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Situationist city is a term referring to radical engagements with urban questions by members of the Situationist International (SI) and their associates during the 1950s and 1960s. As a group of artists, activists, and writers based mainly in Western Europe and seeking to revolutionize contemporary societies, the situationists had a long and multifarious concern with cities. They opposed processes of capitalist urbanization and planning at the time, attacking the ways in which cities were being destroyed and remade within what they called “the society of the spectacle.” Drawing on and developing Marxist understandings of urban space and everyday life, and also engaging with the legacies of avant-gardes from earlier in the twentieth century, especially Dada and surrealism, they depicted cities as sites of alienation, control, and segregation through which prevailing capitalist sociospatial relations of domination are produced and reproduced. At the same time, however, they explored cities as sites of potential freedom, believing they could become realms of emancipation and human fulfillment.

Situationist city was not a term employed by the SI and derives instead from writings and exhibitions on the group that have proliferated since the 1990s, as it has been rediscovered within academia and mainstream culture and positioned within histories of the avant-garde as well as Western Marxism. Such references may imply a singular theory or doctrine based on design or planning, but this is misleading because the ideas and practices of the SI were evolving, diverse, and contested, developed in varied ways by the group's 70 members during its formal existence between 1957 and 1972 as well as by a number of forerunners. They also far exceeded any specialist discipline and stemmed, above all, from the desire to change everyday urban life and space. A crucial insight that the SI shared with Henri Lefebvre and with many radical geographers since Lefebvre is that, to change everyday life, it is necessary to change everyday space and vice versa. Their critical concern with cities therefore came out of this appreciation of the social and political significance of space as they addressed how to envisage and construct urban spaces as part of a strategy for social transformation, so that they might become both the products and the instruments of emancipation.

Situationist Critiques of Urbanism

Vociferous attacks on capitalist urbanism and modern planning ran through situationist texts. The group often depicted cities as being ravaged by developers, planners, and architects. “Paris no longer exists,” stated Guy Debord, a central figure in the SI throughout its existence, in one of his films from 1978 that was made in the wake of a huge restructuring of the city over the preceding two decades that displaced hundreds of thousands of residents along class and ethnic lines and that left the city center increasingly the preserve of the wealthy. The situationists earlier documented, explored, and contested the processes involved. Many of their attacks on modernist architecture and planning had been pioneered in the early 1950s by members of the two main groups that came together to form the SI: the Letterist International and the International Movement for an Imaginist Bauhaus. Although much of their fire was directed at modernist planning as it was impacting on cities at the time, they understood this to be part of the remaking of cities under capitalism. Debord later presented urbanism as an important component of what he called “the society of the spectacle,” a society in which ever more realms of social life and space were colonized by the commodity and in which urbanism functioned as a means of ensuring the isolation and separation of inhabitants through the construction of a banalized environment of abstract spaces and pseudo-communities.

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