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2014
This paper aims to address the role of the art critic as a mediator, a liaison between the artwork and the public, instead of remaining as specialists that can only be fully understood by a very restricted group of connoisseurs. The project of urban interventions called Artecidade (Artcity), in São Paulo, Brazil, was a pioneer at a time where this modality of art was in its beginnings. The purpose was to call attention to critical areas directly related to restructuring processes and redevelopment projects, in order to identify their agents, and raise the awareness about the history, diversity and context of those places.
2010 •
This proposal suggests an interdisciplinary approach encompassing the combination of urban sociological research and artistic intervention in urban settings. We will consider the integration of digital artworks in public spaces, chosen for their ability to generate engaging and innovative experiences as well as extending a virtual layer of meaning over real spaces. It is our premise that the aptitude for critical analysis and research of objects and tendencies within daily experience normally invisible through habitual perceptions that certain artistic interventions carry, might contribute to the development of an enriched relationship between art and the questioning processes typical of sociology, more specifically concerning its objective of deconstructing reality for analytical purposes. We will thus seek to demonstrate that such a critical analysis of daily existence, which can be found both on the artistic and sociological productions, might become a fertile ground for an emerg...
Since the mid 80s the evident objective of public art has been to intervene in someinfrastructures so that the historical function of a square or of a monument could be re-foundwith a completely new approach, thus defining a spatial whole as a social whole. Through a qualitative research approach that enlightens artists and commissioning agencies’ points of view, this paper seeks to document the creative processes that characterizes public art and to explore the democratic potential in urban artistic interventions. Although in the past, through instituting public art projects in disadvantaged andfragmented communities, policy makers consciously tried to promote a fallacious sense of shared space, true urban art would not embrace a purely decorative function and would not hesitate to break with the conventions that mark the political use of public art. Even if it is recognized that past expression of public art spoke of universalist and modernist themes, some recent Italian practices of public art are characterized by a strong collaborative effort between the public artist and the community: intended both to design the physical appearance of the city and to rebuild the relationship that underpins urban life. Thus the paper will show how the recognition of the value of public arts can lay the foundations for more integrated urban regeneration strategies driven by cultural policy imperatives.
This contribution aims to present a brief summary of a long research based on the events of the last decades in the city of Rio de Janeiro. This article follows a path that seeks primarily to understand the use of cultural and artistic devices as tools for a complex process of changes and perspectives in the city. These changes are driven by the fact that the city of Rio has hosted two mega-events, the FIFA World Cup (2014) and the Olympics (2016), with a strong impact on the central and/or tourist areas of the city. The port area stands out as the main field of this research, from the idea of an abandoned area to the center of a cultural hub, with drastic visual, structural, and symbolic changes, with the building of Museu de Arte do Rio (Rio Museum of Art), and Museu do Amanhã (Museum of Tomorrow), as the main examples. A retrospective of the political life of the city, including the one of its municipal administrations, builds the idea that the instrumentalization of art and its use as a tool to "revitalize" areas of the city is part of an old project which was waiting for the right moment to be put into practice: the hosting of mega events. On the other hand, small autonomous cultural collectives have emerged in the region during this process and inserted new concepts and meanings for the use of art into the discussion, which resulted in a more complex discussion around the port area and its agents. Finally, by analyzing the recent political scenario of the city, it was possible to perceive the offensive posture toward cultural institutions resulting from conservative political perspectives, which again redefines the use of art and culture in the city.
Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online)
Negociação urbana, arte e a produção do espaço público2007 •
Studies in Visual Arts and Communication: an international journal
Perspectives of social in Brazilian contemporary art: discussing project Comboio, Favela Moinho, 31st Bienal de São Paulo2015 •
Since the 2000, the preoccupations with the social dimensions of art have given rise to new strategies in the intersection between art and political activism in Brazil. In the early 70s, already worried about the encroachment of the entertainment industry in art, the critic Mário Pedrosa (1900-1981) proposes political action as the only way to break the circle, creating new conditions for the emergence of a new man and the flourishing of a new art. Within this context, this paper critically discusses “the uses of art” through project Comboio at Favela Moinho, São Paulo, in the context of the 31st Bienal de São Paulo. The Comboio acts in “informal spaces” in the central area of São Paulo and describes itself as a project of research and urban intervention. As the last remaining favela in central São Paulo, Moinho provides a crucial counterpoint in cultural terms and conditions to the Bienal, located in Ibirapuera Park. Can this be seen as a contemporary example of what Mário Pedrosa called, in his criticism of art and politics, “authentic artists” who distinguish themselves from the “silkworm" of mass production to take up the defensive position of what he calls “rearguard art"?
The present article arises in the context of an urban rehabilitation process which took place in Bairro Alto, a neighbourhood in Lisbon. This process, which was set in movement in July of the year 2008, aimed, amongst other things, to re-establish a visual uniformity of the public surfaces that both integrate and delimitate this specific area. Indeed, for more than two decades, a variety of non-regulated and non-commissioned personal and visual expressions multiplied and were gradually rejected by the local actors. Having a durable rehabilitation as objective, the city council had the need to identify, preserve and promote the quality of some of these visual expressions whose authors are internationally recognised by credited contemporary art institutions such as the Tate Modern Museum, the Cartier Foundation, and so on. This being, the definition of the theme in analysis, that is, “Urban Art”, is clarified through a chronological summary of the terms' applications. Given the complexity of the term itself only the relevant aspects of its definition to this paper are here presented. The analysis methods adopted are those which are generally applied to analyse the characteristics of public spaces and here identified to be useful to analyse “Urban Art”
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