Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Art and Activism in the Ruins: Guerrilla Urbanism and the Nangang Bottle Cap Factory

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

The controversy over the partial demolishment of the Nangang Bottle Cap Factory for redevelopment is a prime example of the ongoing public debate about urban renewal in Taipei. The controversy crystalizes the tension between a growing public desire for historical preservation in Taipei to safeguard shared history and restore collective memory, and profit-driven capitalistic development. The transformation of the factory over the past decade-from disused public property to a city-operated Urban Regeneration Station for fostering art and innovation, and finally to a demolition site that is being readied for new construction-illustrates the tug of war between the exigencies of cultural/historical preservation and urban renewal in Taipei. During the process, not only did citizen activists play a major role in raising the public's awareness of the unique value of the Nangang Bottle Cap Factory as one of the last major relics of Taipei's industrial heritage, graffiti artists also created works in the abandoned factory that dialogued about its contested future under a neoliberal capitalist regime. By tracing the origins of the controversy, I argue, through a photo documentation of the accumulated graffiti inside the factory before demolition began, that the factory "ruin" has functioned as a theater for diverse forms of guerrilla urbanism, including engaged art, urban exploration, and community organization.

Affiliations: 1: Department of Linguistics and Germanic, Slavic, Asian and African Languages, Michigan State University tzelan@msu.edu

10.3868/s010-006-017-0013-5
/content/journals/10.3868/s010-006-017-0013-5
dcterms_title,pub_keyword,dcterms_description,pub_author
10
5
Loading
Loading

Full text loading...

/content/journals/10.3868/s010-006-017-0013-5
Loading

Data & Media loading...

http://brill.metastore.ingenta.com/content/journals/10.3868/s010-006-017-0013-5
Loading

Article metrics loading...

/content/journals/10.3868/s010-006-017-0013-5
2017-08-09
2017-11-22

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
     
    Frontiers of Literary Studies in China — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation