Youth Urban Worlds

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Julie-Anne Boudreau. Youth Urban Worlds

Table of Contents

List of Tables

List of Illustrations

Guide

Pages

IJURR‐SUSC Published Titles

YOUTH URBAN WORLDS. Aesthetic Political Action in Montreal

List of Figures

Series Editors’ Preface

Preface

References

Introduction: Voices From Montreal

MAKE‐UP

Space–Time–Affect: The Urban Logic of Political Action4

Acting Aesthetically: Political Gestures, Political Acts, and Political Action

Youth Urban Worlds

The Global Urban Political Moment of the 2010s: Youthfulness in Action

Montreal in a World of Cities

A Methodological Note

The Organization of the Book

Notes

Chapter 1 Montreal and the Urban Moment

Montreal’s Politico‐Sensuous Feel

Montreal’s Place in the Global Urban Cultures of the 1960s and 1970s

Changing Relations to Time

Changing Relations to Space

Conclusion

Notes

Chapter 2 The Urban Political World of Racialized Youth: Moving Through and Being Moved By Saint‐Michel and Little Burgundy

Moving Through Saint‐Michel and Little Burgundy with an Epistemology of Blackness9

Being Moved: Representations and Affective Aesthetic Relations

Racialization: Disembodied Profiling Entangled With Embodied Racist Encounters

Conclusion

Notes

Chapter 3 The Urban Political World of Student Strikers

Becoming a Striker: Pregnant Moments ‘Breaking the Real’

Walking the City: Space During and After the Strike

The Political Effects of Seduction and Provocation

Conclusion

Notes

Chapter 4 The Urban Political World of Urban Farmers: ‘It’s Not Just Growing Food, It’s a Lot More Than That’

Embodied Experiences of the Spatialities and Circulation of Food Commodities in the City

The Urban Logic of Action of Urban Agriculture Practices

Seduction and Attraction in the Garden

Conclusion

Notes

Chapter 5 The Urban Political World of ‘Risk‐Takers’: Provocative Choreographic Power

The Risk‐Management Context

Urban Dancers and Diviners: Choreographic Power as Political Action

Voluntary Risk‐Takers? Fear and Youth Politics11

Collective Edgework: Distributed Agency Through Provocation and Seduction

Conclusion

Notes

Conclusion

Forms of Aesthetic Politics Influenced by Youthfulness and Contemporary Conditions of Urbanity

Montreal in a World of Cities

Note

References

Index

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Youth Urban Worlds: Aesthetic Political Action in Montreal Julie‐Anne Boudreau and Joëlle Rondeau

Paradoxes of Segregation: Housing Systems, Welfare Regimes and Ethnic Residential Change in Southern European Cities Sonia Arbaci

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In order to explain what we mean by ‘attraction’, allow us to describe a situation experienced by Julie‐Anne in the Prado Museum in Madrid. The Prado has a very large collection of Goya’s paintings depicting royal characters and religious scenes. When Julie‐Anne visited the museum, she focused on the story these paintings were telling, on how Goya depicted power. When, at the end of the day, she went down to the museum’s lower level, she encountered his Pinturas Negras, painted on the walls of his house toward the end of his life (during the 1820s). These murals depict barbaric scenes from everyday life in quasi‐phantasmagorical forms: embodied human interactions, eating, blood, fear, crowds, sickness, music, ageing bodies, raging gods, expressively reading a book, sexual desire, fire… (see Figure I.1). As she encountered this ‘aesthetic appearance’ (Panagia 2009), Julie‐Anne could no longer move her body. She could not read what she was seeing anymore; she could almost feel the warmth of the blood on her fingers, the fear of the crowd. She stayed for nearly an hour, without moving, until her husband came for her.

Exiting the museum, they sat on a bench under the fresh shade of a canopy tree for another hour, where Julie‐Anne couldn’t stop speaking, spitting out her emotions, trying to make sense of what she had sensed and the difference between her rational relation to Goya’s ‘power’ paintings and this political work. The Pinturas Negras have been analysed as Goya’s radically political position generated by the sourness he felt at the end of the Napoleonic Wars (Junquera 2003). They were painted in his country house just outside of Madrid, where he retired disgusted by urban power plays and barbaric humanity. They play with bodily functions such as blood, vomiting, and modified body parts in order to express a profound rejection of urban political life. It is this rejection that makes these paintings so urbanely intense, as opposed to the clean depiction of state and imperial power that transpires from his previous works.

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