Gentriloquism

Marko Orel, Pop-Up Dom, Ljubljana, 2013:

“Moja generacija besno odhaja, jaz pa sem se vrnil iz tujine, z dobro plačanega dela, in bi rad tu kaj spremenil. Recimo, ugotovili smo, da je v Ljubljani 3500 praznih zasebnih stanovanjskih objektov in 4000 zasebnih poslovnih enot. Toliko praznega prostora! Pa toliko dobrih pobud! Zato smo vzpostavili skupino, ki bo pod projektnim imenom ‘stare hiše, nove rabe’, pozivala lastnike, naj vendar te prostore nečemu namenijo. Po drugi strani pa bi radi opozorili tudi na sistemske anomalije, na to, da prazni objekti, kakršen je tisti nasproti RTV Slovenija, katerega lastnik je Maxicom, največji dolžnik državi, že leta stojijo, čeprav nam prostora vsem primanjkuje. Zato se bomo ukvarjali tudi s tem, kar se v angleščini imenuje cohousing. Gre za danski model, ki pa so ga nazadnje uspešno realizirali v Leipzigu, ki je po združitvi Nemčij izgubil trideset odstotkov prebivalcev, občina pa je veliko praznih stanovanj pokupila in jih zdaj po zelo ugodni ceni, na primer po 30.000 evrov za 50 kvadratnih metrov, prodaja tistim, ki se priselijo vsaj za pet let. Velike industrijske objekte pa so za 20 let za simboličen en evro oddali zadrugi kreativnih ustvarjalcev, ki je te prostore, ki bi sicer propadli, revitalizirala.”

Matteo Pasquinelli, Animal Spirits: A Bestiary of the Commons, o metodi gentrifikacije manhattanskega Lower East Side v zgodnjih osemdesetih:

“The Artist Homeownership Program was a planned strategy of the New York city council ‘to develop cooperative or condominium loft-type units for artists through the rehabilitation of properties owned by the city’ and ‘to provide artists with an opportunity for homeownership to meet their special work requirements, to encourage them to continue to live and work in New York City and to stimulate unique alternatives for the reuse and rehabilitation of city-owned property’ (something quite similar to the present ‘cultural breeding grounds’ policies of Dutch cities).1 Despite the lobbying of the art community, the plan was opposed by a strong social protest and defeated.
The city’s eagerness to allocate three million dollars of these public funds for the housing needs of white, middle-class artists was seen as a clear indication of the city’s attitudes toward the housing needs of the poor. ‘It’s like taking food out of the mouth of someone who is hungry and giving it to someone who is eating everyday,’ commented one community worker.2

Madness – Our House

  1. ‘The New York City Artist Homeownership Program’, unpublished legal brief, page 1. []
  2. Rosalyn Deutsche and Cara Gendel Ryan, ‘The Fine Art of Gentrification’, (note 32). []


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