A sua pesquisa

Durant la période qui a accompagné la fin de la dictature et le passage postérieur à la démocratie, on a pu observer, tant en Argentine qu’au Chili (même si les conditions sociopolitiques de cette transition ont été bien différentes), une grande prégnance de la problématique du deuil lié aux circonstances traumatisantes de la pratique de la disparition orchestrée par les juntes militaires au pouvoir. Le présent article entend interroger cette problématique telle qu’elle résonne encore chez des écrivains plus jeunes, qui étaient enfants durant la période dictatoriale et n’ont pas été eux-mêmes acteurs, témoins directs ou victimes. Dans le corpus choisi, Cineraria (2008) de Juan Soros (1975), Nombres propios (2010) de Yaki Setton (1961) et El país de las larvas (2001) de Silvio Mattoni (1969), on met en évidence le tressage délicat entre deuil privé et deuil collectif. À l’inverse d’une écriture volontiers allégorique typique de la première post-dictature, cette poésie plus récente explore des voies nouvelles, comme on le voit avec la recherche à la fois intimiste et nourrie par la tradition (Virgile) de Mattoni, l’écriture culturaliste de Soros et l’exploration métahistorique et rituelle de Setton.

El presente estudio ilustra, a través del análisis de algunos poemas de Néstor Ponce (La Plata, 1955), como las actuales prácticas poéticas en Europa y América Latina desbordan el restringido marco de lo que se ha entendido por ‘poesía lírica’ y adoptan elementos y registros propios de otros géneros, en particular, de la narrativa. Estas prácticas parecen asociarse con las experiencias migratorias y la globalización. Por encima de la subjetividad del sujeto romántico y su emotividad sentimental la poesía actual ha dejado de ser una categoría estable y bien delimitada. Al contrario, esa expresión poética que algunos denominan ‘no lírica’ prioriza, frente al sujeto en primera persona, la hibridación enunciativa, la heteroglosia y el uso de recursos propios de otras modalidades artísticas, hasta el punto de poner en cuestión el tradicional sistema de géneros largo tiempo en vigor en nuestra disciplina. La obra poética de Ponce, constituida por tres títulos, comparte la temática común de la resistencia contra el olvido; y establece un diálogo con tradiciones literarias anteriores (Quevedo, Vallejo, Neruda, Gelman) al tiempo que confirma la diversidad de las prácticas discursivas utilizadas por la poesía, algo menos lírica, de nuestro tiempo.

In this article we try to show how the work of the Portuguese writerLiberto Cruz establishes a compromise between the poem as text freeof any ideological imposition and the poem as social and politicalaction; between the internal and personal experience of the authorand his commitment to the history of the country; between the selfsufficiency of the poem and its links to the larger world; betweencommunication and elevation; between the work’s expansion ofimage and semantics and the communication of feelings, emotionsand ideas; and between the textual “I” and the biographical “I”.

A poesia oral não pode ser compreendida fora da estrutura social em que vive, nem o funcionamento da comunidade pode ser integralmente apreendido sem um conhecimento da sua poesia de transmissão oral. Por isso, neste estudo, influenciado pelo pensamento de José de Almeida Pavão Júnior e Paul Zumthor, procuramos demonstrar que uma abordagem séria da poesia oral não pode fixar-se unicamente no âmbito do literário, nem apenas nos seus aspectos culturais, antropológicos e sociológicos. A poesia oral, como as tradições em geral, só existe porque cumpre funções. Refletir sobre este aspecto é também pensar sobre o contexto social e cultural da performance literária, a idiossincrasia dos poetas-intérpretes e do grupo social, as diferentes espécies, a linguagem e o estilo, as circunstâncias da composição, da transmissão e da recepção dos textos.

This working paper will unfold the methodological design of the PhD research project, Behind The Murals – A Participative Webdocu on the Motivations and the Reclamations of Street Art, with a focus on the incident when BLU repainted his murals at Berlin’s Cuvrybrache completely black. In contrast to BLU’s strategy – to erase his art so that it can no longer be made profitable by the investor of the lot or even by Berlin’s city marketing – I aim to investigate what other strategies against the reclamation of street art are imaginable. The main methodological question is, how is it possible to carry out this research in such a way that its results support the communities (potentially) affected by gentrification/touristification to gain a voice? The experimental methods of participatory video and digital storytelling will be applied with the target of producing a participative webdocu accompanied by a locally exhibited video installation.

This article primarily investigates the city of Berlin on two levels: as a totalizing vision in which a specific perspective of urban space is imagined and built into the city and as a layered and disparate space in which urban objects are catalysts for associative narratives for rethinking the urban environment. It concentrates on two primary areas of Berlin: the Kulturforum and Bebelplatz. Looking to a creative experience of the city, the author collaborates with the artist Knut Eckstein to explore the idea of subversive space based on a performative transgression of barriers in architecture.

The phenomenon of urban art is one of the forces shaping contemporary urban spaces. Historically fought as vandalism in its “writing” component (the “black sheep” of the urban actors performing in the contemporary city), urban art has recently become more appreciated as an artistic expression, especially when regarded as a stage in the historical evolution of muralism. As several examples worldwide have shown, in the context of urban renewal, urban art can set off positive dynamics. Focusing on the Italian scene, I recognize the importance of past Italian interventions realized both in big cities, such as Rome, Turin and Bologna, and in small cities, such as Grottaglie (Taranto), Gaeta (Latina), Catanzaro, and Dozza (Bologna). In addition, the growing number of urban art festivals and public interventions seems to voice the citizens’ will to take the streets back, particularly where institutions are unable to intervene effectively in the urban domain due to political short-sightedness or lack of financial resources. The first aim of this paper is to illustrate and analyze some collective projects and informal actions through which citizens, associations, and institutions have given added value to the urban space. I will focus particularly on Turin, which has become one of the most interesting and rich urban art territories, thanks to public projects such as Murarte, Picturin, Nizzart and B.Art: Arte in Barriera. This study offers insights on how, by way of artistic deeds and apparently “weak” transformation systems, urban art may take innovative action so as to regenerate the city’s architectural heritage. The second aim of this paper is to propose a methodology for architectural surveying techniques applied to urban art. isIn current critical analysis, as well as in the representation and documentation of this type of work, the fundamental importance of the physical, architectural and urban environment in which the work is placed is often overlooked, if not completely omitted. In acknowledgment of these limitations, this paper proposes a documentation methodology that respects both the values of the process and the work itself. In this regard, painted walls must be considered as inseparable from the space in which they are located, from the material substrate supporting them, and from the time conditions in which they were realized. The process of examination and documentation therefore requires observation in situ, new digital and traditional survey techniques, and a variety of representations at different scales; with a view to understanding the reasons that led to the selection of a particular place in the city, and the way in which artistic action arises in relation to the historical environment and the social and political system that influenced its creation.

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.

The English street artist known as Banksy has in recent years become an important figure in the contemporary art world, garnering both critical acclaim and commercial success with his work. The “Banksy effect” is a term coined to describe the increased interest in street art that has emerged in the wake of Banksy’s popularity. Although the Banksy effect is not universally applauded, it offers a useful lens through which to consider the emergence of street art as a means of popular expression in the Middle East and North Africa (MENA) region. This paper considers three places in which street art has been intentionally deployed as a vehicle of political protest or as a means to generate tourism in the face of political unrest: street art in the Palestinian territories; street art in Egypt, particularly Cairo; and the Djerbahood project in Tunisia. A brief discussion of the way in which street art is created and received in each particular area is provided, followed by some observations on how the Banksy effect may be at play in that particular context. The paper concludes that the idea of the Banksy effect has relevance in discussions of street art in the MENA region and that both the positive and negative aspects of the Banksy effect are seen in the region.

There is a need to create a documentation system adapted to facilitate the conservation and restoration of Street Art and Graffiti. Even though they are ephemeral manifestations of art, there have been some signs of the need for preservation mechanisms that would respect their own special features. For selected works we must establish a procedure that enables their preservation with the highest guarantee.

The current practice of photographic presentation, documentation, circulation, reception and negotiation of street art (pictures) online leads to a reconfiguration of both the global and the local, and therefore, to new norms and power relations. This article discusses the reciprocal constitution of local street art practices and global art discourse, with special attention to the concept of location and placement. As will be shown, central photographers as well as bloggers and administrators of Facebook pages position themselves – and are positioned – as decisive experts, opinion makers and gatekeepers. By defining ‘the global view of individual cities,’ they significantly influence – and continuously reinforce – the formation of a somehow globally accepted street art canon. Whereas Facebook´s positively connoted real time stream emerged into some kind of ubiquitously present ‘street art monitoring system,’ a dominant lack of profound critique and far-sighted contextualization can be observed regarding the negotiation of street art and urban art festivals. These ‘trends,’ in the end, allude to more general questions addressing topics of the creative city, gentrification processes, urban policy and (de)centralized infrastructures. Subsequently, it becomes apparent that debates about spatial appropriation, advertising, legal restrictions, institutionalization, domestication, censorship, the quest for freedom and privacy as well as the questioning of hierarchies – which in the context of today´s street art remain tied to the framework of the physical city – must be transferred to the internet. The internet and its central nodes are places of decision making which inevitably display the current (infra)structures of power. Therefore, a possible future, decisive and consistent step for street artists might be to both reclaim the city and the internet.

The Egyptian revolution of 2011 produced a massive transformation in the perception of urban space and the interrelated dynamic of people, their bodies, and the language within that space. Cultural expressions such as caricature galleries, makeshift exhibitions, chants, poetry readings, and memorial spaces defined the square as a place where activism and art intersected weaving a lyrical tapestry of the revolution. The most prominent of these expressions was the street art of the revolution where the act of painting on walls re-territorialized the city making it the revolution’s barometer by registering the shifting political discourses as they unfolded. Documenting and preserving these visual expressions was the driving force behind a three-year book project, entitled Walls of Freedom: Street Art of the Egyptian Revolution, which narrates the revolution through striking images of the art that transformed Egypt’s walls into a visual testimony of bravery and resistance. This article will serve to offer a detailed analysis of the methodologies and tools used in creating the book as well as managing, financing, and collecting all of its necessary components. Primarily focused on qualitative visual research methodologies, the book is layered into three components or levels: one level is a visual journey of the revolution through a chronological image-timeline. The categorization and indexing of images by artist, photographer, date and translation was an important function allowing quick access to images visually placing them in a larger continuum. The second level is a reference-based timeline of events where a connection between the art and the historical/political events is presented. The third level involves the essays and analysis supplementing the timeline with historical implications, political and social contexts and personal voices collected from artists and activists.

There is an abundance of books, magazines, films and internet-forums dedicated to graffiti. How this documentation has influenced and been a part of the graffiti subculture has not been studied much. Drawing on personal experiences, as a documentarian and publisher of graffiti media over 27 years, Malcolm Jacobson recollects how the positions of participant and observer incessantly have twisted around each other. This has been mediated through development in media technology as well as by the coming of age of graffiti and its practitioners.

When discussing the paradox of displacing the street art aesthetic, i.e. commissioning street artists to create work for art galleries, museums, or public murals, one inevitably has to address issues of co-opting, appropriation, and the institutionalization of a movement that began as a countercultural form of expression. Two commissioned pieces by OSGEMEOS are used as a case study. This paper parses through the discourse surrounding their production and removal. The goal therein is to break down these narratives and gain insight into the mechanisms at work and the inherent contradictions in the process of institutionalizing street art.

It is the goal of this paper to aesthetically rethink Street Art’s artistic process and question its narrative in urban and public space. We intend to highlight the anonymity, ephemeral, and transitory element as a key feature of its artistic creation. To this end, we will use as a starting point the relationship between the street artist and Baudelaire’s flanêur, to reach Foucault’s point of view, which somehow finds the key to the street artist’s aesthetic features, synthesized in the understanding of Baudelaire’s modernity, understood not as a mere historical period, but rather as an “attitude.”

What is the role of art in the reinforcement or rejection of current models of public space management in our cities? To answer this question, we must attend to the ties of all artwork with public institutions, and whether or not it questions the dominant order. In this article, I will focus on the works of the Ana Botella Crew, a group of artists from Madrid, as an example of “artivism” that challenges the City Council’s management of public spaces in Madrid. My aim is to explore how useful internet tools can be to articulate artistic interventions that challenge the hegemonic uses of public space, in what Sassen has called the global city.

This article addresses the notion of the socially engaged visual arts. The first part explores some fundamental historical periods to help understand this practice, from the Greek concept of teknè until the present time. Then, the idea of a machine for the emancipation of creativity is explained, as well as its operation in two neighborhoods of the Portuguese city of Amadora. Finally, as a result of this immaterial machine, the focus turns to a detailed description of an archive of audiovisual elements that represents each activity undertaken within the project.

This article focuses on the possibilities of using the audio walk as a method for artistic research. First, the decisive characteristics of the format will be outlined, followed by a detailed description of an example case: my artistic research project that focuses on the subject of female migration. Several elements of the audio walk were used in a series of exercises with a group of recently migrated women, with the intention of investigating how the perception of the city is determined by their specific experience. This example case will be used as a means of pointing out several possibilities and opening up a space to think of the audio walk as a way of presenting a work but also as a way of generating knowledge as well.