Ao final do ano de 98, do século passado, um coletivo de pessoas ligadas à produção teatral passou a se reunir semanalmente na cidade de São Paulo para pensar a função e o papel do teatro diante do quadro político que se desenhava, um ambiente de aprofundamento de políticas de orientação neoliberal iniciadas no governo Collor e que começavam a ganhar força com a eleição de Fernando Henrique Cardoso (PSDB) em seu primeiro mandato como presidente do Brasil. Passados seis meses do encontro inicial, o grupo chegou à formulação de um texto síntese das ideias debatidas naquele período. Esse documento recebeu o nome de Manifesto Arte Contra a Barbárie, nome pelo qual o grupo ficou conhecido. Durante a trajetória da pesquisa pudemos tomar contato com documentos que davam conta de que logo após o lançamento do Primeiro Manifesto iniciou-se uma considerável participação feminina nos encontros, impulsionando as atividades de discussão e a formação de grupos de trabalho. Ocorre que a maior parte dos relatos sobre o Arte Contra a Barbárie, aos quais tive acesso, dão conta de que era um grupo formado por homens. Esses relatos acabam por passar a impressão de que as mulheres não tinham uma participação ativa em todo o processo, ou mesmo que sua participação era restringida. A dissertação tem como objetivo primeiro registrar a participação feminina nesse processo de luta que acabou por mobilizar inúmeras pessoas em busca da conquista de políticas públicas para a produção cultural. Já o segundo objetivo é identificar indícios de ações, mecanismos ou estruturas que possam ter resultado em uma invisibilização das contribuições dessas figuras femininas nas lutas políticas e sociais importantes, como o processo que levou à conquista da lei que criou o Programa de Fomento ao Teatro para a Cidade de São Paulo / At the end of the year 98, in the last century, a collective of people related to the theater production gathered weekly in the city of São Paulo to think about the function and the role of theater in the face of the political framework that was being developed, of neoliberal orientation policies initiated in the Collor government and that were beginning to gain strength by electing Fernando Henrique Cardoso (PSDB) in his first term as president of Brazil. After six months of the initial meeting of the group, the group put together a summarized text of the ideas debated in that period. This document was named Manifesto Arte contra a Barbárie, name by which the group became known. During the course of the research, I was able to examine documents that showed that soon after the launch of the first manifesto a considerable amount of female participation in the meetings began, encouraging discussion activities and the formation of working groups. It turns out that most of the reports on the Arte Contra Barbarie, to which I had access, treated the group as one formed only by men, and these reports end up giving the impression that women did not have an active participation in the whole process, or even that their participation was restricted. The dissertation aims first at registering the female participation in this process of struggle that ended up mobilizing countless people in search of gaining public policies for cultural production. The second objective is to identify indications of actions, mechanisms or structures that may have resulted in the invisibility of the contributions of these female figures in important political and social struggles, such as the process that led to the achievement of the law that created the Programa de Fomento ao teatro para a cidade de São Paulo

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.

Grande parte da arte pública do Estado Novo compreendia monumentos e estátuas destinados a mostrar ao povo determinadas passagens ou personagens representativas da história nacional. A Escultura foi a expressão plástica mais solicitada para materializar o discurso do regime nos espaços públicos das cidades portuguesas. O Estado Novo considerava a estatuária pública como o veículo privilegiado para tornar perene, em largos, praças e edifícios, determinados símbolos da nação, produtos derivados da proposta estética que fôra mediatizada na Exposição do Mundo Português. Em Lisboa, actuaram principalmente o Ministério das Obras Públicas e a Câmara Municipal, que possuíam uma dotação própria para as encomendas dirigidas aos espaços públicos, uma iniciativa, na altura, presente em outros estados autoritários ou democráticos, que promoviam projectos associados às Obras públicas – eram os casos de Itália, Espanha ou EUA, com a iniciativa Public Works Art Project (1933). A encomenda de arte pública estava alicerçada num conjunto de procedimentos, enquadrados pelas Administrações Local e Central, que se designam, nesta investigação, como sistemas de encomenda de arte pública. Estes procedimentos eram assistidos por conselhos consultivos e comissões de estética, destinados a velar pela homogeneidade da encomenda pública. Apoiando-se nestes sistemas de arte pública, as Administrações Central e Local vieram não só promover a encomenda de monumentos, estátuas e motivos decorativos, como também a travar iniciativas em curso e a impedir novas propostas estranhas ao poder vigente. Pairando sobre a rotina que caracterizava os sistemas de encomenda de arte pública estava Oliveira Salazar, capaz de interferir nos sistemas e manobrar, desviar ou cessar o curso das encomendas de monumentos e estátuas. Palavras-chave: sistemas de encomenda de arte pública, Estado Novo, Lisboa / Public Art of Central and Local Administration of the New State in Lisbon: Systems of public art orders of Lisbon City Council and of the Ministry of Public Works (1938-1960) Much of the public art of the New State were mainly statues and monuments which were produced to represent images of the nation historical past. Sculpture was then the suitable artistic expression to portray such nationalist subjects into public spaces all over the country. In Lisbon, the Ministry of the Public Works and the City Council had a specific budget for public art orders, as in many totalitarian or democratic states promoting Public Works of Arts project funding. Public art orders were conducted, within the framework of Local and Central Administration, through sets of procedures meant to control and standardize it accordingly to the political and ideological speech of the New State. These sets of procedures are named in this thesis as systems of public art orders. They were promoted by advisory boards and aesthetical commissions whose role was to ensure homogeneity of public orders. Based on these systems of public art orders, Local and Central Administration not only promoted orders for monuments, statuary and decorative motifs but managed to prevent any kind of state initiatives not aligned with the political regime. Oliveira Salazar effectively overviewed the procedures inherent to the systems of public art. He was able to interfere at every level in the procedures, stir out of course or simply halt the orders of monuments and statues. Key-words: systems of public art orders, New State, Lisbon

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?

There is a phenomenon of placelessness. Cities have look-alike landscapes. This sameness leads to a lack of significant places and a loss of sense of place. In addition to that, with the suburban sprawl and downtown deterioration, there is an increasing need for downtown revitalization. Cities call for vibrant and pleasant places with characters.In a world where most cities are getting more similar with each other and where people can't tell whom they are and where they come from, placemaking actions should be welcomed. Placemaking respects the genius of the place and finds links between traditions and our present experience of life.This thesis presents an overview of placemaking including its definition, history, categories, functions, principles and actions. Its purpose is to apply placemaking into the design of a city plaza in downtown Muncie to make a place that links people to history, to culture, and to other people. By doing that, this creative project tries to illustrate that placemaking is a valuable strategy in urban regeneration. / Department of Landscape Architecture

Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: The social and spatial dimensions of any settlement are widely recognised in the international literature as having been shaped notably by art in some of the so-called cities of art or culture, such as Florence, Venice and other, smaller cultural nodes around the world. Arts resources have an impact on the socio-spatial dimension of a locale in a multitude of ways, and an understanding thereof can be hugely beneficial to a town‟s development and success. When developed, utilised and protected correctly, the full positive effects of such resources can be achieved to stimulate an inclusive and diverse art town setting. The Western Cape town of Stellenbosch is reputed for its rich arts and cultural heritage, yet there has not been extensive academic research concerning the incidence and effects thereof. Hence, Stellenbosch provides a platform from which to study the socio-spatial influence that visual art brings about in the interplay between art, people and space. Enhanced planning and decision making can then be undertaken for the current and future protection and management of art resources, equipping Stellenbosch to be part of a world that is both a competitive global market and diverse sphere of social constructs and discourses. The exploration of notions such as commoditisation, the places and spaces of art, formal and informal public art, artwork defacement, and the sense of place brought about by the art in Stellenbosch to obtain an overarching impression of the nature and extent of the influences of art on the socio-spatial dimension was the primary aim of this study. A descriptive overview of the socio-spatialities brought about by art in the so-called art town of Stellenbosch is provided by utilising in-depth interviews in combination with a minor GIS component. This enables an overall view of the public perception of art in Stellenbosch, as well as a visual overview of the distribution of the available art resources, hence providing new attribute and spatial data that can inform future initiatives in the town. / AFRIKAANSE OPSOMMING: In die internasionale literatuur word die sosiale en ruimtelike dimensies van ‟n nedersetting wyd erken as deur kuns gevorm te wees in sommige sogenaamde stede van kuns of kultuur, soos Florence of Venesië, en ander, kleiner kulturele nodes regoor die wêreld. Kunsbronne het op ‟n magdom van maniere ‟n impak op die sosio-ruimtelike dimensie van ‟n land, en ‟n begrip daarvan is uiters voordelig vir ‟n dorp se ontwikkeling en sukses. Wanneer dié bronne toepaslik ontwikkel, benut en beskerm word, kan die volle positiewe uitwerking daarvan bereik word om ‟n inklusiewe en diverse kunsdorpomgewing te stimuleer. Die Wes-Kaapse dorp Stellenbosch is bekend vir sy ryk kuns- en kulturele erfenis, maar uitgebreide akademiese navorsing oor die voorkoms en gevolge daarvan is nog nie onderneem nie. Stellenbosch bied dus ‟n platform waarop die sosio-ruimtelike invloed van visuele kuns in die wisselwerking tussen kuns, mense en die ruimte bestudeer kan word. Verbeterde beplanning en besluitneming kan dan gedoen word vir die huidige en toekomstige beskerming en bestuur van kunsbronne, wat Stellenbosch sal toerus vir ‟n wêreld wat beide ‟n kompeterende globale mark en diverse terrein van sosiale konstrukte en diskoerse is. Die ondersoek van begrippe soos kommodifikasie, die plekke en ruimtes van kuns, formele en informele openbare kuns, kunswerkskending, en sin van plek wat deur die kuns in Stellenbosch teweeg gebring word, verskaf ‟n oorkoepelende indruk van die aard en omvang van die invloede van kuns op die sosio-ruimtelike dimensie, wat die primêre doel van hierdie studie was. ‟n Beskrywende oorsig van die sosio-ruimtelikheid wat deur kuns in die sogenaamde kunsdorp Stellenbosch teweeg gebring word, is verskaf deur gebruik te maak van in-diepte onderhoude in kombinasie met ‟n kleiner GIS-komponent. Dit lewer ‟n geheelbeeld van die openbare persepsie van kuns op Stellenbosch, sowel as ‟n visuele oorsig van die verspreiding van die kunsbronne wat beskikbaar is, wat dus nuwe attribuut- en ruimtelike data verskaf wat toekomstige inisiatiewe op die dorp kan inlig.

In this thesis I have studied the conflicts that arose in Vara when the municipality ordered a sculpture by the artist Katharina Grosse in collaboration with The National Swedish Public Art Council and the Swedish Transport Administration in 2012. The aim of the study is to analyze the meaning-making of the sculpture as a process determined by social negotiations concerning variables such as identity, societal hierarchies and education. The material is foremost consisting of interviews with employees from The National Swedish Public Art Council and Vara municipality, a local objector whom organized a protesting Facebook group and a local newspaper journalist. The material is analyzed with discourse theory in order to examine how the discourses about public art are characterized in a local context today and how its meaning continually is being constructed and reconstructed through this. By studying the resistance and critique against The Blue Orange in Vara as local fragments of a more global context the analysis also targets how the practices and meaning-making of art in the public domain are conditioned by political ideologies and societal structures such as the neoliberal market, economic growth and competition. The protesters and protagonists of the art work places the sculpture in different narratives about the municipality where the municipality is either described as something progressing; moving from a state where something is lacking, or as something with a fixed identity and already defined. The latter narrative is used by those who criticize the art work because it does not reflect their perceived shared identity while the former motivates the advocates who want to create a more distinct municipal identity, a branding of sorts, to attract tourists and stimulate economic growth. These narratives demonstrates how debates revolving art works and the public domain can bring up articulations and everyday experiences of power structures, citizenship and societal norms.

Este trabalho tem por objetivo investigar o significado das obras de arte pública permanentes, comissionadas pela 5.ª Bienal do Mercosul, em Porto Alegre, entre 2004 e 2006, sob o prisma das questões da site-specificity e/ou place-specificity. As esculturas de Mauro Fuke, José Resende, Carmela Gross e Waltercio Caldas, são tomadas como estudo de caso para a discussão dessas questões, ou seja, para investigar as possibilidades de transformação de um local (espaço físico) em lugar (local dotado de significados), por meio de obras de arte projetadas especificamente com esse objetivo. / The paper aims at searching for the meaning of perennial public artworks done under the 5th Mercosul Biennial (Porto Alegre, 2004-2006) order, looking at the issues of site-specificity and/or place-specificity. Mauro Fuke, José Resende, Carmela Gross and Waltercio Caldas’s sculptures are the case study for the debate of such issues. Investigating the possibility of transforming spaces into sites through the placement of artworks produced for that purpose.

Submitted by FLAVIO ANICETO (flavio.aniceto.produtor.cultural@gmail.com) on 2014-05-23T14:56:35Z No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2014-05-29T17:53:04Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2014-06-02T13:50:57Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) / Made available in DSpace on 2014-06-02T13:51:12Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO FLAVIO ANICETO DOS SANTOS FINAL 18.05.2014.pdf: 1128904 bytes, checksum: 49dacd3c3362f7b8453b840e45cdb402 (MD5) Previous issue date: 2014-04-15 / This research focuses on the state of cultural performances in public forums in the city of Rio de Janeiro, referred to as Public Art, after the effects of the Street Artist Law from June 2012, which guarantees the free use of urban spaces for these artistic performers and officially recognizes them. Taking that into perspective, we propose a reflection on the possible contradictions between the cultural mediation we believe to be intrinsic to these movements and the institutionalization that comes from this law. The study of said mediation also intends to point out other forms of social integration found in the planning of cultural policies. The investigation's primary target was the professional clowns who perform in the streets, squares, parks, communities and other public forums in the city. / O presente trabalho analisou ações culturais em logradouros públicos do município do Rio de Janeiro, atualmente chamadas de Arte Pública, no contexto posterior a promulgação em junho de 2012 da Lei do Artista de Rua, que garante o uso livre do espaço urbano para as apresentações artísticas destes grupos e artistas e reconhece oficialmente estas manifestações. A partir deste quadro a pesquisa se propõe a refletir sobre as possíveis contradições entre a mediação cultural que acreditamos ser inerente a este segmento e a institucionalização decorrente desta lei. O estudo da mediação visou ainda pensar em outras formas de participação social no planejamento das políticas culturais. A investigação foi feita prioritariamente com palhaços profissionais que atuem nas ruas, praças, comunidades e outras áreas públicas do município.

Este trabalho tem por objetivo investigar o significado das obras de arte pública permanentes, comissionadas pela 5.ª Bienal do Mercosul, em Porto Alegre, entre 2004 e 2006, sob o prisma das questões da site-specificity e/ou place-specificity. As esculturas de Mauro Fuke, José Resende, Carmela Gross e Waltercio Caldas, são tomadas como estudo de caso para a discussão dessas questões, ou seja, para investigar as possibilidades de transformação de um local (espaço físico) em lugar (local dotado de significados), por meio de obras de arte projetadas especificamente com esse objetivo. / The paper aims at searching for the meaning of perennial public artworks done under the 5th Mercosul Biennial (Porto Alegre, 2004-2006) order, looking at the issues of site-specificity and/or place-specificity. Mauro Fuke, José Resende, Carmela Gross and Waltercio Caldas’s sculptures are the case study for the debate of such issues. Investigating the possibility of transforming spaces into sites through the placement of artworks produced for that purpose.