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This article addresses the interaction between urban regeneration and cultural policies. Planning and developing urban transformation may foster positive and experience design through the experience economy, targeting a cohesive cultural narrative and identity. The discussed case study discussed here concerns the reuse of the AXA Building in the historic center of the city of Porto, in Portugal, as an alternative to classical integrated urban cultural policy and the promotion of free access dynamic leisure activities. In this case, the reuse of a historical building resulted from a hybrid project. Characterized by fusion, the design combined urban rehabilitation, heritage conservation and maintenance, cultural institutions, environments and experiences, social interaction, recreation, and programs aimed at improving the quality of life of both residents and visitors.
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Este volumen nace con el propósito de producir conocimiento crítico sobre las prácticas poéticas en el espacio público, sus funciones y su eficacia dentro de éste. A la inestabilidad funcional de la poesía y lo lírico en la actualidad se une la noción de espacio público, entendida tanto desde su vertiente conceptual, filosófica y social, como desde su vertiente material, física, ligada a la (re)presentación escénica. Espacios, sujetos e instituciones se redefinen de la mano de esta combinación. Así, la inclusión de la espacialidad en una teoría poética actualizada, la constitución de nuevos sujetos y subjetividades y la identificación de públicos y prácticas en torno a los conceptos de performatividad e intervención constituyen los vectores fundamentales de este libro. Sin acotación de ningún tipo en términos lingüísticos, nacionales o interartísticos, los trabajos aquí recogidos se reparten entre lo teórico-crítico y metodológico, los estudios de caso y las reflexiones en primera persona, teniendo como objetivo último la valoración de la incidencia de la poesía en el espacio público y sus efectos socio-políticos.
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This study presents an analysis of the appropriation of public space by cultural producers in Cuba, with a focus on art collectives, in particular, OMNI Zona Franca from Alamar, east of Havana. Based on primary research conducted with the artists, cultural producers, and scholars, I discuss OMNI’s work in the context of the history and formation of a nascent movement for civil society in Cuba, locating the collective’s work within the matrix of alternative and African diasporic cultural production. The latter is framed as part of a historical continuum and in the context of the discussion of race that emerged in Cuba’s public sphere during the 1990s with a concurrent movement among black Cuban artists to address issues of race. Situating OMNI’s work in a longer history of Afro-Cuban cultural production in Cuba as well as within the history of art collectives this study demonstrates how OMNI’s participation in the public sphere relates to social practice, appropriation of space, alternativity, and the forging of a wide coalition of civil and artistic alternatives among diverse communities. I draw on discourses on the production of space, particularly those of Henri Lefebvre and Raymond Williams, and argue that the unique and specific history of Alamar provided a fertile ground for alternative culture where multiple and countercultural expressions could be incubated and take root. The struggle over public space and the attempts by artists to create an autonomous public sphere in Cuba have led to continual conflict with the state. Using Gramsci’s theorization of civil society as incorporating both the hegemonic and contestatory realms, I contend that the level of contestation in OMNI Zona Franca’s work should be seen as counter-hegemonic expression aimed at altering the status quo. Producing new social relations, the collective’s practice is offered as an example of how art and cultural production is inaugurating alternative counter-spaces in the context of a demand for a more inclusive and representative Revolutionary public sphere.
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