A praia urbana circunscreve um tipo de espaço dotado de um mecanismo flexível para a negociação entre pessoas e lugares, economias e culturas, arquiteturas e cidade, diferenciando-se de estruturas urbanas mais estáveis definidas por edifícios ou infraestruturas. A organização da cidade e a valorização da experiência urbana pode encontrar mais recursos nos fluxos da praia. Fluidez, mobilidade, feedback espontâneo e não-linearidade oferecem alternativas para a estabilidade, a previsibilidade, ou a racionalidade da cidade. Praiapaisagem identifica um espaço caracterizado por uma superfície dinâmica, onde as ações humanas estão em constante transformação, gerando um campo de possibilidades em face à estagnação da vida urbana. Com o olhar situado na complexa experiência da praia este estudo estabelece como hipótese uma matriz para novas direções do desenho urbano como tática espontânea, contestando as convenções da prática tradicional. A praia é aqui entendida não como tipologia, mas como um sistema complexo, integrante da cidade, promotor e organizador da vida, expandindo-se e encolhendo-se simultaneamente aos experimentos humanos em constante movimento. A partir do cruzamento entre arte e arquitetura, e considerando o fenômeno da superfície como fundamento, uma epistemologia é proposta: o mapeamento da transição do objeto da arte (a obra de arte) e do objeto da arquitetura (o edifício) dos seus estados autônomos para o ambiente urbano, tanto em práticas artísticas como em arquitetura indicando uma rede de relações. Usando como referência algumas atitudes específicas das vanguardas do século 20 o trabalho aponta para uma série de estratégias de reordenação da cidade contemporânea e das suas práticas afins. Empenhadas relacionalmente no locus da praia, tais práticas podem ser categorizadas em duas ordens: uma atua diretamente no âmbito da praia; a segunda, apreendendo-se das dinâmicas da praia, volta-se para a cidade, e utilizando-se do conceito de praiapaisagem como estratégia, busca a proposição de um outro desenho, um outro espaço público. / The urban beach circumscribes a type of space endowed with a flexible mechanism for negotiation between people and places, economies and cultures, architectures and the city, differentiating from more stable urban structures defined by buildings or infrastructure. The city organization and enhancement of the urban experience can find more resources in the fluxes located on the beach. Fluidity, mobility, spontaneous feedback, and nonlinearity offer alternatives to the stability, predictability, and rationality of the city. Beachscape identifies a territory characterized by a dynamic space, where human actions are in constant transformation, generating a field of possibilities in the face of the stagnation of urban life. Considering the complex situation of the beach experience this study establishes the hypothetical matrix for new directions of urban design as spontaneous tactics, challenging the conventions of traditional practice. The beach here is understood not as typology, but as a complex system, an integral part of the city, promoter and organizer of life, expanding and shrinking while human experiments are in constant motion. Establishing a crossing between art and architecture, and considering the surface as a phenomenon, the work proposes an epistemology: mapping the transition from the art object (the artwork) and the object of architecture (the building) from its autonomous states toward the urban environment, both in artistic practices as in architecture, as a form to indicate a network of relationships. With reference to some specific attitudes of the 20th century vanguard the work points to a number of strategies for reordering the contemporary city and its related professional practices. Relationally engaged in the locus of the beach, such practices can be categorized into two types: one operates directly on the beach; the second, seizing upon the dynamics of the beach, looks back to the city, and through the concept of beachscape envisions a strategy to propose another design, another public space.

La mise en place d'une commande publique artistique aux abords des lignes de tramway n'a de cesse de faire florès dans l'Hexagone. Présente au cœur des principales agglomérations françaises, nul ne peut rester indifférent face à l'ampleur d'une telle démarche, qui de surcroît soulève bien des questionnements, en premier lieu sur sa propre pertinence urbanistique. En effet, si de cette initiative naît un partenariat original entre un mode de transport urbain faisant peau neuve et un art public se voulant plus que jamais proche des citadins, il est judicieux face à ses résultats contrastés sur le terrain, de se pencher sur son devenir, à la lumière notamment d'une étude urbanistique, sensorielle, sémiotique et philosophique. Ainsi, au détour d'une analyse pluridisciplinaire des projets partenariaux (Paris et Nice entre autres), plusieurs pistes réflexives entendent apporter des éléments de réponse sur cette réussite en demi-teinte. Mais également, proposer de nouvelles perspectives conceptuelles pour consolider et valoriser au mieux cette démarche partenariale, qui ouvre assurément une nouvelle façon de voir, de percevoir et d'appréhender la ville ainsi que les mutations qui l'animent. Elle entend par la même occasion redéfinir les fonctions primaires des deux éléments urbains qui la composent : l'art public et le tramway / The implementation of a public art commission around the tram lines blooms in France. Present into the main french agglomerations, nobody can remain indifferent in front of the scale of such an approach, which besides raises many questions, including that of its own urbanistic relevance. This initiative certainly gives birth to an original partnership between a facelifted urban transport mode and a public art, which seems to aspire to be closer than ever towards city dwellers. But in front of contrasted results, it would be wise to examinate the future of such a partnership, in the light of an urbanistic, sensory, semiotic and philosophic study. Through a pluridisciplinary analysis of partnership projects (Paris, Nice among others), several lines of approach attempt to bring elements of answer. At the same times, this study proposes a new conceptual perspective for emphasize this partnership, which delivers a new way of seeing and perceiving the city. It redefines the primary functions of the public art and the tram, both urban elements which compose it

Este trabalho de pesquisa disserta sobre os aspectos constitutivos da prática e do discurso das formas da ação artística contemporânea no espaço aberto e urbano brasileiro. A partir das décadas mais recentes, posteriores aos anos 1960, são analisados projetos, textos, trabalhos artísticos, bem como contextos urbanos e culturais importantes para a verificação das relações travadas pelos agentes do circuito artístico na atualidade. Busca-se, dessa maneira, aprofundar as discussões pertinentes à espacialização do objeto artístico contemporâneo tais como: os elementos constitutivos de sua pertença ao meio urbano; o novo sentido público admitido para esse trabalho na atualidade, além da mobilidade dos papéis exercidos por seus proponentes que, por meio desse conjunto, colaboram para a configuração dessa vertente estética e artística. Das experimentações ambientais de Hélio Oiticica, Artur Barrio, dentre outros, aos múltiplos formatos de intervenção pública e urbana, propiciados pelo encontro com a megalópole, tal qual nos apresentam José Resende, Mônica Nador e Ricardo Basbaum; cada capítulo procura analisar as estratégias que levam a Arte a um estado possível de ser compreendido como Extramuros. / This research argues about the constituent aspects of the praxis and discursive forms in contemporary artistic action enrolled in opened and urban Brazilian space. Considering recent decades, post to 1960, projects, texts, works of art has been analyzed, as well as cultural and urban important contexts to reach the verification of the relationship among the actual circuit agents. The intention is to refine the aptness of the contemporary art object to the space studying these points: its specific urban elements; the new public senses due to this kind of work in our time and the mobility of its characters roles that, in this set, collaborate to the construction of these aesthetic and artistic boundaries. Beginning with ambient experiences by Hélio Oiticia, Artur Barrio, beside others, to get to multiple forms of public and urban art, caused by their encounter with the megalopolis, as presented by José Resende, Mônica Nador, Ricardo Basbaum, each chapter analyses the strategies that take Art to an Extramuros state.

Utställningsrummet för gatukonst växte fram långsamt på Kronobergsgatan 35. Genom att följa utvecklingsprocessen, platsen och verken som visats undersöker jag hur väggen växer fram till en hybrid som inte bara är ett utställningsrum. Det är även centrum för urban konst i Stockholms offentliga rum. Utställningsrummet är ett ovanligt inslag i en stad som fortsatt är präglad från en långvarig nolltolerans. Curering av väggen återspeglar ett utbildningssyfte för att visa att graffiti är mer än klotter. Jag undersöker vilka aktörer som är inblandade och deras mål med väggen utifrån curating teori. Väggen har flera intressenter. Kollektivet Livet som curerar väggen har en bakgrund inom graffiti och i sitt arbete att etablera konstformen kommer de även närmare att institutionalisera den, något som går emot dess historiska roll som subkultur. I mitt arbete studerar jag var utställningsrummet placerar sig i förhållande till graffitikulturen kontra konstinstitutionen. Fastighetsägaren står för resurserna och ser mot förmodan en slags vinst i sin investering, jag har döpt denne till konsthandlaren som förmedlar konsten till betraktaren. Att konsthandlaren associerar företaget till kulturella åtaganden gynnar företagsprofilen i ansamlande av kulturellt kapital. Utställningsrummet är även starkt påverkat av dess position i Stockholms centrala offentliga rum. Det skapar debatt om vem som får ta plats i stadsrummet och vilken konst som bör finnas, en debatt som curatorn välkomnar. Det är en debatt som potentiellt involverar hela staden, där alla är potentiella konstkritiker. Görandet av plats skapas i samverkan mellan tjänstemännen som formar stadsrummet och aktörerna som verkar i det. Jag undersöker denna samverkan och hur de förhåller sig till sina motsättningar. / I have followed the process of development of Kronobergsgatan 35 as an exhibition room for street art and graffiti in Stockholms public space. By interviewing the curators and analyzing with referens to institutional- and curating theory my aim has been to investigate the surrounding circumstances for said exhibition. Stockholm has a history of zero tolerance which makes this exhibition room a rare sight. The curators has, with an educational agenda, wanted to normalize graffiti as an artform but in so doing places the exhibition somewhere between it's subcultural history and the established art institution. The wall is made possible by the contribution of the property owner. I investigate the possible purposes of this investment and how association with culture affiliations could have positive effect on a business profile by obtaining cultural capital.  As an exhibition room in public space it works with and in contrast to the official public art of the city. I investigate this relationship between official and unofficial public art and the discussion of a democratic public space.

Esta tese investiga a arte nas estações da Companhia do Metropolitano de São Paulo, verifica as possibilidades de uso de tecnologias atuais e as condicionantes para propostas de intervenção ambiental, permanentes e temporárias, no espaço público em questão. A partir de repertório conceitual, histórico e técnico; de pesquisas em campo e de entrevistas realizadas com filósofo especialista em culturas urbanas; usuários/espectadores/atores, monitores e técnicos de manutenção no decorrer da Exposição Arte Cibernética: Acervo Itaú Cultural (2010) e das 1ª e 2ª edições do Festival Internacional de Linguagem Eletrônica-FILEPAI (2010 e 2011) e artistas, teve como meta comprovar a hipótese da possibilidade de aplicação e aceitação de tecnologias atuais (Diodo Emissor de Luz-LED, célula fotovoltaica, mídias eletrônica e digital, linguagem da projeção) em intervenções ambientais visando contribuir com a melhoria qualitativa dos espaços das estações futuras e em funcionamento. Para o entendimento da relevância da arte inserida no contexto da sociedade contemporânea e das formas de manifestação artística proporcionadas pelo uso de tecnologias atuais este estudo apresenta conceitos atuais de cidade, espaço público, arte pública, arte pública interativa, público e site specific. Aborda ações financiadas/cofinanciadas pelo poder público para intervenções artísticas na paisagem urbana paulistana e apresenta considerações sobre a Lei de Incentivo da Prefeitura de São Paulo. Analisa características das obras no ambiente das estações, seus significados e condicionantes. Investiga a percepção/recepção das obras tecnológicas e o comportamento social dos usuários/espectadores/atores no decorrer dos eventos mencionados. Verifica como tem sido a atuação do artista junto ao arquiteto no processo de inserção das obras de arte buscando relações com os conceitos de projeto interdisciplinar e sitespecific, e o que pensam esses profissionais a respeito desses espaços, dos significados da arte, da aplicação de tecnologias atuais, da influência de regras normativas na forma de criar e de atuar e possíveis medidas para que a arte se faça presente na totalidade da rede. Apresenta avanços tecnológicos que têm possibilitado novas linguagens para a criação, desenvolvimento e construção de objetos/obras para a cidade contemporânea; exemplos práticos de intervenções ambientais, com vistas à arte contemporânea, em estações de metrô do âmbito internacional; formas de atuar de algumas companhias e política cultural da Régie autonome des transports parisiens (RATP). Constata-se que, tecnicamente, é possível aplicar tecnologias atuais em intervenções ambientais temporárias e permanentes. Entretanto, condicionantes internas e externas à Companhia têm dificultado não somente a utilização dessas tecnologias, mas a presença e a permanência da arte pública no metrô e na cidade. Faz-se necessário: criar políticas públicas no campo da cultura; divulgar os benefícios da lei de incentivo para as empresas; divulgar mecanismos para os artistas e a população; rever a formação acadêmica do artista, do arquiteto e do designer, de forma que seja multidisciplinar e possibilite a prática do projeto interdisciplinar. A presença de profissional no campo do gerenciamento que tenha uma compreensão transversal das diversas disciplinas envolvidas no projeto e que delegue o posicionamento de seus autores, ainda na fase de concepção, é fundamental para que o projeto interdisciplinar aconteça. As falas dos entrevistados, o estudo técnico, a aplicação dessas tecnologias em estações do âmbito internacional e nas exposições mencionadas, a prorrogação de prazo da Exposição Arte Cibernética e a permanência das estações como espaços expositivos dos Festivais Internacionais de Linguagem Eletrônica demonstraram a aceitação das obras tecnológicas. / This thesis investigates the art in the stations of the Metro Company of São Paulo and assesses the possibilities of using current technologies and their constraints, in proposals for permanent and temporary environmental intervention in the public space in question. Beginning with a conceptual, historical and technical repertoire, surveys in the field and interviews conducted with a philosopher with expertise in urban cultures, and with users / viewers / participants, monitors and maintenance technicians during the Itaú Cultural Cybernetic Art Exhibition: Collection (2010) , and the 1st and 2nd of editions of the International Festival of Electronic Language- FILEPAI (2010 and 2011); and artists, the work was aimed at substantiating the hypothesis of the applicability and acceptance of current technologies (Light Emitting Diode-LED, photovoltaic cell, electronic and digital media, language projection) in environmental interventions, with a view to contributing to the qualitative improvement of the space in currently-operating and future stations. To understand the relevance of art inserted into the context of contemporary society and the forms of artistic expression afforded by the use of current technologies, this study presents current concepts of city, public space, public art, both interactive and site specific. It discusses actions funded/co-funded by the government for artistic interventions in the urban landscape of São Paulo and presents considerations on the Incentive Law of the municipality of São Paulo. It analyzes characteristics of works in the environment of the stations, their meanings and constraints. It investigates the perception /reception of technological projects and the social behavior of the users/viewers/participants at the events mentioned. It is demonstrated how artists have been acting with architects in the process of insertion of the artwork, seeking relationships with interdisciplinary and site-specific design concepts, and what these professionals think about these spaces, the significance of the art, of the application of current technologies, the influence of normative rules in the form of creating and implementing possible measures to bring about the presence of art throughout the network. Technological advances are presented that have made possible new languages for the creation, development and construction of objects/works for the contemporary city; practical examples of environmental, with a view toward contemporary art in subway stations internationally; methods of some of the companies and of the cultural politics of the Régie des transports autonome parisiens (RATP). It is ascertained that, technically, it is possible to apply current technologies in temporary and permanent environmental interventions. However, internal and external constraints on the Company have hampered the use not only of these technologies, but also the presence and continuance of public art in the city and on the subway. This makes necessary: the creation of public politics in the field of culture, promotion of the benefits of the incentive law for businesses; disseminating mechanisms for the artists and the public, and review of the academic training of the artist, architect and designer, so that it is multidisciplinary and enable the practice of interdisciplinary projects. The presence of a professional in the field of management that has a broad understanding of the various disciplines involved in the project while still in its design stage and commissions the positions of its authors is crucial to making the interdisciplinary project happen. The interviewees\' statements, the technical study, the application of these technologies in the stations and in the international exhibitions mentioned, the extension of the duration of the Cybernetic Art Exhibition and maintenance of stations as exhibition spaces of the International Festivals of Electronic Language have shown acceptance of the technological works.

No description available.

Denna studie undersöker inköpen av offentlig konst i fyra kommuner (Botkyrka, Haninge, Järfälla och Solna) i Stockholms län under åren 2009-2011. Målet med undersökningen har varit att jämföra kommunernas inköp och att utifrån resultaten ställa frågan om hur den offentliga konstens praktik och placering förstås i kommunerna. Undersökningen har också ställt frågor om hur denna praktik ser ut i jämförelse med samtida diskussioner om hur offentlig konst kan och skall förstås. En kortare introduktion till enprocentregeln och hur den använts i Stockholms kommuner ges också i denna uppsats. Studien omfattar totalt 199 verk från dessa fyra kommuner inköpt under 2009-2011 och innehåller allt från textilcollage, grafisk konst som litografier och bronsskulpturer till verk som innehåller ”mänsklig aktivitet”. Som resultaten kom att visa så köpte kommunerna mer löskonst, i mer traditionell stil som målningar och litografier. Endast en kommun av de fyra hade köpt in konst som liknade den som förekommer i dagens diskussioner om offentlig konst. / This study examines the purchases of public art in four municipalities (Botkyrka, Haninge, Järfälla and Solna) in Stockholm County during the years 2009-2011. The objective of the study was to compare the municipalities' procurement and raise questions on the practice and position of public in these municipalities. The objective was also to compare these results with contemporary art debates on how public art can be understood today. This essay also gives a short introduction and history to the “one percent rule” and how it has been used, particularly in Stockholm County. The study includes a total of 199 pieces of art from these four municipalities purchased under 2009-2011. The purchased works of art consists of everything from textile collages, graphic art like lithography and bronze sculptures to art containing "human activity". The results of this study showed that these municipalities mainly bought more traditional art in the form of paintings and lithography, than “solid” art like sculptures. Only one of the municipalities had invested in art that reminded of the type of art that is discussed in today’s press.

published_or_final_version / Architecture / Master / Master of Landscape Architecture

In this thesis, Lisa Figge analyzes the political space of ecological citizenship by theorizing her art practice. Beginning with an Arendtian lens, Figge creates projects in the vein of New Genre Public Art, to trace the qualitatively-distinct activities of the public sphere, in which ecological citizens appear. The art practices of Mierle Laderman Ukeles, Colette Urban, Pat Aylesworth, Helen and Newton Harrison help move this critique along. Then, taking Judith Butler’s thinking on the bond between speech and action, or speech acts, Figge situates her art practice and thesis writing as an account of herself as an ecological citizen. Figge is interested in finding ways to multiply opportunities, for her and others, to perform concerned engagement with the world. In order to begin this process Figge acts out and analyses her three art interventions: Madame E and her suit of environmentally conscious a(r)mour, Ecological Citizen in Training, and 86 Hands on Wolfe Island. In giving an account of herself, she shows how our aptitude for sorting things should not be used to override our capacity to make a meaningful life. The art exhibition Dust to Dust, 2010 is the twin of this accounting, which was held at Queen’s University’s Union Gallery. / Thesis (Master, Environmental Studies) -- Queen's University, 2010-09-06 18:48:33.277

In the course of the twentieth century, art became increasingly dominated by market forces. Private corporations and public administrations, including cities, used art as a development tool. In the post-industrial era, art was assimilated to a cultural industry and those whom we label "black collars" succeeded to the blue collar workers of the industrial era and to the white collar workers of the modern city. / In the late 1960s, public sculpture spread in the urban landscape. In the same period, a new generation of artists was trying to create ecological works of art, forms that are associated with post-modernism in art. But there were few works of art that were linked to nature, when compared with the quantity of sculptures exhibited in the plazas of skyscrapers. Why? To answer this question, this research uses the sociology of art as a methodology, particularly the methodology developed by Pierre Bourdieu. The thesis presents the case of Montreal, and compares it to that of New York City. It includes case studies of Viger Square and of the Canadian Centre for Architecture (CCA) Garden, two public spaces designed by Montreal artists. We examine the factors that contributed to the predominance of a specific art form, the sculpture in a plaza, and to the rarity of the garden: the characteristics of the genre (garden versus sculpture); the relationships between the main actors; the art market and the manipulation of demand; the various policies associated with art/culture and with urban development; the interests of patrons (be they public or private). All these factors had an influence on the art forms in the city, often labelled "public art" or "art integrated with architecture." The study reveals that the post-modern economy exhibited works of art that are seldom associated with post-modernism in art. The model of the sculpture in a plaza did not dominate the modernist urban development, but it reflects more a post-modernist morphology.