contents   inside europa   + italy essay international   + journalism   + war on terror specials   + transmission   + iberamericana cultur languages

transmission    preface working out the transmission    introduction trasmesso 27 agosto...    angela vettese art knows what it was which place takes cinema not for sale interferences 1 in girum imus nocte interferences 2 interferences 3    joseph kosuth constructing conflict owning empathy posttrauma syndrome i volti del terrore a well for palestine una risata orribile libertà di culto, libertà di critica the walls below    rirkrit tiravanija la paura mangia l’anima olvido maybe tomorrow interferences 4 burn a book interferences 5 tu non hai potere o.T. la distribución del tiempo interferences 6 come ottenere successo in arte we have moved...    epilogue

INTERFERENCES #2    | Miwon Kwon. Significantly, the appropriation of site-specific public art for the valorization of urban identities comes at a time of a fundamental cultural shift in which architecture and urban planning, formerly the primary media for expressing a vision of the city, are displaced by other media more intimate with marketing and advertising. Site specificity and public art in this context find new importance because they can supply distinction of place and uniqueness of locational identity, highly seductive qualities in the promotion of towns and cities within the competitive restructuring of the global economic hierarchy. Thus, site-specific public art remains inexorably tied to a process that renders particularity and identity of various cities a matter of product differentiation. Under the pretext of their articulation or resuscitation, site-specific public art can be mobilized to expedite the erasure of differences via the commodification and serialization of places.