{"id":3535,"date":"2017-02-03T17:42:55","date_gmt":"2017-02-03T16:42:55","guid":{"rendered":"http:\/\/kunsthaus.benignware.de\/?p=3535&#038;lang=en"},"modified":"2017-02-03T17:46:45","modified_gmt":"2017-02-03T16:46:45","slug":"we-promise-22-years-of-broken-promises","status":"publish","type":"post","link":"https:\/\/kunsthaushamburg.de\/en\/we-promise-22-years-of-broken-promises\/","title":{"rendered":"We Promise! 22 Years of Broken Promises"},"content":{"rendered":"<p>Tuesday, June 2, 2015, 6 pm<br \/>\n<strong>We Promise! 22 Years of Broken Promises<br \/>\n<\/strong>Martha Rosler (artist, New York City) in conversation with Miguel Robles-Dur&aacute;n (urbanist and activist, New York City)<\/p>\n<p>By the 1980s, many of Western Europe&rsquo;s most important cities were widely regarded as suffering some de-gree of decline. The epochal social and economic changes resulted in population loss to surrounding suburbs, or even across borders to more prosperous countries. The twilight of large-scale industrial manufacturing meant further capital flight, job losses, and serious reduction in tax revenues by local and municipal go-vernments. Yet the necessity remained to change and develop central city districts, to attract new businesses and prevent decay from spreading further. A new type of entity was developed in which corporations, principally developers and banks, joined with governments in forming &ldquo;public-private partnerships,&rdquo; in which public funds served to accentuate speculation and private profit. How to justify the use of public funds in en-deavors that offer immense benefits for private entities?<\/p>\n<p>Starting from the works and texts of conceptual artist Martha Rosler about the social history of the city she and urban researcher Miguel Robles-Dur&aacute;n present their new project <em>We Promise! 22 Years of Broken Promises<\/em> (2015). Using the developments in HafenCity Hamburg, one of the largest urban regeneration sites in Europe, as a backdrop they address the history of broken urban promises and their visual propaganda on the occasion of the summer program of <em>Stadtkuratorin Hamburg<\/em>.<\/p>\n<p><a href=\"http:\/\/stadtkuratorin-hamburg.de\/\" target=\"_blank\">www.stadtkuratorin-hamburg.de<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Martha Rosler im Gespr\u00e4ch mit Miguel Robles-Dur\u00e1n<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","inline_featured_image":false},"categories":[13,20],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/posts\/3535"}],"collection":[{"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/comments?post=3535"}],"version-history":[{"count":1,"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/posts\/3535\/revisions"}],"predecessor-version":[{"id":3536,"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/posts\/3535\/revisions\/3536"}],"wp:attachment":[{"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/media?parent=3535"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/categories?post=3535"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kunsthaushamburg.de\/en\/wp-json\/wp\/v2\/tags?post=3535"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}