35,594 matches
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events în which most of the people în the community took part. Back then, I and my husband managed the LaBomba disco, where most of the community went to relax and have a god time. When any of them asked for our support în organizing birthdays, weddings, baptisms or wakes, we would offer them the use of the disco. These things brought uș closer. How was the LaBomba Community Center established? Well, for me, the kids’ first performance, în 2007, here
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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a god time. When any of them asked for our support în organizing birthdays, weddings, baptisms or wakes, we would offer them the use of the disco. These things brought uș closer. How was the LaBomba Community Center established? Well, for me, the kids’ first performance, în 2007, here at the Uranus garden, was the best. The music was great, the kids like it, and then Maria said: “It would be great if we could do these workshops all the time
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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time.” And then I said: “Come to our place!” And it worked ouț nicely, the kids continued with the performances and the music. And the first book came ouț - the Generosity Offensive album. Throughout this experience, working with the artists for 7 years, I understood that it’s also a kind of business. I don’ț call it a project, this is how I heard you call it. And with all our issues, the evictions, losing the house, Cherecheș[1] and
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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is to show these people who come to see uș all the forgeries, all the problems people have, how they end up on the streets. That’s what I was interested în! Even if you got a bit of cash for your projects, I didn’ț care! No one could be that stupid and not realize that the artist can’ț come forever without money for the bus or for cigarettes and șo on. I mean, I thought it was only
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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That’s what I was interested în! Even if you got a bit of cash for your projects, I didn’ț care! No one could be that stupid and not realize that the artist can’ț come forever without money for the bus or for cigarettes and șo on. I mean, I thought it was only normal for the artists to get paid for their work. What was the community’s relationship with E-Uranus and The Ark, considering that they
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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was interested în! Even if you got a bit of cash for your projects, I didn’ț care! No one could be that stupid and not realize that the artist can’ț come forever without money for the bus or for cigarettes and șo on. I mean, I thought it was only normal for the artists to get paid for their work. What was the community’s relationship with E-Uranus and The Ark, considering that they did help with certain
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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projects, I didn’ț care! No one could be that stupid and not realize that the artist can’ț come forever without money for the bus or for cigarettes and șo on. I mean, I thought it was only normal for the artists to get paid for their work. What was the community’s relationship with E-Uranus and The Ark, considering that they did help with certain projects, but on the other hand, they are precisely the ones who benefit
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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one could be that stupid and not realize that the artist can’ț come forever without money for the bus or for cigarettes and șo on. I mean, I thought it was only normal for the artists to get paid for their work. What was the community’s relationship with E-Uranus and The Ark, considering that they did help with certain projects, but on the other hand, they are precisely the ones who benefit most from the evacuation of the
Evacuați, artiști și agenți ai gentrificării: Proiectele din Rahova-Uranus / Interviu cu Cristina Eremia () [Corola-website/Science/295760_a_297089]
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dreptul la oraș și respect, și nevoia participării la luarea deciziilor publice. Expozițiile artistice cuplate cu dezbateri publice, campaniile de facebook, de video advocacy și de flyere, completate de evenimente de artă participativa stradală, acțiunile de artă comunitară îmbinate cu forurile sociale, formarea jurnaliștilor în drepturile omului și combaterea rasismului, valorificate în campanii mediatice, atelierele de capacitare comunitară pentru persoanele din Pată Rât, împreună cu acțiunile de dezvoltare a organizației grassroots de romi vor implica direct 780 de cetățeni, dintre care 450
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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the one from Cantonului Street. Shortly thereafter, the houses from Coastei Street were demolished șo that no trace of them would be left. În lațe May 2011, next to where the houses once stood, authorities and priests laid the foundation for a campus for the Faculty of Theology. The dislocated inhabitants who were now living next to the garbage dump were protesting a couple of yards away, surrounded by security guards and Orthodox religious chanting. The land on Coastei Street was
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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Cantonului Street. Shortly thereafter, the houses from Coastei Street were demolished șo that no trace of them would be left. În lațe May 2011, next to where the houses once stood, authorities and priests laid the foundation for a campus for the Faculty of Theology. The dislocated inhabitants who were now living next to the garbage dump were protesting a couple of yards away, surrounded by security guards and Orthodox religious chanting. The land on Coastei Street was donated by the
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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On December 6 2013, the theology student campus worth 30 million lei (approximately 7 million euro) was inaugurated. On December 30 2013, the Appeals Court în Cluj ordered Cluj municipality “to grant damages of 2000 euro per person to compensate for the injustice suffered by the plaintiffs în the process of eviction and relocation to the container area în Pata-Rât and for the improper living conditions.” We talked to Enikő Vincze, activist and researcher into the ghettoization at Pata-Rât and elsewhere
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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2013, the Appeals Court în Cluj ordered Cluj municipality “to grant damages of 2000 euro per person to compensate for the injustice suffered by the plaintiffs în the process of eviction and relocation to the container area în Pata-Rât and for the improper living conditions.” We talked to Enikő Vincze, activist and researcher into the ghettoization at Pata-Rât and elsewhere în România. You were heavily involved în the protests against the eviction of the families from Coastei Street to Pata-Rât. Could
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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of these protests and their political relevance? I learned to articulate în practice a critique of the system which represses the very people it impoverishes. The way I managed this was by protesting the forced evictions în Cluj. We militated for housing rights and desegregation. My involvement în this process was facilitated by Cristina Rât and Adi Dohotaru. The first protest - I am Romă and I want to live a dignified life[1] - took place în January 2011, after the forced
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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forced evictions of December 2010, and raised awareness about what hâd happened by emphasizing the injustice of relocating people to the city dump and demolishing the houses on Coastei Street. Then, în December 2011, we built solidarity around the March for Social Justice[2], </b>which featured many local academics and civil society activists: I think it was an important step towards framing the forced evictions of the Romă families on Coastei Street aș part of a wider social issue, namely
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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numărul%205/Eniko%20English.docx# ftn3"><b>[3]</b></a> - </b>undertook a 10-minute symbolic takeover of the administration which was meant to benefit the people of Pată Rât. Linda Greta, from the Coastei Street community, who received the award for civic activism from the “Români Women’s Gală”, was an important part of organizing the protest. When we marked three years since the eviction, we withdrew into the confines of the container-houses and sent the message “SOS! Get uș ouț
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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was also involved în other types of street manifestations such aș <b>I, too, am a garbage mân</b> (which emphasized the fact that the precarious labor undertaken with no protection în hazardous conditions was and continues to be useful for the city, since it hâș ensured the selective collection of waste în Cluj for several decades and now the workers, whose livelihood was threatened by the closing of the dump, were claiming their right to decent work). I took part
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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am a garbage mân</b> (which emphasized the fact that the precarious labor undertaken with no protection în hazardous conditions was and continues to be useful for the city, since it hâș ensured the selective collection of waste în Cluj for several decades and now the workers, whose livelihood was threatened by the closing of the dump, were claiming their right to decent work). I took part în the performance <b>Work is no luxury, it is a right!</b>, where
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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b>, where we brought together Adi Dohotaru’s artistic-activist ideas and the initiatives of some of the evacuees from Coastei Street (especially Florin Stancu) to establish a social economy unit to work with support from local authorities în creating jobs for the members of the community, generating income for community activities and offering useful services for the inhabitants of Cluj. All these protests - and the way în which they constructed the messages - aimed (and succeeded, I believe) to turn an issue
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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artistic-activist ideas and the initiatives of some of the evacuees from Coastei Street (especially Florin Stancu) to establish a social economy unit to work with support from local authorities în creating jobs for the members of the community, generating income for community activities and offering useful services for the inhabitants of Cluj. All these protests - and the way în which they constructed the messages - aimed (and succeeded, I believe) to turn an issue neglected by local authorities - the status of the
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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of the evacuees from Coastei Street (especially Florin Stancu) to establish a social economy unit to work with support from local authorities în creating jobs for the members of the community, generating income for community activities and offering useful services for the inhabitants of Cluj. All these protests - and the way în which they constructed the messages - aimed (and succeeded, I believe) to turn an issue neglected by local authorities - the status of the marginalized communities of Pată Rât and the
„Am pus împreună bazele unui concept de activism artistic” () [Corola-website/Science/295761_a_297090]
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without a roof over their heads. The family takes shelter în abandoned buildings and is constantly on the move because they are driven away either by the landlord, by people authorized by the landlord or by other homeless people looking for shelter. În June 2012, the family was forced to leave a place they hâd occupied after pressures made by a group of young people who wished to turn the location into a cultural center (with autorization from the owner). <i
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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Codreanu, Arnold Schlachter and Veda Popovici</b> Carol 53 was introduced on July 25th aș a squat. The occupants, mostly students of Architecture, began their presentation by mentioning the landlord’s approval and “the support of architect Sturdza”, the reason for their inițiative being “the rescue of a heritage site”. It quickly became clear that the rescue they were talking about was the rescue of a house from people described aș “Gypsies stealing iron to make money”. This way, the occupants
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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în which property comes before people. [...] [caption id="attachment 1495" align="aligncenter" width="550"] Arnold Schlachter, Carol 53, 2014.[/caption] M. C.: What do you know about the building at Carol 53?</b> Mărită Iakab: We knew it hâd been empty for 7 or 8 years. After the Revolution, half of it was made up of revolutionaries, the other half was office space. We didn’ț know who the landlord was. M. C.: Why did you go into the building?</b> M.
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]
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M. I.: We hâd nowhere to go. Where I and Silvia were staying, on Banu Mantă, they demolished it to make a business. A. S.: How was your life în the building?</b> M. I.: It was fine. We stayed upstairs for about 4 days until the architect came - an old mân about 50 years old, wearing glasses - and then we moved to the basement. He was with Mihai, a tall, young fellow. They used a key to get în. We figured
Păzirea ruinelor - un articol în două episoade despre gentrificare și anti-squatting () [Corola-website/Science/295768_a_297097]