城市不可见性和多样性。对城市遗产的思考

CIDOB Opinion 610, published in January 2020, delves into the concept of urban invisibilities and diversities, particularly focusing on the role of urban heritage in understanding complex city environments. The report highlights the existence of a hegemonic monoculture in contemporary society, where Western modernity has led to the contraction of reality and the invisibility of other realities and cultures.

Urban heritage, defined as the sum of a place's architectural heritage, surroundings, and intangible cultural elements, is discussed with emphasis on the privileged nature of architectural heritage and the valuation of specific cultural elements. The report argues that the configuration and management of urban heritage contribute to the construction of spatial and socioeconomic hierarchies that privilege certain urban territories and social groups.

A key aspect of the discussion involves recognizing the "other" heritage that emerges from urban diversities and invisibilities. This refers to the experiences of marginalized communities that use the poetics of the common for collective expression, self-affirmation, and articulation. The report uses the case of Brazil and São Paulo to illustrate how practices like hip hop music and "peripheral literature" have been instrumental in reclaiming the "other" heritage. These subaltern urban arts, characterized by strong cultural mergers and hybridizations, serve as a socio-political tool for underrepresented communities, addressing issues such as poverty, racial discrimination, and police violence.

The aesthetics of the peripheries is highlighted as a significant cultural expression, influenced by institutional support, particularly at the municipal level. This amalgamation of cultural expressions, including music, literature, theatre, dance, and cinema, is seen as a manifestation of the city's social production and the performative nature of the practices developed within it. These expressions are rooted in communities and find their natural expression in public spaces, contributing to the building of a polyphonic urban memory from the bottom up.

Furthermore, the report underscores the importance of acknowledging the wealth that emanates from the diverse amalgamation of urban cultures, advocating for a more inclusive understanding of urban heritage that recognizes and values the contributions of marginalized communities. It concludes that art must find its place in the world, highlighting the necessity for urban cultural heritage to account for these invisibilities and recognize the richness of the wide array of diversities that inhabit our cities.