Transforming Narratives: Reaction, Context and the Emerging (IM)-Possibilities of Social Discourse on Art in Cluj-Napoca

Abstract The aim of this article is to comprehend the register of existence and the developing of social art practices and discourses in Cluj-Napoca, citing the example of the contemporary art space The Paintbrush Factory, established in 2009. Analysing the operation mode/modus operandi of artists, curators, and cultural agents of Cluj-Napoca, I study the creative pattern based on reaction as a response to the undergoing changes within the socio-political environment of the city as well as those on a global scale. The wider expansion of the urban regeneration theory, that attributes an economic growth factor to culture (based on the existence of creative industries), persuades the local authorities to create a new narrative of a Cluj-Napoca based on the image of a creative city. The Paintbrush Factory is precisely the success story – with a grassroots background, and international standing – that Cluj-Napoca Town Hall needed to legitimise its new development project that sought to put the city on Europe’s map. This ambition of the authorities is reflected in the application for the title of European Cultural Capital 2021. The story of the Paintbrush Factory mirrors this precise transformation of the city, which sees the industrial production being replaced by symbolic production. During this process factories are literally replaced by IT firms and adjacent services, while The Paintbrush Factory that had benefited from a long-term rental of a factory space is eventually displaced in this massive gentrification course of the city.

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Counting on Carrington Road: Street Numbers as Metonyms of the Urban

Visual Communication ◽

10.1177/1470357218789286 ◽

2018 ◽

Vol 17 (4) ◽

pp. 433-450 ◽

Cited By ~ 1

Author(s):

Alexandra Crosby ◽

Kirsten Seale

Keyword(s):

Visual Presentation ◽

Creative Industries ◽

Creative Economy ◽

Top Down ◽

Fine Grained ◽

Creative City ◽

Starting Point ◽

Urban Futures ◽

Post Industrial ◽

The City

As urban renewal agendas are fortified in cities globally, ‘creativity’ – as contained within discourses of the creative industries, the Creative City and the creative economy – is circulated as the currency of secure post-industrial urban futures. Using the nexus between creativity and the urban as a starting point, the authors investigate how local enterprises visually communicate the urban in a neighbourhood that is characterized by the interface between manufacturing and creative industries. This research takes a fine-grained approach to the notion of creativity through an audit and qualitative analysis of the visual presentation, material attributes and semiotic meaning of street numbers. The authors do this by collecting data on and analysing how street numbers have been made, selected, used, replaced and layered in a contested industrial precinct in Australia’s largest city, Sydney. They contend that street numbers, as a ubiquitous technology within the city that is both operational and creative, are metonyms for what they understand to be urban. In arguing for vernacular readings of the city, they make use of a top-down, governmental mode of reading the city – the operational legibility of street numbering – as an intervention in current discourses of the urban and of creativity in the city.

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PARIWISATA KREATIF BERBASIS INDUSTRI BATIK SEBAGAI UPAYA PENGEMBANGAN EKONOMI LOKAL KOTA PEKALONGAN

Jurnal Tataloka ◽

10.14710/tataloka.18.1.11-26 ◽

2016 ◽

Vol 18 (1) ◽

pp. 11

Author(s):

L Latifah ◽

Maya Damayanti

Keyword(s):

Economic Development ◽

Local Economic Development ◽

Creative Industries ◽

Tourist Destination ◽

Business Association ◽

Creative City ◽

Art And Culture ◽

The Impact ◽

The City

<div>Currently, Pekalongan City is known as the city of batik. The recognition is both at national and international levels whereas Pekalongan has been acknowledged as a world creative city based on the art and culture of batik. Batik is an essential commodity in Indonesian creative industries and has been the major commodity of Pekalongan. Batik industry is also capable of creating an inter-business association like the canting making business and fabric dyes business. As a city of batik, Pekalongan is prepared as a tourist destination through the availability of Batik Museum and two centers of batik craftsmen. The attraction has been increasing because tourists do not only see the process but can practice on how to make batik along with the batik craftsmen and interact with the related tools and materials, and this is known as creative tourism. The impact of the creative tourism can become one of the efforts to the local economic development of Pekalongan because it has been able to make linkages between sectors in tourism and batik industry.</div>

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Crafting place: Women’s everyday creativity in placemaking processes

European Journal of Cultural Studies ◽

10.1177/1367549417722090 ◽

2017 ◽

Vol 22 (3) ◽

pp. 362-377 ◽

Cited By ~ 2

Author(s):

Louise C Platt

Keyword(s):

Sense Of Self ◽

Creative Industries ◽

City Centre ◽

Structured Interviews ◽

Urban Experience ◽

Creative City ◽

Everyday Creativity ◽

Attachment To Place ◽

The City

Amid a resurgence of domestic craft, this article contends that everyday creative practices of women are part of placemaking processes in the creative city. Specifically, the research focuses on Liverpool in the Northwest of England, the so-called (and self-proclaimed) ‘centre of the creative universe’. This article utilized in-depth semi-structured interviews with members of knitting groups and the city centre Women’s Institute to explore how women use craft practice to create a sense of self and attachment to place. The idea of women gathering to craft is enduring, and is examined here to understand affective labour and the role that creativity plays in the urban experience of women. It is argued that the groups demonstrate a lack of engagement with the wider market and official placemaking processes, but instead demonstrate an element of self-valorization. The article challenges thinking around culture-led placemaking in cities like Liverpool, where discourses of creativity have been used as a driver for regeneration by shifting the emphasis onto seemingly banal settings on the edges of the so-called creative city. While urban placemakers have been more recently concerned with developing hubs of creative industries, the role of these groups that are not producing a profitable ‘product’ should not be underestimated or exploited.

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Kultura jako czynnik miejskiej rezyliencji na przykładzie dawnych miast przemysłowych należących do Sieci Miast Kreatywnych UNESCO. Przypadek dwóch miast: Katowice i Saint-Étienne

Kultura i Spoleczenstwo ◽

10.35757/kis.2018.62.3.1 ◽

2018 ◽

Vol 62 (3) ◽

pp. 3-27

Author(s):

Robert Pyka

Keyword(s):

Creative Industries ◽

Endogenous Development ◽

Urban Resilience ◽

External Resources ◽

Knowledge Based ◽

Models Of Development ◽

New Development ◽

Post Industrial ◽

The City

Cities that seek new development factors in the era of knowledge-based economies and global competition increasingly often turn to culture and the development of the so-called creative industries. The mobilization of endogenous resources leads both to the demarcation of new paths of development and the preservation of continuity through reference to the tradition, skills, and ethos proper to a given area. The author addresses the question in terms of the concept of urban resilience, using the example of two post-industrial cities: Katowice and Saint-Étienne, which are struggling with a lack of positive image and limited access to external resources. He recounts the city authorities’ strategies and attempts to assign them to models of development through culture described in the literature. He devotes considerable space to the tactic of supra-local networking and to cooperation within the framework of international networks. He attempts a critical description of the actual role of culture in the processes of revitalizing selected cities. He claims that culture has a large role to play as a factor enhancing the participation of the inhabitants and thus to the endogenous development of the city. The ability to change the path of development while preserving the cohesion of the process with a city’s historical and cultural heritage testifies, in the author’s opinion, to the existence of a potential for resilience.

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“CREATIVE CITY ” AS A BRAND – THE CASE OF ŁÓDŹ

Creativity Studies ◽

10.3846/23450479.2015.1112312 ◽

2016 ◽

Vol 9 (1) ◽

pp. 3-14 ◽

Cited By ~ 3

Author(s):

Blanka Brzozowska

Keyword(s):

Development Strategy ◽

Textile Industry ◽

Brand Management ◽

Essential Element ◽

Creative Industries ◽

Brand Strategy ◽

Creative City ◽

The 19Th Century ◽

The City ◽

New Situation

The aim of the paper is to discuss the case of Polish city Łódź. Łódź flourished as the textile industry city since the second half of the 19th century. That changed after the Poland’s transition to a market economy. In the new situation, the city began to decline, both economically and socially. In 2012 the city authorities have adopted the Łódź Brand Management Strategy for the Years 2010–2016 and Integrated Development Strategy for Łódź 2020+. The essential element of both strategies is to apply the idea of creative industries. The motto “Łódź – City of Creative Industries” not only determines the direction of the current development of the city, but also it was the basis for applying for the title of “European Capital of Culture”. The paper presents the case of Łódź from the perspective of the official strategies adopted by the city authorities, and at the same time from the perspective of grassroots activities undertaken by residents that fit, sometimes unintentionally, in the brand strategy of Łódź as the city of creative industries.

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Geographies of Displacement in the Creative City: The Case of Liberty Village, Toronto

Urban Studies ◽

10.1177/0042098009103856 ◽

2009 ◽

Vol 46 (5-6) ◽

pp. 1095-1114 ◽

Cited By ~ 79

Author(s):

John Paul Catungal ◽

Deborah Leslie ◽

Yvonne Hii

Keyword(s):

Inner City ◽

Creative Industries ◽

The Political ◽

Development Discourse ◽

Place Making ◽

Creative City ◽

Political Implications ◽

Attraction And Retention ◽

New Industry ◽

The City

Creative industries are increasingly associated with employment, tourism and the attraction and retention of talent in economic development discourse. However, there is a need to foreground the interests involved in promoting the creative city and the political implications of such policies. This paper analyses new industry formation in Liberty Village—a cultural industry precinct in inner-city Toronto, Canada. The focus is on the place-making strategies at work in constructing Liberty Village. In particular, the paper explores a series of displacements associated with creative districts, focusing on three scales in particular—the level of the city, the neighbourhood and the precinct itself. An examination of these displacements foregrounds the contested nature of the creative city script.

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A Brazilian Hollywood in the making? Film, tourism and creative city discourse in the hinterland of Paraíba

International Journal of Cultural Studies ◽

10.1177/13678779211011635 ◽

2021 ◽

pp. 136787792110116

Author(s):

Débora Póvoa ◽

Stijn Reijnders ◽

Emiel Martens

Keyword(s):

Creative Industries ◽

Policy Makers ◽

Creative Cities ◽

Creative City ◽

Global North ◽

The City

Originating in metropoles in the Global North, the creative cities model has increasingly been replicated in locations around the globe. However, betting on the creative industries to reinvigorate stagnant economies might not be a solution compatible with every context. To analyse this issue, this article presents the case of the small Brazilian city of Cabaceiras, which was the target of a project aimed at revitalizing its economy through film and tourism in 2007. Based on 25 interviews with residents and policy makers, we examine whether the initiative was, in their view, successful in stimulating a creative hub. We argue that the creative cities model has not yet proven feasible in Cabaceiras due to financial and infrastructural challenges that the city experiences, its positioning outside of Brazil’s cultural and creative centres and the uncertainties of investing in the audiovisual sector in the country.

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BANDUNG FASHION HUB SEBAGAI RUANG INTERAKSI DAN REKREASI DENGAN PENDEKATAN DESAIN EKSPRESIF DI KOTA BANDUNG

Arsitektura ◽

10.20961/arst.v14i2.9094 ◽

2017 ◽

Vol 14 (2) ◽

Author(s):

Annisa Fadhilla Jasmine ◽

MDE Purnomo ◽

Hari Yuliarso

Keyword(s):

Creative Industries ◽

Design Concept ◽

Creative Economy ◽

Suitable Habitat ◽

Creative City ◽

Government Work ◽

The Government ◽

And Performance ◽

Public Recreation ◽

The City

Today’s fashion is an important part of the lifestyle and influence in many aspects of life including influential in global economic that the development should be considered. Bandung as a creative city supported by enterprising creative industries and communities is a suitable habitat in the development of the fashion mode that has significant impact on the development of the creative economy in the city of Bandung. Based on the Government Work Report Bandung (LKPJ AMJ) in 2012, the growth of creative industries has decreased. Fashion needs to be developed starting from human resources, the manufacturing process of mode, distribution of works / fashion products, activities in the networking community, the container activities of urban communities to engage in communal and urban public recreation in the creative space. Therefore, the existence of Bandung Fashion Hub as a center of fashion in Bandung is indispensable. Of these issues, the design problem is to what extent the expression of space and forms that can be imaged expression of fashion stakeholder interaction and how to express creatively through fashion symbol of the city which can be a recreational space in the city of Bandung. The method used is a method of planning and designing architecture namely by processing the data and information (concept of) for creating design concept (concept for design) through the process of programming, design criteria and performance of a design concept. Expressive design approach by using the meaning of the symbol, the idea of space, form that expose the material so that it can express the character of fashion events and characters of Bandung as a creative city. Therefore the design of Bandung Fashion Hub aims to facilitate all activities related to the character of the activities of fashion stakeholders including forecasting activities, show off, market and shop. Fashion hub as a place to meet and communicate between communities and the media as well as with fashion activists in general and also as a place of education and information (forecasting), promotion (market), exhibitions (show off) and recreation for the community so as to enhance the growth of creative industries in Bandung. Keywords: Bandung, Creative City, Creative Industry, Expressive Design, Fashion, Hub

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Singapore as a Creative City: vignettes from the perspective of la flâneuse tropique

eTropic electronic journal of studies in the tropics ◽

10.25120/etropic.17.2.2018.3660 ◽

2018 ◽

Vol 17 (2) ◽

Cited By ~ 3

Author(s):

Sneha Chaudhury ◽

Anita Lundberg

Keyword(s):

Creative Industries ◽

Urban Life ◽

The Other ◽

Street Level ◽

Creative City ◽

The City

The tropical metropolis of Singapore is on a quest to become a creative city. Its policies explicate the need to transform into a ‘renaissance city’, a global hub of creative industries and economies. Yet, for Singapore – better known for its panoptic rather than creative imaginary – the question remains ‘how does the government’s policy of creativity translate on the ground?’ As a theory and method of critically meandering through the city in order to participate and observe quotidian practices at the street level, flânerie offers a way of engaging and contributing to an ethnography of urban life. This paper explores flânerie through the perspective of the female flâneuse. Two vignettes – one concerning heritage and the other graffiti – provide thick descriptions of encounters with creative practices in Singapore.

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