scholarly journals PONTE BEZERRA DA SILVA A ARTE PÚBLICA PROVOCANDO O SENSO COMUM / Bezerra da Silva’s bridge Public art provoking common sense

2020 ◽  
Vol 26 (40) ◽  
pp. 107-121
Author(s):  
Pilar Pinheiro Sanches
Keyword(s):  
Common Sense ◽  
Public Art ◽  
Public Spaces ◽  
The Political ◽  
Urban Context ◽  
Work Of Art ◽  
Creation Process ◽  
The Public ◽  
Neutral Ground

Em 2012, o Coletivo Transverso realizou uma intervenção em Brasília que consistiu em uma espécie de “rebatismo” de uma ponte chamada, até então, “Costa e Silva”, renomeando-a para “Bezerra da Silva”. Essa provocação, “renomear” uma ponte, teria qual significado dentro do contexto urbano? Entendendo como arte pública esse tipo de proposta artística que deposita na interação com o público sua própria condição de existência, faremos uma análise da obra “ponte Bezerra da Silva” e de seus desdobramentos nos espaços da cidade, a fim de refletir a respeito do alcance político que esse tipo de obra de arte dispõe. Partindo do entendimento de que toda obra de arte é política, uma vez que nunca é fundada em um terreno neutro, compreendemos que a arte está sempre trabalhando na reprodução ou na desarticulação de uma dada hegemonia.Palavras-chave: Arte pública; Coletivo Transverso; Espaços públicos; Ponte Bezerra da Silva. Abstract In 2012, Coletivo Transverso carried out an intervention in Brasília that consisted of a kind of “rebaptism” of a bridge called, until then, “Costa e Silva”, renaming it to “Bezerra da Silva”. Does this provocation, "renaming" a bridge, have any meaning in the urban context? Understanding as public art this type of artistic proposal that deposits in the interaction with the public its own condition of existence, since it participates in its creation process, we will analyze the work “ponte Bezerra da Silva” and its unfolding in the spaces of in order to reflect on the political scope that this type of work of art has. Starting from the understanding that every work of art is political, since it is never founded on a neutral ground, we understand that art is always working on the reproduction or disarticulation of a given hegemony.Keywords: Public Art; Coletivo Transverso; Public spaces; Bezerra da Silva's bridge.

scholarly journals Exhibiting an Unapologetic Fascist: Mario Sironi

Perceptions ◽  
2018 ◽  
Vol 4 (2) ◽  
pp. 20
Author(s):  
Fiona Fackler
Keyword(s):  
Public Perceptions ◽  
The Political ◽  
Contemporary Culture ◽  
National History ◽  
Work Of Art ◽  
The Public ◽  
Public Displays ◽  
Contemporary Politics ◽  
The World ◽  
Primary Focus

Benito Mussolini's Fascist dictatorship over Italy in the period between world wars remains a troubling element of the nation's history. It has heavily affected the contemporary politics and public displays of in addition to scholarship about the thriving artistic scene of that time, yet, the weight of Italy's Fascist legacy has either comprised the primary focus of or been entirely absent from studies on art in the 1920s-1930s until a recent academic interest in reinvestigating the political and cultural atmosphere of the period. This paper underlines the importance of such renewed critical interests in chapters of painful history and how those interests can influence public perceptions of national history and its outreach into contemporary culture. Specifically, I will examine the written and exhibited discrepancies between the life of the painter Mario Sironi under the regime and the life of selected paintings that perpetuate his existence in contemporary Italy. By comparing La Famiglia del Pastore in "Roma Anni Trenta: La Galleria d'Arte Moderna e Le Quadriennali (1931 - 1935 - 1939)" at the Galleria d'Arte Moderna and La Solitudine in "Time is Out of Joint" at the Galleria Nazionale I will analyze how exhibitions of art shape the Italian public's reception of this period. I contend that certain exhibiting styles can either deepen public reception and consideration for a work of art and the time from which it stems or can reduce understanding to that inspired by instantaneous connections, dependent on the institution's or curator's approach to context. For, no trip to a museum is simply a trip to a museum – whether actively or passively, museums shape how the public approaches the works in its halls and through these works, how the public approaches themselves and the world surrounding them.

scholarly journals Post-pandemic scenarios and design strategies for public spaces transformation

2021 ◽  
Vol 6 (12) ◽  
Author(s):  
Laura Galluzo ◽  
Ambra Borin
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Human Dimensions ◽  
Inclusive Development ◽  
Design Strategies ◽  
Urban Context ◽  
Collective Interest ◽  
The Public ◽  
Key Characteristics ◽  
Urban Transformations

Almost two years later of a pandemic condition, one thing is sure: the pandemic will change permanently the world and its systems. Nowadays, the reflection on public space is crucial within a more sustainable and inclusive development at urban scale, amplified also by the ongoing experience of the pandemic that still presents. Public space is a real opportunity to test new urban and social models, thus becoming a principal catalyst for positive changes in the entire urban context. It is therefore necessary to re-establish a relationship between the public space and its inhabitants, providing a system of proximity by highlighting the human and non-human dimensions and consequently connecting services, relationships, and opportunities. Acting in public space is the first step in the development of innovative urban transformations, generated by collaborative phenomena working in the collective interest. The use of participatory practices within the design processes favors the reconnection between people and territory, generating a shared sense of belonging that leads to taking care of one's own places. The reversibility of the intervention and its adaptability are key characteristics that allow experimenting with new ways of experiencing public spaces and responding to unforeseen experiences, thus accommodating the inevitable changes in society. This scientific contribution aims to set forward distinctive points of view on the planning strategies implemented in the pandemic and post-pandemic period to achieve intelligent transformations on a small and large urban scale with an impact from short to long-term; hence shaping the future cities.

Do territorial rights include the right to exclude?

2018 ◽  
Vol 18 (4) ◽  
pp. 307-322 ◽  
Author(s):  
Cara Nine
Keyword(s):  
Political Theory ◽  
John Locke ◽  
Public Spaces ◽  
Prima Facie ◽  
Property Right ◽  
The Political ◽  
The Public ◽  
Hard Time ◽  
Territorial Rights ◽  
The Right

Do territorial rights include the right to exclude? This claim is often assumed to be true in territorial rights theory. And if this claim is justified, a state may have a prima facie right to unilaterally exclude aliens from state territory. But is this claim justifiable? I examine the version of territorial rights that has the most compelling story to support the right to exclude: territorial rights as a kind of property right, where ‘territory’ refers to the public and common spaces included in the domain of state jurisdiction. I analyse the work of A. J. Simmons, who develops the political theory of John Locke into one of the most well-articulated and defended theories of territorial rights as a kind of property right. My main argument is that Simmons’ justification for rights of exclusion, which are derived from individual rights of self-government, does not apply to many kinds of public spaces. An upshot of this analysis is that most Lockean-based theories of territorial rights will have a hard time justifying the right to exclude as a prima facie right held by states against aliens.

The Literary Depiction of the “Public Space”: Chen Zhongshi’s White Deer Plain Revisited

Rural China ◽  
2020 ◽  
Vol 17 (1) ◽  
pp. 151-171
Author(s):  
Zhi Gao
Keyword(s):  
Public Space ◽  
Public Spaces ◽  
Cultural Dimensions ◽  
The Political ◽  
The Novel ◽  
The Public ◽  
The Social ◽  
Political Economic

Chen Zhongshi’s novel, White Deer Plain, is a complex text revealing the social, political, economic, and cultural dimensions of a community in transformation in which multiple public spaces coexist and struggle to survive. As a reinterpretation of the novel, this article examines three types of public spaces: the popular, the political, and the cultural-educational, respectively. Focusing on the forms of depiction, the inner workings of the public spaces, the overlapping between different spaces and their expansion, this article aims to delineate the trajectories of the rise and fall of such public spaces and explore their entangling and association with modernity.

A pleasant coach journey across the political frontier: Public art and suburban dissensus

2019 ◽  
Vol 8 (2) ◽  
pp. 147-161
Author(s):  
David Cross ◽  
Cameron Bishop
Keyword(s):  
Public Art ◽  
Local Community ◽  
The Political ◽  
The Public ◽  
Political Protests ◽  
Curatorial Practice ◽  
Resilient Communities ◽  
The City ◽  
Diverse Cultures ◽  
Selection Of

‘Six Moments in Kingston Town’ was an art project developed by the Public Art Commission in May 2019 that sought to collectively speak to the diverse cultures and shared histories of the City of Kingston, south of Melbourne. A series of leading Australian artists were commissioned to work with local community groups to develop projects that spoke to the complex, rich and interwoven social fabrics of this region, concentrating on the period of the mid-1970s to early 1980s. Using as key case studies events such as the election of Moorabbin’s first female councillor in 1976, a selection of nationally famous political protests in 1982, and the disappearance of aviator Fred Valentich who flew out from Moorabbin airport in 1978 never to be seen again, the project sought to highlight hidden or obscured historical moments that impacted well beyond the Kingston region. This text examines how curatorial practice via the commissioning of a series of iterative, place-specific, temporary projects can serve to nurture resilient communities while showcasing adventurous, challenging contemporary art. In picking up on local gestures, materials and events that clearly resonate with our contemporary milieu, we bring into question art’s repeated teleology ‐ one that eschews resistance in favour of its own disappearance into a kind of utopic consensus, where politics, art, culture and the economy fuse into a life of communal accord. In this article, we argue that the making of public artworks as dissensus serves to resist the collapse of art into life and, therefore, the danger that, with the disappearance of art, politics is doomed as well. As the article progresses, we pick up on a number of theoretical threads that present the works as ruptures in our conventional approaches to these sites and their histories.

Temporary Art Platform and the Reconfiguration of the Public Space in Beirut

2020 ◽  
Vol 18 (2) ◽  
pp. 231-242
Author(s):  
Carlos Garrido Castellano
Keyword(s):  
Public Space ◽  
Public Art ◽  
Public Spaces ◽  
Art Activism ◽  
The Public ◽  
Civic Agency

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.

scholarly journals Espaços públicos como espaços políticos: o que isso quer dizer?/Public spaces as political spaces: what does it mean?

2018 ◽  
pp. 12-33
Author(s):  
Iná Elias De Castro
Keyword(s):  
Social Movements ◽  
Political Science ◽  
Public Space ◽  
Conflicts Of Interest ◽  
Public Spaces ◽  
The Political ◽  
Political Space ◽  
The Public ◽  
The Third ◽  
Sociological Literature

RESUMOEste artigo se propõe debater as condições para a transformação dos espaços públicos em espaços políticos e responder como isto ocorre. A tese defendida é a de que os espaços públicos são espaços do cotidiano social urbano e não possuem uma essência política, embora possam tornar-se espaços políticos quando invadidos por fenômenos da política que transformam temporariamente suas rotinas e seu público usual. O texto está dividido em três partes. Na primeira, a política é conceituada como um sistema institucional e operacional de resolução de conflitos de interesses, apresentando os riscos da falácia, muito comum na literatura sociológica, de considerar a política como uma esfera abstrata. Na segunda, o espaço político é apresentado como um conceito, que apesar da origem na ciência política, foi apropriado e ampliado na geografia política como espaço de ação das políticas públicas e das leis, mas também dos movimentos sociais e dos atos políticos. Na terceira, são elaborados os argumentos da tese central deste texto, respondendo à questão sobre as circunstâncias em que os espaços públicos podem se transformar em espaços políticos.Palavras-chave: Espaço político; espaço público; mobilizações políticas. ABSTRACTThis article proposes to discuss the conditions for the transformation of public spaces into political spaces and to respond how this occurs. The thesis defended is that public spaces are spaces of everyday urban social and do not have a political essence, although they may become political spaces when invaded by phenomena of politics that temporarily transform their routines and their usual public. The text is divided into three parts. In the first, politics is conceptualized as an institutional and operational system for resolving conflicts of interest, presenting the risks of the fallacy, very common in the sociological literature, of considering politics as an abstract sphere. In the second, the political space is presented as a concept, that despite the origin in political science, was appropriated and expanded in political geography as a space for action of public policies and laws, but also for social movements and political acts. In the third part, the arguments of the central thesis of this text are elaborated, answering the question about the circumstances in which the public spaces can turn into political spaces.Keywords: Political space; public space; political mobilizations.

scholarly journals Composing aleatoric music through interaction

Per Musi ◽  
2021 ◽  
pp. 1-35
Author(s):  
Mauro Amazonas ◽  
Thais Castro ◽  
João Gustavo Kienen ◽  
Rosiane Freitas ◽  
Bruno Gadelha
Keyword(s):  
Mobile Devices ◽  
Public Art ◽  
Human Life ◽  
Public Spaces ◽  
Significant Trend ◽  
Art Exhibition ◽  
Public Places ◽  
Pilot Studies ◽  
The Public ◽  
Composition Methods

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.

scholarly journals Efek Media dan Pengadilan Opini

2013 ◽  
Vol 5 (1) ◽  
pp. 31
Author(s):  
Ruth Malau
Keyword(s):  
Public Spaces ◽  
Freedom Of The Press ◽  
Political Agenda ◽  
The Political ◽  
Embedded Control ◽  
The Public ◽  
The Press ◽  
The Media ◽  
Revolutionary Period ◽  
Do So

<p><em>Countries that embrace the ideology of freedom of the press, the court is of opinion that is commonly encountered in public spaces. Media, in this case could be interpreted as a medium in favor of the public interest which requires the presence of a new color in Libyan politics for 42 years filled with pressure and persecution.</em></p><p><em>Revolutionary period which lasted for most of the year 2011, which then shows how the media have spread the legality of its influence over public opinion. The mass media in Indonesia does have the power to set the political agenda, because democracy gives him legal to do so.</em></p><p><em>However, court opinions that appeared in the Libyan revolution is not because the country embraced the ideology of freedom of the press, but because of the pull-menaraik between freedom of the press with dimensions embedded control during the reign of Gaddafi.</em></p>

scholarly journals The square, the monument and the re-configurative power of art in postmigrant public spaces

2021 ◽  
pp. 235-264
Author(s):  
Anne Ring Petersen
Keyword(s):  
Urban Space ◽  
Collective Identity ◽  
Public Art ◽  
Public Spaces ◽  
Public Park ◽  
The Public ◽  
National Imagination ◽  
National Heritage ◽  
Artistic Interventions

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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