“What Florida [1] has called the rise of the creative class Sharon Zukin called, in Loft Living, the artistic mode of production. [...] In Florida’s account the process disappears in a welter of statistical number-crunching and empirical markers by which to index the success of the creative class. Crucial to Zukin’s analysis is the eventual displacement of artists, a development not addressed by Florida, whose creative class encompasses high earners in industries extending far beyond artists, the vast number of whom do not command big incomes.”
(Rosler, 2011) [2]

Accessibility will be the first chapter of LIMITACTION to manifest in the Window Space. It will take into consideration the specificities of its location and investigate the anonymity, sterility and elitism of “artwashing” as well as its social implications.
The fact that we can all wander through the streets of central London, whilst essentially the city remains inaccessible to all but the wealthiest, can be seen as a sort of “false access”. This is increasingly the case in regeneration areas, which have started out occupied by artists and young design companies that took advantage of cheap rents in neglected areas to create bohemian districts.
In terms of the Window Space, its function as a vitrine, creates a starting point through which to think about this false access to the city outside. It claims the possibility to share a private space with the exterior world; and, ultimately, it emphasises this false access to the people who walk by. The window as a vitrine is not a matter of sharing but instead an advertisement tool.

Curated by Margarida Brôco Amorim
[1] Richard Florida, The Rise of the Creative Class: And How It's Transforming Work, Leisure and Everyday Life (New York: Basic Books, 2002)
[2] Rosler, M. (2011), ‘Culture Class: Art, Creativity, Urbanism, Part II: Creativity and Its Discontent’, in e-flux (, Accessed: January 13, 2015)