2019
DOI: 10.1590/s0104-71832019000300005
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Entre VHILS e os Jerónimos: arte urbana de Lisboa enquanto objeto turístico

Abstract: Resumo Diversas cidades têm incluído a arte urbana como parte das suas estratégias de promoção e planeamento turístico. Este facto deriva de uma gradual valorização social e legitimação institucional deste tipo de expressões estéticas presentes no espaço público. Em muitas cidades deparamo-nos, hoje, com processos de turistificação da arte urbana, uma dinâmica que está dependente de um conjunto de atores sociais. A turistificação da arte urbana tem consequências, não só ao nível da constituição da oferta turís… Show more

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Cited by 8 publications
(11 citation statements)
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“…To begin with, there are internal factors with a direct impact on the development of objective conditions that allow for the emergence and expansion of this niche market. On the one hand, the development by local government, over a decade, of systematic and structured policies of support and legitimation of Urban Art in the city of Lisbon has had a direct impact on the existing landscape and variety of artistic assets (Campos and Sequeira, forthcoming; Grondeau and Pondaven, 2018). This is why we see the structures promoting tourism in Lisbon conceiving Urban Art as one of the city’s main assets, following a strategy similar to that employed in other global cities where culture, art and creativity are being promoted to reinforce their external image (Marques and Richards, 2014; Mould, 2015; Schacter, 2014; Zukin, 2000).…”
Section: Resultsmentioning
confidence: 99%
See 1 more Smart Citation
“…To begin with, there are internal factors with a direct impact on the development of objective conditions that allow for the emergence and expansion of this niche market. On the one hand, the development by local government, over a decade, of systematic and structured policies of support and legitimation of Urban Art in the city of Lisbon has had a direct impact on the existing landscape and variety of artistic assets (Campos and Sequeira, forthcoming; Grondeau and Pondaven, 2018). This is why we see the structures promoting tourism in Lisbon conceiving Urban Art as one of the city’s main assets, following a strategy similar to that employed in other global cities where culture, art and creativity are being promoted to reinforce their external image (Marques and Richards, 2014; Mould, 2015; Schacter, 2014; Zukin, 2000).…”
Section: Resultsmentioning
confidence: 99%
“…As far as the specific work package involving tourism is concerned, we have adopted a theoretical-conceptual framework developed around research carried out in recent years (Campos, 2013, 2015; Sequeira, 2016; Campos and Sequeira, forthcoming) and a more recent ethnographical approach (2017–2018). From this research, we have been able to identify the key actors in the recent trend of touristification of Urban Art.…”
Section: Conceptual and Methodological Notementioning
confidence: 99%
“…Urban art might be interpreted here ‘as an umbrella term for any art in the style of Street Art, Style Writing or mural art’ (Blanché, 2016: 59). From the point of view of plastic expression, it might be described as an ‘extended family’ (Campos and Sequeira, 2019, 2020) involving a combination of techniques and pictorial formats (spray painting, stencil, reverse graffiti, stickers, etc.) generally associated with art practices developed originally in urban public spaces.…”
Section: Note On Methodsmentioning
confidence: 99%
“…Finally, we should mention the role played by academics (Campos and Sequeira, 2019; Ferro, 2016; Neves, 2015). We believe that academics have assumed – especially since the mid-2000s − an increasingly important role in legitimizing graffiti and street art at two levels: on the one hand, by giving visibility and validating this academic subject, 19 on the other hand, by deconstructing the clearly negative stereotypes put forward by the media and politicians that until that time set the tone of the debate.…”
Section: Note On Methodsmentioning
confidence: 99%
“…Nesse processo, passa-se das reflexões e práticas de uma "arte pública", caracterizada por monumentos comemorativos e esculturas, para o predomínio de uma "Arte Urbana", por definição. No contexto das muitas manifestações artísticas no espaço público, o termo "Arte Urbana" foi escolhido por ser mais abrangente e, também, por ter um cunho institucional e formal que lhe foi sendo atribuído em tempos mais recentes Sequeira, 2019). A arte pode, então, surgir nas mais diversas localizações e suas manifestações passam a abranger mais do que a tradicional escultura, englobando outras formas de arte que buscam uma interação com a população e, por conseguinte, que fomentam a revitalização da vivência urbana.…”
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