Portuguese Public Art Primary Itineraries. A Map of Discoveries (original) (raw)
Related papers
PUBLIC ART - The role of public art in Lisbon 1994 - an improvement to this city s future
The capital city of Portugal, Lisbon -a coastal city with a population of around 540000 people -was nominated as European Capital of Culture in 1994. This study describes how Public Art projects were included in those cultural master plans and how they affected their environment, from the cultural event to the physical identity that remained there. This study relates the impact of Public Art in Urban Design under a reflexive point of view which expresses future connections of this theme with the city, and supply with documents Lisbon' s Public Art of 1994, mainly through the influence of the event of Lisbon European Capital of Culture.
This article sets out to show how a sociological research project on the production of street art in Lisbon was built, from the construction of an object of research to the development of a methodological approach that enabled the collection of a diverse set of expressive data. The notion of 'route' serves not only as a valuable instrument of research in the first stages of an investigation in urban sociology, but also as a powerful visual depiction of the development of a specific methodology and the set of techniques adopted. The diverse set of interrogations about the object that stem from these incursions, as well as the specific urban context at hand, allowed the researcher to conceptualize street art as a component of contemporary urban space and as a visual means to reveal social dynamics between the several actors involved in its production, and the city itself. Therefore, in this paper it is briefly shown how this object is theoretically framed, namely in what concerns the street artists and the way they build an artistic path and attribute meaning to the act of intervening artistically in the streets of the city, and how this connects with the worlds of contemporary art and the several contexts of production of street art; the contexts in which street art is currently created in Lisbon, from individual initiatives to the actions of associations or collectives, and the municipality; and the way in which the city, through its institutional powers, can instrumentalize street art as a way of creating 'images of the city', and how this can be explored in terms of tourism and the marketing of cities, and the conflict or opportunities that these processes reveal for the actors involved.
Urban Art touristification: The case of Lisbon
Tourist Studies, 2019
Urban Art is gradually assuming an increasingly significant role in the development of a city's character, something which is often promoted by public institutions. This has been strongly instigated by the rhetoric of creative cities, present in the strategies for the urban development of many cities in recent years. The rising appreciation of this artistic movement and the recognition of the cultural and symbolic role it currently plays are accompanied by a growing offer of tourism services in this field, namely, through dozens of tours operated by multiple entities. The literature has, in fact, been paying some attention to this phenomenon of touristification of Urban Art. In this article, we draw on qualitative empirical material from an ongoing research project on Urban Art in the city of Lisbon. We consider the touristification of Urban Art in Lisbon to be a recent and still ongoing process involving several social actors with specific perspectives, strategies, actions and representations. We have concluded that there is currently a combination of social and economic factors favourable to the development of this process of touristification. This could not have happened without (a) a number of institutional initiatives, (b) local entrepreneurship ventures and (c) the development of a narrative shared by the different agents.
The placement of public art. Two examples on Lisbon’s waterfront
IOP Conference Series: Materials Science and Engineering, 2017
In our contemporary cities, some public spaces seem to have greater ability to host art interventions, like historical centers, urban sprawl areas, gardens and parks, new residential districts, among others. Also in port cities, its waterfronts constitute privileged spaces for the placement of public art. On Lisbon’s riverfront, we can see a relevant number of works and of monuments of strong symbolic nature. In turn, the placement of public art is a way to value the inherently symbolic nature of the waterfronts and to emphasize its monumentality. However, the criteria for the placement of public art on those spaces are not always clear. In some cases, there are some thematic correspondences between the works and the places, namely with the theme of the water, the Discoveries and others like that. Nevertheless, we cannot observe a profound spatial integration, or a design with the context. In some cases, the artistic elements are produced with a logic of isolated work of art and later they are acquired and placed in some public space. In other cases, we assist to an unusual situation: a work is conceived in a strict relation with a place, but then, without any evident justification, it is dislocated to a completely different context. Or simply it is removed, disappearing from the public space. Although it seems a strange situation, such kind of dislocations often occurs in Lisbon. On this framework, this research proposes a discussion about the processes of implementation of public art. We will analyze two cases of public art replacement: 1. The monument Primeira Travessia Aérea do Atlântico Sul (First Aerial Crossing of the South Atlantic), by Laranjeira Santos and Rodrigues Fernandes, 1972; 2. The public sculpture Ribeira das Naus, by Charters de Almeida, 1995. Both works were designed to very specific and important places on Lisbon’s waterfront and both were later replaced to other locations on the inner city, quite far from the river. This kind of “(de)monumentalization” of a space originates the following questions: why is a work removed from a public space and why it is decided to give it another destination? What are the implications of those changes? Is public art removable? Considering public art besides its purely aesthetic significance, this phenomenon seems to reveal that the physical and the social integration with the place are not always important, or, at least, they are only important in some moments. Also, we can see it from another point of view: a removal or a replacement of a work always reveals specific strategies for certain places, in certain moments. We can thus conclude that the processes of implementation of public art are clearly indicators of the policies and of the dynamics of the cities.
2020
The Centre for Intercultural Studies of the Polytechnic of Porto (CEI) launched the project StreetArtCEI-Routes of Graffiti and Street Art in Porto and Northern Portugal in the fall of 2017. Initially, fieldwork on the streets of Porto and other cities and villages of Northern Portugal intended simply to create routes inspired by canonical literary authors who had lived or located their narratives in these cultural territories, currently undergoing a blooming tourism demand. This fieldwork was undertaken as part of the project "TheRoute-Tourism and Heritage Routes including Ambient Intelligence with Visitants' Profile Adaptation and Context Awareness", headed by P.PORTO. However, and at the same time, researchers in the field gradually awoke to other visual and polychromous narratives, also inscribed in the city. As a consequence, the Centre embarked on a parallel spin-off project motivated by the unexpected and anonymous art on the city walls. Resorting to the conceptual tools of cultural, intercultural and literary studies, the StreetArtCEI project started to blur the already tenuous frontiers between dominant and marginal cultures, their practices, symbols and aesthetic manifestations, as expressions of site-specific cultural dynamics, in the open, unstable and always ephemeral space of the city. Aware that the concept of intercultural is synonym with movement, communication, and encounter between cultures (Abdallah
The City Break in Porto An Itinerary in Contemporary Art: Sculpture
Cities are changing and so are their brand marks. For instance, in the city of Porto the number one attraction is Casa da Música, a contemporary building, and this fact reflects not only a different aesthetic approach to the elements that are part of a place but also the image of a city. Therefore tourism should include these modern components into traditional itineraries, recognizing it as part of their heritage and identity. This paper aims to present the elements contemporary sculpture in Porto and its potential as touristic attraction for every-type of visitors, once it is integrated in the same space as the other monuments. The itinerary proposal was planned bearing in mind the city break, or short-break, typology of traveling.
Brazilian Journal of Development, 2021
A cidade é uma rede de vias, espaços livres e espaços edificados, cujas relações são de fundamental para compreender as cidades. No âmbito dos espaços edificados, este estudo enfoca o museu de arte na cidade contemporânea, tendo como objeto específico o Museu de Arte Moderna Aloísio Magalhães (MAMAM), situado no Recife. A teoria da arquitetura pode ser estudada a partir de suas causas (determinações ambientais, políticas, ideológicas etc.), como uma variável dependente, ou de se seus efeitos, isto é, através de seus impactos diretos nos usuários (funcionais, econômicos, sociológicos, bioclimáticos etc.), portanto, como variável independente. A presente metodologia fundamenta-se neste segundo grupo, especificamente, no campo da sintaxe espacial, enquanto teoria e ferramenta analítica da arquitetura, cuja investigação-chave é em que medida a arquitetura e o urbanismo interferem nas relações sociais (HILLIER e HANSON,1984: 2003). O enfoque da pesquisa é a análise morfológica dos leiautes espaciais do MAMAM, antes e pós reforma sofrida na década de 1990. Possuindo um rico acervo permanente e exposições temporárias, defende-se que o museu tenha tanto um papel pedagógico como de transmissor de experiência espacial e social. Para que fosse empreendida a análise sintática dos espaços, primeiro, levantaram-se as plantas baixas do museu nos dois momentos em questão, para, depois, serem elaborados mapas convexos e grafos justificados visando a averiguação dos tipos de espaços conforme categorizados por Hillier (1996). Posteriormente, foram realizados mapas de visibilidade, juntamente com simulações de agentes autômatos para investigar padrões de deslocamento nos espaços. Além disso, foram feitas observações e rastreamento de visitantes in loco. Após a análise dos dados, observou-se que a reforma ocorrida não parece ter tido um impacto relevante na integração visual dos ambientes, se comparada à configuração original, e, de acordo com as simulações de agentes autômatos, novos percursos mostram uma nítida distinção no deslocamento de visitantes, o que se deve a uma partição espacial mais complexa do
Viaggiatori, 2018
In the last decades the use of travel accounts and travel guidebooks as historical sources has opened new lines of investigation. The analysis of this sources allows one to study different topics: the history of art and define the concept of heritage at each point in time; the economic history, through their interrelationship with the different means of transport or new industries, which technological and industrial development provided for the travellers/tourists; the social and cultural history, through their interrelationship with the development of leisure, free times and voyage as a mean of pleasure and education. This text will be based on the accounts of journeys in southern Portugal in the seventeenth and eighteenth centuries, emphasizing the descriptions of landscape and cultural landscape.