Art as a new urban norm: Between normalization of the City through art and normalization of art through the City in Montreal and Johannesburg

Guinard, Pauline; Margier, Antonin

doi:10.1016/j.cities.2017.04.018

Cited by 42 publications

(27 citation statements)

References 22 publications

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“…Até ao momento, por exemplo, não parece ainda existir aquilo que anteriormente designámos por economia cultural e artística, e as tentativas de desenvolvimento do Barreiro enquanto "cidade criativa" não têm tido grande sucesso. No entanto, a actual promoção do Parque Empresarial do Barreiro enquanto espaço incubador de indústrias criativas, através da atracção de agentes externos, numa procura de articulação virtuosa da cultura e das artes com criação de emprego e crescimento económico, contribuindo assim para a afirmação de dinâmicas de mercadorização e neutralização cultural e artística (Guinard & Margier, 2018), sugere que existe margem para que esta estratégia ganhe força.…”

Section: Considerações Finaisunclassified

Regeneração urbana através da cultura e das artes : o caso do Barreiro

Carmo¹,

Matos²,

Pereira³

2019

sociologico

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Adoptando uma perspectiva eminentemente hermenêutico-interpretativa, centrada na análise do discurso e das representações, este artigo pretende contribuir para a compreensão do actual processo de regeneração urbana do Barreiro. Se, por um lado, coloca a tónica no papel que nele desempenham a cultura e as artes, por outro, procura também descrever e interpretar as relações que se estabelecem com a memória e a identidade, enquanto traços constitutivos e definidores de um território profundamente marcado pelo seu passado. A partir da leitura crítica de um conjunto de 15 entrevistas realizadas a actores-chave que possuem um conhecimento aprofundado da realidade local, presente e passada, procura-se reconstituir uma narrativa inteligível que nos ajude a interrogar, a problematizar e a dar sentido ao processo investigado, designadamente ao nível das inter-relações e dinâmicas socioterritoriais existentes e dos discursos subjacentes. AbstractAdopting an eminently hermeneutic-interpretative perspective, centered on the analysis of discourse and representations, this article aims to contribute to the understanding of the current process of urban regeneration of Barreiro. If, on the one hand, it emphasizes the role that culture and the arts play in it, on the other, it also seeks to describe and interpret the relations that are established with memory and identity, as constitutive and defining features of a territory deeply marked by its past. From the critical reading of a set of 15 interviews conducted with key actors who have a thorough knowledge of the local reality, present and past, we seek to reconstruct an intelligible narrative that helps us interrogate, problematize and make sense of the process, namely in terms of interrelationships and existing socio-territorial dynamics and underlying discourses.

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Section: Considerações Finaisunclassified

Regeneração urbana através da cultura e das artes : o caso do Barreiro

Carmo¹,

Matos²,

Pereira³

2019

sociologico

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“…Cette multiplication des événements street art dans l'espace public participe d'une forme de normalisation (Guinard et Margier, 2017) du street art dans le cadre de la ville créative. Selon R. Schacter (2014), il s'agirait même d'un processus de domestication, qui commence souvent par des festivals.…”

Section: Echogéo 44 | 2018unclassified

“…D'une part, l'intégration de la production des graffeurs au marché de l'art contemporain, par le biais de galeries et de marchands d'art, témoigne d'une forme de marchandisation de cette pratique artistique (Genard, 2014). D'autre part, le street art est mobilisé par les acteurs publics dans la production d'un art urbain qui s'intègre au modèle de la ville néo-libérale, dans le cadre d'une normalisation de la ville (Guinard et Margier, 2017). Cet art public se déploie notamment en parallèle du renouvellement urbain dans des quartiers ayant fait l'objet de grands projets urbains (Kullmann, 2015) et/ou en voie de gentrification .…”

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Street art et mise en tourisme de la métropole parisienne, des festivals aux street art tours

Blanchard¹,

Talamoni²

2018

echogeo

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Le street art est l’objet de formes de mise en tourisme dans la métropole parisienne. À Paris et en proche banlieue, à la suite de l’émergence d’expositions et de festivals de street art, des visites guidées sur le thème du street art se sont multipliées. Ces promenades urbaines, souvent présentées sous l’appellation de street art tours, mobilisent des acteurs privés et visent un public diversifié, des Parisiens curieux aux touristes passant par la plate-forme de logement Airbnb. Les street art tours contribuent à la mise en tourisme des quartiers gentrifiés ou en rénovation de la métropole, tout en s’inscrivant dans des rapports de pouvoir entrecroisés.

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“…Negative views relate in general to tagging on public locations [7,8]. Positive views relate to their role in bringing art to the urban environment [6,[9][10][11][12] and wellbeing to its habitants [13][14][15][16]. For the scholars, graffiti is considered a new kind of cultural production [11,17] which extrapolates the boundaries of traditional art-"the white cube of the museum"-and makes the city-"the gray cube of the street"-a canvas in an open museum [18].…”

Section: Introductionmentioning

confidence: 99%

Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure

Feitosa-Santana

Gaddi

Gomes

et al. 2020

Sensors

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Graffiti is a general term that describes inscriptions on a wall, a practice with ancient origins, ranging from simple drawings and writings to elaborate pictorial representations. Nowadays, the term graffiti commonly describes the street art dedicated to wall paintings, which raises complex questions, including sociological, legal, political and aesthetic issues. Here we examine the aesthetics of graffiti colors by quantitatively characterizing and comparing their chromatic structure to that of traditional paintings in museums and natural scenes obtained by hyperspectral imaging. Two hundred twenty-eight photos of graffiti were taken in the city of São Paulo, Brazil. The colors of graffiti were represented in a color space and characterized by several statistical parameters. We found that graffiti have chromatic structures similar to those of traditional paintings, namely their preferred colors, distribution, and balance. In particular, they have color gamuts with the same degree of elongation, revealing a tendency for combining similar colors in the same proportions. Like more traditional artists, the preferred colors are close to the yellow–blue axis of color space, suggesting that graffiti artists’ color choices also mimic those of the natural world. Even so, graffiti tend to have larger color gamuts due to the availability of a new generation of synthetic pigments, resulting in a greater freedom in color choice. A complementary analysis of graffiti from other countries supports the global generalization of these findings. By sharing their color structures with those of paintings, graffiti contribute to bringing art to the cities.

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Art as a new urban norm: Between normalization of the City through art and normalization of art through the City in Montreal and Johannesburg

Cited by 42 publications

References 22 publications

Regeneração urbana através da cultura e das artes : o caso do Barreiro

Regeneração urbana através da cultura e das artes : o caso do Barreiro

Street art et mise en tourisme de la métropole parisienne, des festivals aux street art tours

Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure

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