A legal writ to bring a person before a court or Sri Lanka Map Tourist Attractions judge, especially to inquire into the cause of a person’s imprisonment or detention, in Sri Lanka Map Tourist Attractions order to protect his or her right to personal liberty. Haberdasher. A dealer in small items commonly included in clothing and sewing, such as needles, pins, buttons, and trims. Also, a dealer in men’s furnishings, such as shirts, ties, hats, gloves, and other items. Haberdashery. The goods sold by a haberdasher, or a haberdasher’s shop.
Comprising a long term social intervention involving artists and communities in public space, The Blue House on IJburg was typical of van Heeswijk’s art practice. Previous projects by van Heeswijk, such as De Strip in Vlaardingen in 2004, where artists, designers and inhabitants reactivated a disused retail strip with entrepreneurial and other activities, brought together artists and non-artists with a public in the interrogation of civic space and opportunities for cultural life. The Blue House builds on social art precedents in post-1970s’ art practice, which focused on social interactions and adopting non-conventional forms, often ephemeral and undocumented. Social art takes multiple purposes and forms, from the delivery of social goods or amelioration of social issues key to the socially-engaged’ art defined by American artist, Suzanne Lacy (1995) or the embedded and dialogical relationships with communities that circumscribe the art as an ethical social service’ provider (Kester 2004: 138), to more politically activist practices. Nicholas Bourriaud (2002) coined the term relational aesthetics’ to embrace forms of art that replaced economic relations with socialization (particularly with an audience). Other art writers such as Claire Bishop have criticized relational aesthetics for its evacuation of politics and reinserted ethics and dissensus in discussions of relational antagonism’ (Bishop 2006). By engaging a small local population in situ rather than addressing an audience in institutional spheres, such as art galleries or museums, van Heeswijk’s practice is more accurately termed social art. With the sole purpose of The Blue House being to situate artists and others at IJburg for the purpose of autonomous research, The Blue House ignored conventional forms and media of art, and disrupted the perception of social art as community activism or social reform, consequently challenging the role of the artist and urban space in the global city of Amsterdam.
