand Theft Auto’s Vice City, 73Greenwood, Evan, 128–9Group Areas Act (1950), 3Gutberlet, Marie-Hélène, 22, 41, 51

see also Shoe Shop

Hardt, M and Negri, A. Empire, 71Hardy, Stacy, 60, 61Heidenreich-Seleme, Lien, x–xi, 41Hillbrow, 6, 23, 26, 43–5, 64, 138,

149, 160hip hop, 45–6

see also kwaitoHistorical, Anne, see Anne HistoricalHlasane, Rangoato, see MC Mma

TselengHobbs, Stephen, 4Homo ludens, H. tantum, 71, 92

188 Index

Huber, Markus, 89Huizinga, Johan, 82, 92humanisation, 44–5humour and wit, 12–13, 29, 36,

44, 102

ideal city, the, 105–6imaginary communities, 49imagination

architecture of, 144and consciousness, 103, 144and the future, 15and reality, 33, 36, 80–1, 100–3and theory and the future, 143–4see also reality and imagination

iMine. Baruch Gottlieb, 87, 89–90immersiveness, 28, 74, 87Inhabitant. Ntsoana Contemporary

Dance Theatre, 1–2, 15In House Project, 18, 31, 35–7, 94,

107–8performance art and participation,

111–19public space as common space,

108–11and the unknown, 135–6zones of awkward engagement,

115–19inner city spatiality, 3–4instrumentalisation, 70

of arts, 3, 159of audiences, 116

intangible value, 156–7interactivity, 30, 81, 83, 116

and games, 71–5and games and sound, 84–5

interdisciplinarity, 27, 68–9, 76,83, 121

international politics and policy onart, 153

In the Cities of the South. JeremySeabrook, 51

investment in art, 8–10, 154invisibility and visibility, 26, 36, 112

see also economic invisibilityInvisible Cities Radio, 10

Invisible Cities series. João Orecchia,10–12, 103

Invisible Playground, Berlin, 29, 78, 81

Jacobs, Jane. The Death and Life ofGreat American Cities, 44–5

Jahangeer, Doung Anwar, 23,43–4

James, Clifford. Routes, 2jazz, 148Jeppe Street Chop Shoppers,

27–8, 75Johannesburg

international context, 13–15,146

as a project site, 13–15, 146spatiality in inner city, 3–4see also City of Johannesburg

Johann Sebastian Joust. Die GuteFabrik, 83, 88, 91

journeys, 26–7Judin, Hilton, 50–1‘jump “n” run’ party, 84–5

Kawitzky, Roxy. Ouroboros All OverAgain, 73, 83, 86–7

Keleketla! Library, 8Kentridge, William, 121

Fire Walker, 144–7knowledge

not knowing, 121–2and the not-known, 140–2process and art and risk, 141–2

knowledge productionand the creativity of practice,

25, 121geographic, 13–14in the global South, 143, 152and uncertainty, 166and the visual arts, 141

Knowles, Caroline, 26–7, 42–3Krone, Tanja, see United African

UtopiasKruger, Murray, 36, 37, 112–13

Index 189

Kukuma, Donna, 24–5artist’s walk, 47Café Exchange, 8Jeppe Street Chop Shoppers,

27–8, 75Museum of Non-Permanence, 8Museum of Somethings, 66

kwaito, 6, 46–7and artist’s walks, 7, 23–4, 45–7and Hillbrow, 6, 45and history, 7, 45and performance, 6, 7, 23–4

Kwon, Miwon, 122

Langa, Moshekwa. Where Do IBegin?, 17

Lavoratori dell’Arte, 105, 155Law-Viljoen, Bronwyn, 2–3legislation governing public

space, 47Lenasia, 113Levi, Angelika. Absent Present, 65liminality, 38Lines of Wind. Guy Wouete,

59, 133Lomax, Yve, 142Löwe, Matthias, 90

The Grove, 92see also film: A MAZE.Interact

Mabin, Alan, 14–15Maboneng precinct, 5, 115Mabulu, Ayanda. Yakhalinkomo –

Black Man’s Cry, 20Mahony, Nick. Public crises, public

futures, 122Makeba, Miriam, 138Malahlela, Malose ‘Kadromatt’, 46

There’s Hillbrow for You, 6Malcomess, Bettina, see Anne

HistoricalMaleka, Humphrey, 34

see also In House Projectmapan, 60–1mapping the less visible, 7

Marchisella, Mario. The Conductor’sFear of the Soloist, 6–7

Marx, Gerhard. Fire Walker,144–7

Matabane, Khalo. Conversationson a Sunday Afternoon, 64–5,134–5

A MAZE.Interact, 18, 27, 68–71Chop Shop: A game jam, 75–8exhibition component, 84–90film, 92Flipside, 28–30, 78–84, 129–30, 130and music, 84–5, 88symposium, 91–2see also gaming; Reconstitution Hill

Mbembe, Achille, 15, 25, 60, 143–4Mcata, Mpumi, see United African

UtopiasMC Mma Tseleng, 6, 7, 23–4, 45–7migrants and refugees, 51, 58–9,

62–3, 131–5migration and uncertainty, 133–4Millennium Bar. Anne Historical,

137–8, 138mining, 89–90MMXII. James Webb, 12mobility complex, 120–1Modisakeng, Mohau, 5–6monumental public art, 2, 145Moore, Henry. Old Flo (Draped Seated

Woman), 19movement, 42–4, 133–4Moys, Anthea, 12–13

Flipside, 29, 78–81, 79, 79–81, 86,125, 129–30

Mpe, Phaswane. Welcome to ourHillbrow, 6

Mtembu, Brian, 34see also In House Project

multiplayer role-playing game, 30Murray, Brett. The Spear, 20

and commonality, 52Museum of Non-Permanence. Donna

Kukuma, 8Museum of Somethings. Donna

Kukuma, 66

190 Index

music, 6–8, 10, 140and A MAZE.Interact, 84–5, 88protest music, 140and refrain, 148from stores, 47, 133and United African Utopias, 31, 33see also kwaito; sound

Muyanga, Neo, 140My Lovely Day. Penny Siopis, 54–5Mzansi’s Golden Economy, 151–5

Na Ku Randza. Center for HistoricalRe-enactments, 8, 9, 10, 11

narrative, 70, 73–4Narva, Hans, see United African

UtopiasNdebele, Njabulo, 50Neustetter, Marcus, 4New Imaginaries trilogy, 17, 40

and academic register, 19and doublespeak, 18, 54and echoes, 18, 138, 140and the global South, 13nomadic curatorial form, 120–3overview of, 17–19and public art and protest,

19–22and sound, 18–19a speculative map, 125–39see also A MAZE.Interact; Shoe Shop;

Spinesnew media art, 29, 83

and public art, 83and public space, 29see also digital world; gaming

Next week. Guy Wouete, 59, 133–4,146

noise, 84–6, 125–6see also sound

nomadic, contemporary, 120nomadic curatorial form, 120nomadic ethics, 40

see also Braidottinomadic sensibility, 2, 38not knowing, 121–2not-known, 140–2

nowtopians, 104Ntsoana Contemporary Dance

Theatre, 34, 94, 107–8Inhabitant, 1–2, 15teka munyika, 5and the unknown, 135–6

Nuttall, Sarah, 25

Obscure White Messenger. PennySiopis, 55

Occupy protest movements, 20, 52Old Flo (Draped Seated Woman).

Henry Moore, 19Orecchia, João, 33, 96, 98, 102, 136

Invisible Cities series, 10–12, 103see also United African Utopias

Ouroboros All Over Again. RoxyKawitzky, 73, 83, 86–7

Palmer, DJ Chris, 73, 76, 77Park Station, 4, 30–1, 32, 137, 145participation, 29, 87, 111–19

and coercion, 116and empowerment, 117and performance art, 111–19see also audiences

paths, see mapanpavements and roads, 22–3, 43–5pedestrians, 22–3, 60–1, 145performance art, 2–13, 34–5, 169n4

dealing with history, 7–8as a narrative medium, 73–4and participation, 111–19permanence to transience, 38and possibility, 135and public policy, 15, 144, 145and public validation, 36, 40and re-imagination, 15and the unknown, 135

performativity of the city, 7, 146Perkes, Lesley, 26, 38, 131, 132

see also artatworkpermanence to transience, 38

Index 191

Pesa, SelloInhabitant, 1–2, 34on public space, 5–6, 135–6see also Ntsoana Contemporary

Dance Theatre; In HouseProject

Pfruender, Georges, 69, 70photographic art posters, 26–7, 63–4Picture for You interactive game, 86Pieterse, Edgar, 3, 93, 166–8play, 12–13, 27, 69, 70–2, 81–2, 90,

92deep play, 18role-playing, 29–30, 31see also A MAZE.Interact;

gamingpolicy, see public policy on artpolitical contestation and public

space, 39politics see art and politicspoor, public art and the, 19porosity, 69, 73possibility, 147

and performance art, 135and uncertainty, 121–2, 135and utopia, 105and the virtual, 71

post-apartheidarts policy, 152spatiality, 3

postcolonial geographies, 13–14, 21practice

and knowledge production, 19,25, 121

and theory, 52presence and absence, 12, 26, 65,

147privacy, 69–71, 78, 117private and public space, 108,

116–17, 149protest, 39, 52

music, 140public art and, 19–22, 32shoe as symbol in, 56–7

Public Affairs Research Institute,Wits, 48–9

public and private, see privacy; thirdspace

public artand commons, 156a definition, 38–9monumental, 2, 145and new media art, 83and the poor, 19and protest, 19–22and unpredictability, 131–3and the urban commons, 156

public art posters, 26–7, 63–4Public crises, public futures. Nick

Mahony, 122public good, arts as, 156, 157public interest, 39, 158

activations of, 39publicness, 35, 110public policy on art, 150, 172n5

and creative economies, 3, 150,151–2

economic lens, 52, 145, 153–5and ephemerality, 15and GDP, 154–5global context of, 151, 153and international politics, 153and investment in art, 8–10, 154Mzansi’s Golden Economy, 151–2,

172n10and real-world challenges, 143–4,

152and social cohesion, 52, 151, 152and tourism, 153see also art and politics

public safety, see security, risk andencroachment

public spaceand art interventions, 21–2as common space, 108–11, 149–50erosion of, 20geography of, 47legislation governing, 47and new media art, 29and political contestation, 39and private space, 108, 116–17,

149

192 Index

public space – continuedand rightful citizenship, 21surveillance in, 47and tolerance, 117see also privacy; under commons

public sphere, 39public, the and public futures, 122public validation, 36, 40Pule, Thabiso, 118punk, 18, 69, 156

Quack, Sebastian, 29, 78–9, 81quilts, 114, 116

Raether, Johannes Paul, 16, 113–14,115

Rancière, J., 54rapprochement, 65–6reality and imagination, 36, 80–1

United African Utopias, 33, 100–3see also imagination

reality and simulation, 72–3, 86Really Awesome Gaming Event

(RAGE), 28Reconstitution Hill, 27–8, 75

and uncertainty, 128recycling of space and material, 16,

114–15refrains, 18, 122–3, 140refugees, 58–9, 132–3

see also migrants and refugeesregulation and control, 25, 136

see also control; surveillancere-imagination, 15rightful citizenship, 21right to be forgotten, 78risk, 141

in finance, 141and the future, 141–2and security and encroachment,

69–70roads and pavements, 22–3Robinson, Jennifer, 13–14role of the artist, 52, 55, 58, 151,

152–3role of the audience, 36, 112

role-playing, 29–30, 31see also gaming

Rolnik, Suely, 55, 56, 64Rossignol, Jim, 74Routes. Clifford James, 2

Sadie, Vaughn, 5, 34–5Schultz, Kathryn. Being Wrong:

Adventures in the Margin of Error,123–4, 135

Seabrook, Jeremy. In the Cities of theSouth, 51

secession and emancipation, 106–7Secured by Design architecture,

69–70security, risk and encroachment,

69–70Sekgala, Thabiso, 26, 149, 158Sennett, Richard, 31shapeshifting trickster, 15–16, 119,

147shoe as protest symbol, 56–7shoeshine performance, 24–5,

47, 48Shoe Shop, 17, 22, 41, 131–4

city walks, 22–5, 42–8, 133and common ground, 62–4film, 17, 22, 54–5, 64–5, 138–9and latent power dynamics, 133and migration, movement, 17–18,

22–3and the political, 57–8public art posters, 26–7, 63–4and rapprochement, 65–6and the shoe, 56–60, 133and the trickster path, 60–1

Simone, AbdouMaliqurban becoming, 13, 45, 90, 110and hip hop, 45–6and peripatetic urban dwellers, 13

simulation, 72–3, 86Simulations. Pippa Tshabalala, 77, 88Siopis, Penny

Communion, 54My Lovely Day, 54–5Obscure White Messenger, 55

Index 193

Skeleton Crew, The, 10–11Snyman, Cara, 22, 41–2

see also Shoe Shopsocial change, 52–3social cohesion, 52, 151, 152sound

ambient sound, 6–7, 10–12and film, 17found sounds, 24and interactive games, 84–6mapping the city through, 3, 6–8,

84–5noise, 84–6, 125–6and performance, 6–12see also music

Sounding Out. James Webb, 12space, negotiating, 62–4spatiality, inner city, 3–4spatial justice and commons, 51speakable and unspeakable, 55, 56Spear, The, see Murray, Brett. The

Spearspectators, see audiencesspectral city, 110Spines, 18, 30–1, 93–6, 119, 134

see also In House Project; UnitedAfrican Utopias

Staeheli, Lynn, 47, 69Standing Man protest, 20stealth tactics, 116Stewart, Kathleen, 7, 18, 123Steyn City, 50Storno, see Wiedemann, Thorstensubjective imaginaries, 148, 150subjectivity, 130, 144surveillance, 117

in public space, 47state surveillance, 78see also regulation and control

teatro mundi, 31teka munyika. Ntsoana

Contemporary Dance Theatre, 5teleported reality, 78–80Telepylos. James Webb, 74tempo, 95–6

Thath’i Cover Okestra, 46Theart, Pauline, 7–8theory, 14, 52, 143There’s Hillbrow for You. Malose

‘Kadromatt’ Malahlela 6third space, 33–4, 65–6, 69, 91, 103,

148, 170n9time, 15, 25, 73tolerance and public space, 117tourism, 153transparent city, 30, 78, 91–2transport network, see SpinesTranspositions. Rosi Braidotti, 21–2,

95–6trial and error, 127trickster, art of the, 15–16, 119, 125trickster

shapeshifting, 15–16, 119, 147Shoe Shop and the, 60–1

Trinity Session. Borderless, 4trust, 44–5Tshabalala, Pippa. Simulations, 77, 88Tsing, Anna. Friction, 119Two Thousand and Ten Reasons to Live

in a Small Town, 38

uncertainty, 120, 146and African cities, 25and communing, 140–1and control, 133, 136and creativity of practice, 121and error, 123–4and geopolitical flux, 146and migration, 133–4and rationalisation, 120–3and risk, 141–2see also error

uncertainty principle, 122–3United African Utopias, 31–4, 94, 95,

95–7, 97, 98, 98–100, 100, 101–7and music, 31, 33and uncertainty, 136–7

unknown, the, 135–6unpredictability, 131–3unspeakable and speakable, 55, 56

194 Index

urban commons, 21, 51, 140,146, 156

public art and the, 156see also under common

urban dwellers, peripatetic natureof, 13

Urban, Felix. Wipe Your Soundscape,84, 85

Urbanism, 19, 50user-tests

and video game design, 128–9utopianism, 34, 93, 104–7

and commons, 104–5and the ideal city, 105–6and secession and emancipation,

106–7

value, intangible, 156, 157values and experience and

commonality, 50–2value systems, alternative, 8–9Vanolo, A., 91video game design

trial and error in, 127and uncertainty, 127–9and user-tests, 128–9see also gaming

violence as a mediator of history, 5–6virtual world, 71, 86

see also digital world

visibility and invisibility, 26, 36, 112see also economic invisibility

Wa Lehulere, Kemang, 8walking, 22–3

see also city walks; pedestriansWannet, Stan, 35–6, 111Watson, Sophie, 117Webb, James

MMXII, 12Sounding Out, 12Telepylos, 74

Welcome to our Hillbrow. MpePhaswane, 6

Western geographical imagination,13–14

“whatever” spaces, 141Where Do I Begin? Moshekwa

Langa, 17Wiedemann, Thorsten, 27, 69, 90

see also A MAZE.InteractWinnicott, Donald, 103Wouete, Guy, 58–9, 61

Lines of Wind, 59, 133next week, 59, 133–4

xenophobia, 8, 11

Yakhalinkomo – Black Man’s Cry.Ayanda Mabulu, 20

Yoko, Breeze, 8