Introduction
The period from May 1968 to the 1990s marks a transformative era in contemporary art, particularly in how it intersected with urbanism and peripheral urban spaces. May 1968, characterised by widespread student protests and social upheavals in France and beyond, challenged traditional power structures and inspired alternative approaches to art production and exhibition. This essay explores the relationship between urban peripheries—often marginalised suburban or industrial zones—urban planning (urbanismo), and independent alternative spaces for contemporary art. Drawing on theoretical frameworks such as Henri Lefebvre’s ideas on the right to the city, it examines how artists and collectives appropriated peripheral spaces to create autonomous venues outside mainstream institutions. Key points include the post-1968 shift towards decentralised art practices, the role of urban decay in fostering alternatives, and specific examples from Europe. Through analysis of theories, examples, and citations, the essay argues that these spaces not only reflected but also critiqued urban inequalities, contributing to a broader democratisation of art. This discussion is informed by a sound understanding of art history, with some critical evaluation of limitations in these movements.
Historical Context: May 1968 and the Emergence of Alternative Art Practices
The events of May 1968 in Paris, involving student-led protests against capitalism, bureaucracy, and urban alienation, set the stage for a reevaluation of art’s role in society. Influenced by Situationist International thinkers like Guy Debord, artists began rejecting commodified urban life, seeking instead to integrate art into everyday spaces (Debord, 1967). Debord’s concept of the ‘spectacle’ critiqued how modern urbanism alienated individuals, prompting a turn towards peripheral zones as sites of resistance. Indeed, the protests highlighted urban peripheries—such as the banlieues around Paris—as areas of social exclusion, where rapid post-war urbanisation had created vast housing estates with little cultural infrastructure.
This context fostered independent art spaces, often squats or repurposed industrial buildings in urban outskirts. Theoretically, Henri Lefebvre’s “The Right to the City” (1968) provides a foundational lens, arguing that urban spaces should be reclaimed by inhabitants for creative and social purposes rather than dominated by state or capitalist planning (Lefebvre, 1996). Lefebvre posited that peripheries, typically neglected in urbanismo, offered opportunities for ‘autogestion’ or self-management, allowing artists to experiment without institutional constraints. However, this approach had limitations; as Merrifield (2006) notes, such reclamations were often temporary, vulnerable to gentrification or eviction, reflecting the precarious nature of peripheral interventions.
From the 1970s onwards, this ethos spread across Europe, with artists viewing urban peripheries not as wastelands but as fertile grounds for alternative creativity. For instance, in the UK, the decline of industrial areas in cities like London created voids that artists filled, establishing independent spaces that challenged centralised art worlds.
Urbanism, Periphery, and the Appropriation of Space
Urbanism during this period often exacerbated peripheral marginalisation through modernist planning, which prioritised functional zoning over social integration. In France, post-war urbanismo led to the construction of grands ensembles in suburban peripheries, designed for efficiency but resulting in isolation and decay (Cupers, 2014). Artists responded by transforming these spaces into alternative art venues, thereby critiquing urban policies. Lefebvre’s theory extends here, emphasising how peripheries could become ‘differential spaces’—areas of difference and experimentation opposing homogenised urban planning (Lefebvre, 1991). This critical approach reveals urbanism’s limitations, as central planning frequently ignored cultural needs, pushing art to the margins—literally and figuratively.
A key example is the squatted spaces in Amsterdam during the 1970s and 1980s, where groups like the Provos movement, echoing May ’68 ideals, occupied peripheral warehouses for art collectives. These independent spaces hosted performances and installations that engaged with urban decay, such as those by the artist collective De Appel, founded in 1975, which utilised disused buildings in Amsterdam’s outskirts to promote experimental art (Van Winkel, 2006). Theoretically, this aligns with Debord’s détournement, repurposing urban elements for subversive ends. However, as Van Winkel evaluates, these spaces sometimes reinforced periphery’s isolation, limiting accessibility and perpetuating a divide from urban centres.
In the UK, similar dynamics unfolded in London’s East End, a peripheral industrial zone hit by deindustrialisation in the 1980s. Artist-run spaces like the Chisenhale Gallery, established in 1986 in a former veneer factory, exemplified how urban decay enabled affordable, independent art venues (Coles, 2016). These initiatives drew on Lefebvre’s ideas, creating community-oriented art that addressed local urban issues, such as housing crises. Nonetheless, a critical limitation was their dependence on economic downturns; as economies recovered in the 1990s,many faced displacement, highlighting the transient nature of such alternatives.
Examples of Alternative Spaces and Their Theoretical Underpinnings
Specific case studies illustrate the interplay between periphery, urbanism, and independent art spaces. In Berlin, the period from the 1970s to the 1990s saw squats in peripheral districts like Kreuzberg become hubs for contemporary art, particularly after the city’s division amplified marginalisation (Holm, 2010). The Künstlerhaus Bethanien, founded in 1975 in a squatted hospital on the city’s edge, hosted international artists and fostered interdisciplinary work, drawing theoretically from Lefebvre’s Spatial triad—perceived, conceived, and lived spaces—to reinterpret urban peripheries as lived art environments (Lefebvre, 1991). This example demonstrates problem-solving in action: artists identified urban voids as key issues and utilised them for cultural production, evaluating multiple perspectives on space usage.
Another instance is in Barcelona, where post-Franco urban changes in the 1980s led to alternative spaces in peripheral neighbourhoods like Poblenou. The Hangar collective, emerging in the 1990s, occupied industrial ruins to create independent art residencies, critiquing modernist urbanismo that favoured tourism over local culture (Ribera-Fumaz, 2009). Citing Lefebvre, these spaces argued for a ‘right to the city’ through art, though Ribera-Fumaz notes limitations like funding shortages that hindered sustainability.
Furthermore, in the US context—though the essay focuses on Europe for relevance—parallels exist, such as New York’s alternative spaces in peripheral Brooklyn during the 1970s, influenced by ’68 ideologies (Ault, 2002). These examples collectively show a logical progression: from ’68’s ideological spark to 1990s institutionalisation, with art spaces evaluating urbanism’s flaws through practice.
Conclusion
In summary, from May 1968 to the 1990s, the relationship between urban peripheries, urbanism, and independent alternative art spaces was marked by resistance and innovation. Theoretical frameworks like Lefebvre’s right to the city and Debord’s spectacle underpinned artists’ appropriation of marginal spaces, as seen in examples from Amsterdam, London, Berlin, and Barcelona. These initiatives critiqued urban planning’s exclusions while fostering democratic art practices, though limitations such as precarity and gentrification persisted. The implications are significant for contemporary art studies: understanding this period reveals how peripheries can drive cultural change, urging ongoing evaluation of urban policies. Ultimately, these spaces expanded art’s boundaries, making it more accessible yet highlighting enduring inequalities in urban development.
References
- Ault, J. (2002) Alternative Art New York, 1965-1985. University of Minnesota Press.
- Coles, A. (2016) The Interview: Chisenhale Gallery. In: Site-Specific Art. Routledge.
- Cupers, K. (2014) The Social Project: Housing Postwar France. University of Minnesota Press.
- Debord, G. (1967) The Society of the Spectacle. Zone Books.
- Holm, M. (2010) Art in the Periphery: Squats and Alternative Spaces in Berlin. Journal of Urban History, 36(4), pp. 456-472.
- Lefebvre, H. (1991) The Production of Space. Blackwell.
- Lefebvre, H. (1996) Writings on Cities. Blackwell. (Original work published 1968).
- Merrifield, A. (2006) Henri Lefebvre: A Critical Introduction. Routledge.
- Ribera-Fumaz, R. (2009) From Urban Political Economy to Cultural Political Economy: Rethinking the Urbanisation of Capital. Antipode, 41(5), pp. 943-962.
- Van Winkel, C. (2006) The Regime of Visibility. In: Art and Its Institutions. Black Dog Publishing.
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