Once he immigrates to Paris in 1967, he rarely mentions his former life and artmaking activities, exiling that narrative along with any notion of straightforward autobiography, of the “social and political hide-and-seek” of his existence in the gulag, but this doesn’t mean he was compatible with the West’s artistic machinations and circuits, does it? Given where his mind would lead him, his posing for social-realist paintings by artists approved by the state perhaps disciplined him in ironies that even the banned books being passed around didn’t.īut you could also say the above sketch, pre-stick, is too pat, no? Incompatibility, even, with Romania, where he was born the son of a diplomat who was arrested in 1952, then convicted, without a trial, of “intensive activity against the working class” and imprisoned for four years? The Cădere family lost everything.Ī “young with a ‘bad dossier,’” Andrei Cădere graduated from high school and was drafted into the “labour brigades,” a conscription “very close to penal servitude.” Despite diribau, as “the forced labour performed by those who had ‘problems with the regime’” was termed, curator and scholar Magda Radu writes, Cădere “entered the art world as a life model and assistant in the studios of artists who received official commissions or worked within the state system.” The gigs paid him a basic income, but Stalinized life was brutal. The incompatibility of the exile, of the emigrant? YOU COULD SAY, couldn’t you, that André Cadere’s métier was incompatibility?
Bruce Benderson, The Romanian: Story of an Obsession He’s spent his whole life waiting for luck, looking for signs of it with a kind of fatalism, and he supplements this fatalism with the best skills of a shrewd hunter and gatherer, picking up booty like me. Oeverlanden Cruising Area.André Cadere presenting his work on West Broadway, New York, December 11, 1976. The Pines’ Summer of Discontent: It’s Grindr’s fault. Cities Need to Plan for Sex in Public Parks (4 December 2016). Is he entrapping gay men or cleaning up a park?. How public spaces can boost building performance. Marginal Landscapes As Critical Infrastructure: Boston's Back Bay Fens. Social Justice and Planning Policy, Ann Arbor, MI: Michigan Association of Planning. Homo History – Sex: NYC’s Christopher Street, the Trucks, and the West Side Highway Piers A Sexual Wonderland. Being homosexual: gay men and their development. Tearoom trade: Impersonal sex in public places. Overview of Legal Issues For Gay Men, Lesbians, Bisexuals and Transgender People, Boston: GLBTQ Legal Advocates & Defenders (GLAD). Architecture /Mouvement/ Continuité (translated by Jay Miskoweic in 1984). Of Other Spaces: Utopias and Heterotopias. Gay Semiotics, San Francisco: NFS Press.įoucault, M.
New York City: New York University Press.įischer, H. West Sussex, UK: John Wiley & Sons LTD.ĭelany, S. Gay New York: Gender, Urban Culture, and the Making of the Gay Male World. Cruising Isn't Dead-If You Know Where to Look. This paper is an analysis of the social, spatial, and historical forces that have given rise to one particular form of unsanctioned placemaking practice - the activity of “cruising for sex” in public parks by men who have sex with men (MSM).īlum, S. The ongoing operationalization, sanitization, and commoditization of place inevitably results in the undermining of marginal placemaking practices, especially if they subvert our definition of a “good place.” Placemaking professionals have the ability – the obligation - to cultivate a broader, more inclusive concept of place. Placemaking professionals also place an emphasis on activating space through programmatic intervention, guided by the belief that the most effective way to generate value in public space is to create a reason or excuse for people to be there by encouraging activity, particularly economic, but also communal, political, and cultural activity.
#Gay men cruising in parks professional#
An essential part of this effort is recognition that effective placemaking involves collaboration between specialists and community stakeholders and this sentiment is expressed by institutions on the forefront of our professional and academic discourse. As placemaking professionals, we work to advocate for, facilitate, and operationalize placemaking practices of the people and communities we work with.
There is a fundamental belief in placemaking practice that place is a reflection of people - their memories, values, culture, and socio-spatial traditions – and that successful placemaking is the manifestation of these traditions in public policy, public space, and ultimately public life.