Questa dissertazione si propone di contribuire alla riflessione teorica sulle trasformazioni della città contemporanea, che discipline come la sociologia urbana e, nell’ultimo decennio, la sociologia della cultura, stanno portando avanti; vorrebbe, in particolare, costruire dei ponti tra queste e la produzione artistica per lo spazio pubblico che va sotto il nome di Public Art. Il mutato rapporto fra forma fisica della città, modelli produttivi e modalità di uso degli spazi pubblici ha contribuito a stimolare la formazione di nuovi ambiti di elaborazione dell’identità collettiva. Attraverso uno studio qualitativo realizzato in Italia e negli Stati Uniti, mostra come l'Arte Pubblica obblighi l’arte e gli artisti ad una ridefinizione del loro ruolo “pubblico”: la sperimentazione di nuove strategie di comunicazione simbolica nello spazio pubblico e la ricerca di un confronto con la dimensione locale del territorio fanno della Public Art un’innovativa formula di rappresentazione e rappresentatività del territorio. / This dissertation contributes to the ongoing debates about the transformations of contemporary cities, which has long invested urban sociology and, more recently, has become a concern in the sociology of culture. It also explores the possibility to build bridges between these disciplines and the production of art in public space known as Public Art. The transformed relationship between the city’s physical form, its production systems and the different ways in which public space is used nowadays creates new areas for the elaboration of social identities. Through a qualitative study carried out in Italy and the United States, it also shows how contemporary Public Art requires a redefinition of the “public” role of art and artists: as it tests new strategies of symbolic communication in public space and it tries to get in contact with the local dimension, Public Art becomes an innovative formula of representation of the territory.

Le graffiti est depuis longtemps associé au vandalisme dans les métropoles où il prolifère. Il s’intègre au paysage urbain à un point tel que, même s’il procède d’une logique de visibilité et de promotion, nous parvenons à ne plus le remarquer. Pourtant, sa présence suscite toujours la colère des citoyens propriétaires de murs vandalisés et des autorités municipales qui, chaque année, dépensent de grosses sommes d’argent pour l’effacer. Malgré les restrictions et les amendes, le graffiti est néanmoins devenu un véritable phénomène d’art urbain : des artistes graffiteurs ont atteint la notoriété en dehors de leur sous-culture et ont pu exposer légalement leur travail, du fait d’un intérêt croissant du milieu officiel de l’art. Celui-ci contribue à faire grandir l’engouement et l’enthousiasme pour une pratique d’art urbaine. Le graffiti illustre l’expression d’une identité qui s’approprie et subvertit les surfaces urbaines de la ville, au moyen d’un nom propre fictif qui n’a aucune légitimation juridique et légale. De plus, l’application et la diffusion de la signature graffitique communiquent des valeurs qui guident et définissent toute la sous-culture du graffiti. Ces valeurs sont culturellement considérées comme masculines : le risque, le défi et la dissidence. La figure de l’artiste graffiteur apparaît ainsi comme une figure marginale et rebelle. Un tel portrait laisse alors entrevoir une culture fortement machiste, d’autant plus que les garçons qui exercent le graffiti sont beaucoup plus nombreux. Or, si les femmes artistes de la communauté graffitique représentent une minorité, c’est notamment parce que leur attrait pour une pratique illicite, nocturne et dangereuse est moindre. À partir d’une approche qui touche aux gender studies et à certains concepts traditionnels de l’histoire de l’art, nous cherchons à expliquer l’intérêt généralement plus faible des femmes pour le graffiti. Nous désirons également démontrer comment l’exercice des artistes féminines du graffiti se distingue de celui de leurs homologues masculins. De quelle manière se détermine leur expérience? Leur iconographie sert-elle à les définir? Quelles sont leurs opinions et leurs perceptions sur leur propre culture? Finalement, comment caractérisent-elles leur statut de femme artiste au sein d’une communauté "machiste"? / Graffiti has long been associated with vandalism in the city where it has proliferated. In the same logic of visibility and promotion found in all cities, it has become so integrated into the urban environment that we do not even notice it. Nevertheless, its presence constantly arouses the anger of property owners, citizens, and the municipal authorities who spend large sums of money every year in removal costs. In spite of this, graffiti has become an urban art phenomenon. Graffiti artists have attained fame outside of the subculture and are able to exhibit their work legally, in part, because of an increased interest from the art world. Art institutions and the art market have contributed to the increased craze and enthusiasm for this urban art practice. Graffiti is the expression of an illegitimate identity that appropriates urban surfaces in the city using a fictitious name. Writing and spreading that name as much as possible are core values in the graffiti subculture. Risk taking, challenging authority, and dissidence are values generally understood as being masculine. As well, the archetypal graffiti artist is marginal and rebellious. Understood in this manner, it can be seen that this highly populated subculture is powerfully chauvinistic. Female artists in the graffiti community are a minority, in particular because the appeal for an illicit, dangerous, night time practice is less popular. Using an approach grounded in art history and gender studies, this paper will explore why there is a generally low level of interest for women to practice graffiti. It will also be demonstrated that in practice female graffiti artists distinguish themselves from their male counterparts. How do they qualify their experiences? What kind of iconography do they choose to define themselves? What are their opinions of, and how do they perceive, their own subculture? Finally, how they do characterize their artistic feminine status within a male chauvinist community?

Exploring both political aesthetics and the politics of aesthetics to outline an environmental ruralism for art in public spaces, this practice lead research project postulates a “complemental practice”, outlining its methodology and contexts for operation, the rural, spaces of leisure and the public realm. It is a response to threats to spatial and environmental commons from heritage, place-making and nostalgia, psychological inhibition such as a sense of global contingency and widespread economic exploitation. Responses by artists to this situation can be characterised as a binary of dialogism (Kester, 2004) and relational antagonism (Bishop, 2004), i.e. consensual/collaborative or antagonistic/autonomous practices. Informing both is the work of Jacques Rancière who theorises an ethical and social turn in the arts. Through both commissioned and self-initiated projects this thesis offers an interpretation of Jacques Rancière’s conception of dissensus (Rancière, 2010) modulated through an application of the work of philosopher Slajov Žižek on environmental politics and complementarity - the inscription of the universal within the particular (Žižek, 2011). The thesis’ originality lies in this theoretical synthesis which sets out a complemental practice based on dissensus and the undecidability of subject and context, but which dismisses any inflexible schema of either aesthetic autonomy or ethico-political egalitarianism. In addition it suggests an approach to practice in this field and a situation for this - a dissensual infrastructure for the common public realm which is socially relational and evolutionary over time.

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VIKOVÁ, Tereza. The Uses of Public Space in Connection to Visual Art and Art Education [Dissertation]. Prague, 2019. Charles University, Faculty of Education, Art Education Department. 98 pages (Attachments on CD: 1 text, 2 image attachments) The subject matter of the master's thesis is the use of public space. Namely a way of use when the user, on the basis of self-awareness in the common space, feels and assumes responsibility for this space. The author is particularly interested in the moment of focus, which may (or may not) result in action and become a change. In this context, the so called gentle action phenomenon is being mentioned. That is, an individual's actions emanating from within the system itself, which is usually characterized by subtle action with a deeper, more far-reaching effect. The author's central ideas are applied in a thematic series consisting of a combination of a didactic and an artistic part. Together, they create a coherent whole. The author shows her own approach to the problem (in relation to fine art and art education) based on the extraction of a public space element from its everyday environment, its temporary appropriation and restitution. Particular topics reveal the aspects of private and public and outline the ways in which the user relates to his or her...

Le caractère éphémère de la performance rend son collectionnement difficile pour les différentes institutions dédiées à l’art contemporain et, par conséquent, engendre une mauvaise représentativité de la pratique artistique dans les collections publiques. En effet, le musée se montre réticent devant ce processus qu’il considère nécessairement problématique. De son côté, la Politique d’intégration des arts à l’architecture collectionne uniquement les œuvres matériellement stables et, malgré cela, elle rencontre plusieurs difficultés. De toute évidence, le collectionnement de la performance s’avère tout simplement impensable pour elle. C’est pourquoi ce mémoire s’intéresse plus particulièrement au programme d’intégration inédit d’Art actuel 2-22. J’aime Montréal et Montréal m’aime de Thierry Marceau fait effectivement exception dans la mesure québécoise, car, une fois ses cinq phases complétées, cette œuvre performative sera épuisée. Cette intégration est considérée en tant qu’étude de cas nous permettant de défendre la présence de l’éphémère sur la place publique. / The ephemeral nature of performance makes it difficult to collect for the institutions dedicated to contemporary art and, therefore, generates a misrepresentation of this artistic practice in public collections. Indeed, the museum is reluctant to this process that it considers necessarily problematic. For its part, the Art and Architecture Integration Policy only collects works materially stable and, despite this, it encounters several difficulties. Obviously, collecting performance is simply unthinkable in this case. That is why this thesis focuses on the novel integration program of Art Actuel 2-22. J’aime Montréal et Montréal m’aime of Thierry Marceau is effectively an exception in Quebec’s measure because, once its five phases completed, this performative work will be done. This integration is considered as a case study that allows us to defend the presence of the ephemeral in public space.

Visual Reinterpretation of National Identity in the Public Space of Mexico Visual communication in public spaces of Mexico has been significantly shaping collective identity, from pre-Columbian times to nowadays. This PhD thesis analyzes the visual aspect of cultural and religious identity in pre-Columbian and colonial eras, later, the discussion is led through the development of the modern day national identity that followed while concurrently explaining how former structural characteristics were partially maintained. Those phenomena are explored from two vantage points: that of the cultural and political elites and that of the general population. However, these perspectives aren't presented in a sharp opposition, rather, as two conjugating cultural streams that have been continuously negotiating and shaping cultural and national identity in correlation with historical and cultural events, including influence from significant others. Accordingly, the thesis explores the official version of national identity, that is promoted by state power, but also how official identity is received into intimate spaces, the everydayness of the bearers of such identity, its reinterpretation and alternatively, the rejections. Since public art (mural art, popular graphics, graffiti, stencil art and other diverse means of...

This dissertation thesis aims to reflect on the current evolvement of public spaces and increasingly common discussions of the lay and professional public about its impact and importance for a democratic society. The main topic, "Autonomy of an artwork outside of the institutions of art", focuses on searching for the autonomy of artwork in public spaces in the context of how the artwork was placed there. The thesis describes specific artworks which were placed into the public space using different methods, such as art competition, no competition, as a gift, or in a way of temporary art. These methods are examined to find the degree of autonomy. The degree of autonomy of artworks in public spaces is determined based on the applied analysis which, among other things, focuses on how efficient the result is in comparison to the method of placement. The field research resulted in complex, subjective, sculptural and artistic opinion on the current practice of placement of artworks into public spaces. Such professional and relevant opinion was then presented to the responsible authorities which have a significant impact on the creation of public spaces. The author aims to apply the acquired knowledge in practice by offering his professional opinions for the new elaboration of the government strategic document called "Politika architektury a stavební kultury České republiky" (loosely translated as "Politics of Architecture and Building Culture of the Czech Republic"), which is created by Ministry of Regional Development of the Czech Republic. The main results of the thesis describe the efficient approaches which lead to cultivation of public spaces and the significant role of art in them. Such approaches were in the thesis demonstrated by civic influence on the government strategies or civic activism in a form of citizens' initiative called "Je to i tvoje město" (loosely translated as "The city is your too") which actively participates in the public debate in Jindřichův Hradec, town on the South of the Czech Republic.