How do workers coordinate a struggle when the bosses and Union are the enemy?
Inspirational radical documentary made in the late 1960’s in association with the League of Revolutionary Black Workers. The film charts the racism and exploitation of black auto workers in Detroit and their attempt to collectivize and gain a voice in their workplace despite the violence and corruption used to suppress them. The League didn’t just see the need for black workers to organise but emphasized the potential power of all the working class.
IUD recently visited the Treptow-Koepenick borough of Berlin to walk around the Falkenberg Gartenstadt (Falkenberg Garden City) with new friend and historian of the everyday, Andreas. Falkenberg is comprised of three streets, Akazienhof, Am Falkenberg, and Gartenstadtweg, with 128 homes developed by the modernist architect Bruno Taut between 1913 and 1915.
Currently IUD is exhibiting in The Fire and the Rose curated by Tongyu Zhou as part of the Asia Triennial 14. The work is located in the Vertical Gallery, 3rd Floor, Benzie Building , Manchester School of Art at Manchester Metropolitan University. We have created a Temporary Research Space, an invitation to spend time exploring selected materials from our archive, derived from fieldwork and other research in Salford, UK and Guangzhou, China. Also included are a small sample of related critical and fieldwork texts. The show is on until November 28th.
When I was in my twenties two of my great loves were documentary photography and experimental film. Seeing Jem Cohen’s work Lost Book Found (1996) made me realise how the two could come together in a heady mix. Cohen wanders like a street photographer gathering Super-8 and 16mm film material through his direct observation of the urban world around him. Lost Book Found is his modern day homage to Benjamin’s Arcades Project relocated to New York. It attempts to find another layer of meaning to the city through its traces, fragments and neglected spaces. The narrative alternates between the city’s hard streets and a hidden reality beneath the kaleidoscopic distractions and phantasmagoria of its capitalist space.
Latour & Hermant’s on-line book Paris: Invisible City (1998) presents a challenge to all urban photographers and the observational methods central to their work. The project questions how much we really can understand about the modern city by simply looking. Starting off on the rooftop of the famous La Samaritaine department store it begins by examining the panorama of Paris.
The book explores the labyrinth of overlapping networks that underpin the functioning of the city. Using Latour’s Actor-Network-Theory as a methodology, it highlights the ‘invisible’ and unnoticed connectivities that compose the city. It presents us with a layered portrait of place “bypassed by the normative representational mode” (Networks of Design). Latour uses the term ‘oligopticon’ to define these hidden networks that ultimately serve to make Paris the functioning city that it is. As a social researcher he believes that they are a means to appreciate the intertwined totality of municipal space. Unlike the absolutist all seeing gaze of Foucault’s panopticon, with the oligopticon “extremely narrow views of the (connected) whole are made possible–as long as connections hold” (p.181, Reassembling the Social). By drawing our attention to the complexity of these ‘co-existences’, the work ultimately demonstrates the sheer impossibility of understanding Paris or any urban space through a single image or glance.