scholarly journals Procesos artísticos participativos y colaborativos en los distritos culturales de Burdeos y Nantes

2021 ◽  
Vol 25 ◽  
pp. 205-224
Author(s):  
Natalia Juan García ◽  
Jesús Pedro Lorente Lorente
Keyword(s):  
Bay Of Biscay ◽  
Community Based ◽  
Cultural Districts ◽  
Art Practices ◽  
Collaborative Art ◽  
Relational Art ◽  
Local Ecosystem ◽  
Collaboration Process ◽  
Cultural District

This paper analyses the burgeoning impulse, in the main cultural districts of Bordeaux and Nantes, of participative and collaborative art practices. Such adjectives are not synonymous but, true enough, it is sometimes difficult to differentiate these two categories of relational art; moreover, co-working spaces could literally be considered another kind of collaboration process. All in all, beyond terminology matters, the aim of this essay is to point out the flourishing of combined official and community-based initiatives. A model of arts-led urban revitalisation seeking greater involvement of the local ecosystem shaping a “cultural district”, as alternative to the paradigm of the singular institutional trigger worldly identified with the Guggenheim-Bilbao. Nowadays there are many counter-examples in Bilbao and in French cities on the Bay of Biscay. Este artículo analiza el prolífico impulso en los principales distritos culturales de Burdeos y Nantes del arte participativo y colaborativo. Tales adjetivos no son sinónimos, pero es cierto que a veces es difícil diferenciar estas dos categorías de arte relacional; por otro lado, los espacios de co-working podrían ser designados, al pie de la letra, como otro tipo de proceso de co-laboración. Con todo, más allá de la terminología, lo que pretende esta reflexión es constatar el florecimiento de iniciativas oficiales y de base comunitaria combinadas. Un modelo de revitalización urbana a través de las artes con mayor involucración del ecosistema local formando un “distrito cultural”, como alternativa frente al paradigma del singular detonante institucional mundialmente identificado con el Guggenheim-Bilbao. Hoy día no faltan los contraejemplos bilbaínos y en ciudades francesas del golfo de Vizcaya.

Collaborative challenges: Negotiating the complicities of socially engaged art within an era of neoliberal urbanism

2017 ◽  
Vol 36 (2) ◽  
pp. 273-293 ◽  
Author(s):  
Cecilie Sachs Olsen
Keyword(s):  
Urban Politics ◽  
Institutional Constraints ◽  
Social Functions ◽  
Transformative Experiences ◽  
Socially Engaged Art ◽  
Neoliberal Urbanism ◽  
The Social ◽  
Art Practices ◽  
Collaborative Art ◽  
Urban Contexts

This article provides a close and practice-led investigation into the complexities and complicities of politicised collaborative art within an era of neoliberal urbanism. In addressing these complicities from a practice-led perspective, the paper provides a nuanced account of the social functions of art based on critical perspectives relating to issues of urban politics as well as politics of collaboration, participation and representation. Reflecting on experiences with facilitating socially engaged artistic projects in Basel, Monthey and London, I demonstrate the challenges faced when struggling to adhere to the artistic aims of providing transformative experiences, while at the same time working within various neoliberal and institutional constraints and expectations. Rather than succumbing into totalising narratives about how art practices are inevitably instrumentalised as they become part of neoliberal structures, logics and ambitions, the paper emphasises the need to think more carefully about the politics of this practice in terms of how it constantly negotiates and reflects the subtle power relations that exist between artists and their collaborators in urban contexts.

scholarly journals Research on Sustainable Development of Historical and Cultural District in Tunxi Old Street of Huangshan with Micro-Regeneration Concept

2021 ◽  
Vol 236 ◽  
pp. 03020
Author(s):  
Wensheng Li ◽  
Xiaoxiao Zhang
Keyword(s):  
Sustainable Development ◽  
Three Dimensions ◽  
Historical Evolution ◽  
Regional Culture ◽  
Spatial Form ◽  
The Sustainable Development ◽  
Important Material ◽  
Cultural Districts ◽  
Building Characteristics ◽  
Cultural District

As the most influential commercial port center of ancient Huizhou, Tunxi Old Street is an important material carrier of Hui culture. In the current optimization of urban stock, it is faced with problems such as the decline of regional culture and the homogeneity of spatial form. By combing the historical evolution and value characteristics of Tunxi Old Street, introducing the concept of microregeneration, exploring the strategy of micro-regeneration of historical and cultural districts, this paper realizes the sustainable development of district from three dimensions of urban venation restoration, node space activation and building characteristics shaping, which can provide reference for the regeneration of other historical and cultural districts.

scholarly journals Las mujeres-ganso de Crossbones Graveyard

2017 ◽  
pp. 307
Author(s):  
Estíbaliz Pérez Asperilla
Keyword(s):  
Urban Spaces ◽  
Option Value ◽  
Starting Point ◽  
Cultural Districts ◽  
Five Senses ◽  
Las Mujeres ◽  
Cultural District

<p><strong>Resumen</strong></p><p>Este artículo se enmarca dentro de la investigación <em>Los cinco sentidos del Distrito Cultural en Londres</em>, la cual forma parte del Proyecto de Excelencia 2016-2018 <em>Distritos Culturales: imágenes e imaginarios en los procesos de revitalización de espacios urbanos</em>. Escogiendo Bankside como punto de partida, para dicha investigación se han analizado diferentes emplazamientos como Crossbones Graveyard –antiguo cementerio donde se encuentran enterradas muchas de las mujeres que ejercieron la prostitución en el Distrito entre los siglos XII y XVII–. Desde su descubrimiento en la década de los 90 se han llevado a cabo numerosas acciones gracias a las cuales se ha conseguido no sólo su conservación, sino difundir la verdadera historia de las “Winchester Geese”.</p><p> </p><p><strong>Abstract</strong></p><p>This paper is part of the research <em>Five senses of London Cultural District</em>, which is part of the Excellence Project 2016-2018 <em>Cultural Districts: images and imaginaries in </em><em>the processes of revitalization of urban spaces</em>. Choosing Bankside as a starting point, for this research different sites have been analysed such as Crossbones Graveyard –which is an old graveyard where many of the women who practiced prostitution in the District between the twelfth and seventeenth centuries were buried. 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scholarly journals A NOTE ON SOCIALLY ENGAGED ART CRITICISM

2017 ◽  
Vol 25 (53) ◽  
Author(s):  
Mikkel Bolt Rasmussen
Keyword(s):  
Art Criticism ◽  
Institutional Critique ◽  
Community Based ◽  
Participatory Art ◽  
Critical Potential ◽  
Relative Autonomy ◽  
Socially Engaged Art ◽  
Relational Art ◽  
Tactical Media

This article is a discussion of Grant Kester’s notion of socially-engaged art criticism via a retrospective mapping of the four most important 1990s artistic practices: relational art, institutional critique, tactical media and socially-engaged art. While both relational, or participatory, art and institutional critique seem to have run out of steam, and have fused more or less seamlessly with the institution of art, socially-engaged art still seems to hold critical potential by making use of the relative autonomy of art beyond the narrow confines of the art institution. The journal Field, founded and edited by Kester, is an attempt to develop a new art criticism that is able to account for this kind of practice. The turn to ethnography in order to analyse often open-ended community-based projects is relevant – and the

scholarly journals Entanglements of Difference as Community Togetherness: Faith, Art and Feminism

2019 ◽  
Vol 8 (9) ◽  
pp. 264 ◽  
Author(s):  
Hickey-Moody ◽  
Willcox
Keyword(s):  
Direct Products ◽  
Art Practice ◽  
Research Strategies ◽  
Arts Based Research ◽  
Human Interactions ◽  
Gender Diverse ◽  
Art Practices ◽  
Collaborative Art ◽  
Community Belonging ◽  
And Gender

Using a feminist, new materialist frame to activate ethico-political research exploring religion and gender at a community level both on Instagram and in arts workshops, we show how sharing ethnic backgrounds, religious beliefs, gender identities and sexualities through art practice entangles a diffraction of differences as ‘togetherness’. Such entanglement creates cross-cultural interfaith understandings and gender diverse acceptance and inclusion online. We use diffraction, intra-action and entanglement as a way of framing our understanding of this ‘togetherness’ and show that human feelings rely on more-than-human assemblages; they rely on homelands, countries, wars, places of worship, orientations, attractions, aesthetics, art and objects of attachment. The feelings of ‘community’ and ‘belonging’ that we discuss are therefore direct products of human and non-human interactions, which we explore through arts-based research. In this article, we apply Karen Barad’s feminist new materialist theories of ‘diffraction’, ‘intra-action’ and ‘entanglement’ to ways of thinking about human experience as intra-acting with aspects of the world that we classify as non-human. We use these new materialist frames to reconceptualize the human feelings of ‘community’, ‘belonging’ and ‘what really matters’ in feminist and intra-religious collaborative art practices and Instagram-based art communities. To better understand and encourage communities of difference, we argue that the feelings of ‘community’ and ‘belonging’, which are central to human subjectivity and experience, are produced by more-than-human assemblages and are central to identity. The methodologies we present are community focused, intra-active, arts-based research strategies for interrogating and understanding expressions of ‘community’ and ‘belonging’. We identify how creative methods are a significant and useful way of knowing about communities and argue that they are important because they are grounded in being with communities, showing that the specificity of their materiality needs to be considered.

scholarly journals PROGETTO DI ISTITUZIONE DI DISTRETTI CULTURALI EUROPEI. IL DISTRETTO CULTURALE GOMOSAICO DI GORIZIA

2020 ◽  
Author(s):  
Giulio M. Chiodi
Keyword(s):  
Cultural Heritage ◽  
Ethnic Groups ◽  
Meeting Point ◽  
Cultural Districts ◽  
Symbolic Value ◽  
Cultural District

It is here presented the hypothesis of establishing European cultural districts. Its purpose is to systematically valorize the cultural heritage of their territories end their people. The proposal is innovative with contribution to economic and civil life. A cultural district with Gorizia as capital is given as significant exemple. Its importance is that it originates from the tradition of ancient Aquileia and that is meeting point between three very important ethnic groups: Latin, German, Slavic. It is a district of symbolic value also for the enhancement of the strategic axis for Europa “Mitteleuropa-Mediterranean”.

scholarly journals TRANSART. Transactions, Transferences and Transitions in Participatory Art

2018 ◽  
Vol 6 (3) ◽  
pp. 322
Author(s):  
Saioa Olmo Alonso
Keyword(s):  
Point Of View ◽  
Transactional Analysis ◽  
Artistic Practice ◽  
Community Art ◽  
Participatory Art ◽  
Freudian Psychoanalysis ◽  
Collaborative Art ◽  
Relational Art ◽  
Art Community ◽  
Dialogical Art

This article centres on the exchange of necessities, projections, ways of behaving and of establishing relations, of people involved in participatory art projects and collective artistic practices. For that, we explore how these exchanges happen, thinking about the transactions (from the point of view of the Transactional Analysis), the transferences and counter transferences (from Freudian Psychoanalysis), the concept of “habitus” (of Pierre Bourdieu’s sociology) and the transitional phenomena (from Donald W. Winnicott’s theory). We cross these concepts with the artistic fact andspecifically with ways of doing art usually appointed under labels such as Participatory Art, Collaborative Art, Relational Art, Dialogical Art, Community Art, Social Engaged Art, Artivism, New Genre Public Art and Useful Art. We pay attention to artistic practices that specifically put the focusof interest on exploring different possibilities of sociability that let people and collectives make transitions (ideological, practical, emotional, material, relational ones…) from one situation or position to another. We call “Transart” to this kind of artistic practice that works under the idea that art isa human creation that experiment with ways of exchange, that facilitate transits and that can contribute to processes of transformation.

scholarly journals House on Fire: a political and collaborative art case

2017 ◽  
Vol 31 ◽  
pp. 149-163
Author(s):  
Teresa Mora
Keyword(s):  
Qualitative Data ◽  
The Political ◽  
Political Art ◽  
European Network ◽  
Collaborative Model ◽  
Collaborative Practices ◽  
The Social ◽  
Art Practices ◽  
Collaborative Art ◽  
Social Scientific

In this article, political art is perceived at the confluence of four trends in artistic practices today: the social turn, the reality urgency, the utopian impulse, and the collaborative practices. This confluence is articulated on the assumption that political art practices are, at least to a certain point, enhancing the transition to a collaborative model between artistic culture and social scientific and philosophical culture. Framed by this double perspective on art – political and collaborative –, this article is drawn from a major study about the House on Fire European network of festivals and theatres. The qualitative data that support this research consists of House on Fire’s activity plans and programmes from 2012 to 2015. The qualitative data was also analysed by resorting to research notes taken by the researcher in the position of spectator. This study is guided by the following aims: to explore the political agency position of House on Fire; to identify the focus of society criticism in the House on Fire’s programmes; and to construct an exploratory typology of collaborative modalities between artistic culture and social-scientific and philosophical culture.

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