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BX-03: "Western Standards" by Alan Ruiz
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BX-03: "Western Standards" by Alan Ruiz
Souvenirs privilege the notion of singularity, iconicity and prosperity. As a commemorative object imbued with sentimental value, the souvenir is a commodity that often perpetuates the myth and fantasy of an original despite our increasingly homogenized built environment. Some typologies––the museum, the skyscraper, the monument, the luxury apartment building––fit smoothly within the souvenir’s trappings of iconicity and consumption, whereas others create jagged edges. The market for commemorative plaques of urbicide, souvenirs of mass-incarceration, and broken windows policing, for instance, certainly pale in comparison. Rather than venerating an essentialized and fixed notion of place, culture or form, what would a radically formal souvenir be that depicted the processes that shape the neoliberal city, a dialectical landscape fluctuating between privation and excess?
Resisting the mantelpiece, what if the affective sweeteners used to create feel-good snow globes were instead sour and savory ingredients implemented in a recipe to repulse, to disavow, and to signal change? South Bronx neighborhoods have the highest rate of incarcerated residents in New York City. With a significant lack of public programs and jobs, nearly half of Crotona Park’s roughly 37,075 residents, for instance, live below the poverty line. These facts are significant, but at the same time risk pathologizing communities; such conditions are neither isolated, nor endemic, to the district of BX03. Like the souvenir, numbers are only part of the story. Western Standards BX03 presents a screen suggestive of the normalized systems of control and privatization not only representative of one district of NYC, but a repeatable spatial process of enclosure that shapes inaccessibility and marginalization.
Souvenirs privilege the notion of singularity, iconicity and prosperity. As a commemorative object imbued with sentimental value, the souvenir is a commodity that often perpetuates the myth and fantasy of an original despite our increasingly homogenized built environment. Some typologies––the museum, the skyscraper, the monument, the luxury apartment building––fit smoothly within the souvenir’s trappings of iconicity and consumption, whereas others create jagged edges. The market for commemorative plaques of urbicide, souvenirs of mass-incarceration, and broken windows policing, for instance, certainly pale in comparison. Rather than venerating an essentialized and fixed notion of place, culture or form, what would a radically formal souvenir be that depicted the processes that shape the neoliberal city, a dialectical landscape fluctuating between privation and excess?
Resisting the mantelpiece, what if the affective sweeteners used to create feel-good snow globes were instead sour and savory ingredients implemented in a recipe to repulse, to disavow, and to signal change? South Bronx neighborhoods have the highest rate of incarcerated residents in New York City. With a significant lack of public programs and jobs, nearly half of Crotona Park’s roughly 37,075 residents, for instance, live below the poverty line. These facts are significant, but at the same time risk pathologizing communities; such conditions are neither isolated, nor endemic, to the district of BX03. Like the souvenir, numbers are only part of the story. Western Standards BX03 presents a screen suggestive of the normalized systems of control and privatization not only representative of one district of NYC, but a repeatable spatial process of enclosure that shapes inaccessibility and marginalization.
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