Today, most colonial-era modernist mass housing is seen as fundamentally broken: crumbling concrete spaces of social alienation and containment that fractured societies both then and now. In Poetics of Repair, Katarzyna Pieprzak examines how contemporary visual, literary, and performance art of the Maghreb has the potential to change the terms, histories, and imagined futures of mass housing in North Africa and France. Pieprzak dives deeply into contemporary art engagements with three mass housing sites that epitomize the French colonial geography of modernist architecture in the Maghreb. She identifies in this art what she names a transformative “poetics of repair”: a practice that conjoins, puts in relation, or simply brings closer together broken materials, separated people, and severed timelines. Reading art and its engagements with mass housing, Pieprzak argues, has the potential to unmoor established knowledge and rehearse the tensions and productive ambiguities inherent to practices of constitution and revision. She demonstrates that such a reading practice is a step toward a reparative epistemology for mass housing that turns sites of wreckage and alienation into sites of possible solidarities and new formulations of history and experience.
Today, most colonial-era modernist mass housing is seen as fundamentally broken: crumbling concrete spaces of social alienation and containment that fractured societies both then and now. In Poetics of Repair, Katarzyna Pieprzak examines how contemporary visual, literary, and performance art of the Maghreb has the potential to change the terms, histories, and imagined futures of mass housing in North Africa and France. Pieprzak dives deeply into contemporary art engagements with three mass housing sites that epitomize the French colonial geography of modernist architecture in the Maghreb. She identifies in this art what she names a transformative “poetics of repair”: a practice that conjoins, puts in relation, or simply brings closer together broken materials, separated people, and severed timelines. Reading art and its engagements with mass housing, Pieprzak argues, has the potential to unmoor established knowledge and rehearse the tensions and productive ambiguities inherent to practices of constitution and revision. She demonstrates that such a reading practice is a step toward a reparative epistemology for mass housing that turns sites of wreckage and alienation into sites of possible solidarities and new formulations of history and experience.
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