The Trilogy of Heritage, Public Art and Public Spaces: The Case of Fire Station Art and Cultural Development, Doha, Qatar

Author(s):  
Ali A. Alraouf
2018 ◽  
Vol 13 ◽  
pp. 18-27
Author(s):  
Aurelija Daugelaite ◽  
Indre Gražulevičiūte-Vileniške ◽  
Mantas Landauskas

The concept of urban acupuncture, which has been gaining ground in recent decades, is based on the activation and revitalization of urban environments using small architectural or landscape architectural interventions in precise carefully selected locations of urban fabric. However, the rapid and unexpected design solutions of urban acupuncture, based on ecological design, nature dynamics, street art, material re-use, can cause different social and psychological reactions of urban population and these reactions may vary depending on cultural contexts. Consequently, in order to implement successful urban acupuncture projects in Lithuanian cities, it is very important to find out public opinion and priorities in the fields of public space management, aesthetics, and public art. The aim of the research was to analyze the opinion of Kaunas city residents regarding these issues. For this purpose, a sociological questionnaire survey was used. The questionnaire containing 20 questions was designed, with the aim to find out the trends of use of public spaces in the city, the attitudes of residents towards street art and other small-scale initiatives in public spaces implemented in the recent years, possibilities of creating landscape architecture based on ecological ideas in urban environment, the attitude of inhabitants towards community spaces and community space design in the city, etc. 100 residents of Kaunas participated in this online administered survey. The survey has demonstrated general positive attitude towards contemporary design trends of public spaces and public art; however, the surveyed population expressed preferences towards fully equipped public spaces offering possibilities for a wide range of activities.


Via Latgalica ◽  
2014 ◽  
pp. 231
Author(s):  
Rimants Žirgulis

The objective of this paper is to make a short review of influence of the multicultural history of the region and its using in the activities of Kėdainiai Regional Museum. Kėdainiai has a rich multicultural history and heritage, which are very often used by Kėdainiai Regional Museum and all of its six branches. The main attention is paying to educational and project activities. Discovering Kėdainiai as a place of intersection of various nations and cultures, a peculiar Atlantis of a borderland, sometimes by playing or reminding, preservation and nurturance of historical memory of local society, sometimes by public art as invasion into public spaces of town. Such activities of Kėdainiai Regional Museum help to get rid of provinciality and contribute to create the Lithuanian modern civilized nation, open to the world.


2020 ◽  
pp. 259-272
Author(s):  
Chun Wai (Wilson) Yeung

This paper emphasizes that curatorial practice and site-specific art are essential aspects of the transition from artistic collaboration to collaborative curatorial practice and discovers the new potential of ‘curator as collaborator’ practice to cultivate community-based, collaborative and engaging cultural projects in public spaces. By examining the curatorial residency of my participation in Public Space 50 at RMIT University, Melbourne, Australia in 2017, this portfolio investigates how I, as a curator, explore art curation locations and methods to enable students to actively work collaboratively to plan, facilitate and produce public art projects. It asks how to turn public spaces into laboratories; how can student artists work together in public space; how to empower a creative student community through artistic collaboration and how artistic activation can be developed among creative participators of different cultures and backgrounds?


Author(s):  
Deni Setiawan ◽  
Timbul Haryono ◽  
Agus Burhan

The concept of an ideal public space does not just focus on the interests of a particular group or community, but rather focus on the space of social activities that represent each audience or spectator in that society. Arts and cultural activities are part of it; although the concept of public space is still abstract to represent every social individual. However, the presence of public space has created a mediation space for all forms of communication. Mediation space is considered as a crucial feature, not only as a promotional sphere but also as a place to exchange and communicate all forms of ideology, art, and culture. Art activities such as Jogja Fashion Week Carnival and Cosplay clothing performance in public spaces provide opportunities for communities or individuals, to make this activity as a public performance and part of public art. Public art tends to be creative, free, and sometimes not accompanied by a theoretical perspective, as other arts are. Art activities in public spaces which are part of the social and cultural activities are essentially standing on the ideology that have been set up for a particular interest. The interest is disseminated using mass media and advertisment. Audience or public art connoisseur in public spaces should be more intelligent and critical to accept all kinds of art activities and performances. Therefore the performance will have a balanced communication.AbstrakKonsep ruang publik yang ideal tidak saja berbicara kepentingan golongan atau komunitas tertentu, tetapi lebih fokus pada wadah aktivitas sosial yang mewakili setiap pendatang atau penonton. Termasuk didalamnya adalah aktivitas seni dan budaya, walaupun konsep ruang publik masih dapat dikatakan abstrak untuk mewakili setiap individu sosial. Akan tetapi dengan adanya ruang publik telah menciptakan ruang mediasi bagi segala macam bentuk komunikasi. Ruang mediasi ini dipandang penting, tidak saja dijadikan ranah promosi, lebih mendalam adalah untuk bertukar dan tempat komunikasi segala macam bentuk ideologi, kesenian, dan kebudayaan. Aktivitas seni semacam Jogja Fashion Week Carnival dan pagelaran pakaian cosplay pada ruang publik memberikan kesempatan bagi komunitas atau individu, untuk menjadikan aktivitas ini sebagai tontonan dan bagian seni publik. Seni publik ini tentu saja lebih cenderung lebih kreatif, bebas, dan terkadang tidak diiringi dengan perspektif teoretis, seperti yang dilakukan seni lainnya. Aktivitas seni pada ruang publik, merupakan bagian dari aktivitas sosial dan budaya, hakikatnya berdiri pada ideologi yang telah diatur untuk satu kepentingan, yang disebarluaskan menggunakan media massa dan iklan. Penonton atau masyarakat penikmat seni pada ruang publik, harus lebih cerdas dan kritis untuk menerima segala macam bentuk sajian aktivitas seni, sehingga sajian tersebut memiliki komunikasi yang seimbang.


2019 ◽  
Vol 8 (2) ◽  
pp. 201-215
Author(s):  
Daniel Palmer

In the archive of Australian photography, few images point to the gross injustices experienced by Indigenous Australians more forcefully than a 1906 photograph depicting a group of Aboriginal people in neck chains. More recently, few images point to Indigenous self-empowerment more powerfully than a 1993 press photograph of footballer Nicky Winmar lifting his jumper to point proudly to his dark skin. This article explores the extraordinary legacy of these two images and specifically their translation into prominent contemporary public artworks ‐ respectively, a street mural in inner Melbourne and a statue located outside a major football stadium in Perth. I argue that by drawing on, but also extending, the original content of the images, these public translations of the photographs, and the story of their coming into being, become another chapter in the lives of the images. Moreover, in the shift from print to pavement, they transform public spaces into sites of public pedagogy.


2020 ◽  
Vol 18 (2) ◽  
pp. 231-242
Author(s):  
Carlos Garrido Castellano

Abstract The main objective of this article is to understand the ways in which Lebanese artists are dealing with issues of normativity and legibility while operating in public spaces. By looking at the work developed by Temporary Art Platform (TAP) during the last ten years, I argue that public art has been crucial in the production of alternative understandings of civic agency and the public space. Simultaneously, by looking at A Few Things You Need to Know When Creating an Art Project in a Public Space in Lebanon, a toolkit designed by TAP in 2014, I intend to problematize the lexicon and strategies that are usually associated with understanding art activism, both as forcefully contextual and provisional.


2019 ◽  
Vol 1 ◽  
pp. 43-53
Author(s):  
Jana Snedarova

In this article, the topic of public art in an urban environment of the post-industrial city is viewed in the context of one place – Zlín. Contemporary artworks integrated into the city spaces show the city as a site, in the context of its Modernist architecture and urbanism. They reflect both the past and the present-day changes in society and the way how we see and experience the world. Public art in Zlín has become part of the transformation and regeneration of public spaces fostering the enhancement of the quality of lives of local urban residents. It is evident from the research that Zlín can be perceived as a place with great potential for new art projects and for the public’s participation and engagement.


Per Musi ◽  
2021 ◽  
pp. 1-35
Author(s):  
Mauro Amazonas ◽  
Thais Castro ◽  
João Gustavo Kienen ◽  
Rosiane Freitas ◽  
Bruno Gadelha

Urban public art is an art exhibition held in public places, contextualized with their surroundings and its audience. Technology is a significant trend in public art due to its connection possibilities with human life, fostering different kinds of interaction. In this way, this work presents an installation proposal consisting of an environment for creating collaborative random music from interaction with mobile devices in public spaces. Everyone participating in the installation is a composer and interaction is a chance agent, although it follows John Cage's composition methods. In order to probe technology, we carried out two pilot studies, followed by a workshop for the installation itself. Those two pilot studies led us to a new version that was put into practice during the workshop. During the workshop, participants' interaction generated fourteen compositions, and the sounds resulting from the collaborative composition were made available to the public through a website.


2021 ◽  
pp. 235-264
Author(s):  
Anne Ring Petersen

This chapter explores how art in public spaces shapes, and is shaped by, disagreements and conflicts resulting from the need to tackle »togetherness in difference« (Ien Ang), and how contemporary artistic practices play out in postmigrant public spaces, understood as plural domains of human encounter impacted by former and ongoing migration, and by new forms of nationalism. The chapter focuses on two art projects in Copenhagen, Denmark. The first one is The Red Square, a part of the public park Superkilen in the multicultural Nørrebro district. Designed by the artist group Superflex (in collaboration with architects from Bjarke Ingels Group and Topotek1), Superkilen opened in 2012. The second project is Jeannette Ehlers and La Vaughn Belle's collaboration on the sculpture I Am Queen Mary. Installed outside an old colonial Warehouse in Copenhagen harbour in 2018, it is the first monument in the country to commemorate Danish colonialism and complicity in the transatlantic slave trade. Borrowing a term from Chantal Mouffe, these projects could be characterized as »agonistic« interventions into public urban space. The chapter argues that they may provide us with some much-needed answers to the important question of the much debated yet crucial role of public art in democratic societies, particularly how works of art may form a possible loophole of escape from dominant discourses by openly contesting, or subtly circumventing, monocultural understandings of national heritage and identity, thereby helping us to imagine national and urban community otherwise, i.e. as postmigrant communities. The chapter examines what the re-configurative power of art might accomplish in postmigrant public spaces by considering the following questions: How can public art open up a social and national imagination pervaded by anxieties about (post)migration to other ways of thinking about diversity and collective identity? Furthermore, is it possible to identify a common pattern - i.e. a particular postmigrant strategy - that underpins and interconnects various types of artistic interventions into public spaces and debates, which, on the surface, present themselves as radically different kinds of projects?


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