By Public / Urban Art at Social Art: the city becomes a widespread museum
The city is the palette of expressive contemporary arts: experimental laboratory which portrays the multifaceted creativity of the artists and a design culture through new technologies and innovative to overcome the barrier between architecture, art and street furniture.
The European cities are "open-space" exhibition featuring site-specific installations created specifically "in situ" by the artists who transform public space into an experimental laboratory of events and becomes more of a "museum" of contemporary architecture where, painting, photography, sculpture, videoarte, performance, installazioni, happenings interact with the place and the viewer.
The Public Art, Land Art, Earth art, Urban art share the same compelling reason to stand in osmotic relationship with the territory, with the city where born sculptures or installations including multimedia. Public Art and Urban art have become almost synonymous with an art project "social", promoted by public administrations (based community projects), born with the intention to redevelop the area in degraded areas and in the cities of fit in a larger project of Urban Design, that the '90s turned into a more complex form of street furniture on the concept of site-specific.
The city is a public place accessible to many people, flows multiethnic: is of those who live in its contradictions and become a platform for creativity open to multiple transformations, readings, service, representations and evocations. The Public art begins and develops through the years 60, during the search for alternatives to the traditional languages and protest against the commercialization of art. Born in the United States, in Britain, Germany and France with the start of construction of the Villes Nouvelles outside Paris, where the process of construction of the new districts with the participation of artists alongside architects in the design of the suburbs. In Paris, from the experiments of détournement (misuse) and drifts (derives psychogeographic) practiced by the Situationists under the aegis of Guy Debord, to urban actions of Daniel Buren, all INSTALLAZIONI di Michael Elmgreen & Ingar Dragset, that disrupt the architecture, until the 'art of the relationship between the different languages of this, in the public space we proceed connoting a specific place to corroborate his story, Memory and Identity. The Urban art uses the city, flexible public space par excellence and evolves into a Social Community art or art, as a mirror of the multiplicity and collective relations.
The Public art is transversal, encompasses policy, philosophy, urbanism, architecture and visual arts, resulting in addition to sculptures, also performing actions derived Dada or events as a legacy of the Fluxus movement.
In the new century, thanks to public art, artists early thirties, leave behind the ideological claims of a committed art generation years 60/70, when the Public Land or connoted art interventions in the urban fabric of the years of protest, focusing on 'public art in relation to the place. The Social Art of the XXI century comes in contact with the people who inhabit the place and relates to the urban fabric and sociological. And 'the place that becomes a work of art , operating on meanings and Exchanges with the community .
The neo Social art is distinguished by a greater involvement of the public, already turned into a protagonist in the years 60/70, highlighting an active role in the cultural and social dynamics of contemporary reality.
The audience becomes the agent of the work by questioning the sense of what the work causes, opening questions about the relationship between the public and the social, focused on rethinking the role of artist, less subjective self and more useful to the community.
The public space coincides with the urban culture of the city as "common space" for art, generator of creativity and that should be seen as an opportunity to reflect on the contemporary.
The Social art is a Land-scape of the expressive potential of a community, place of passage and emotional landscapes, they interact architecture, art, design and science playing the game of the future. You will need to invest not only on the site but involve those who experience, giving back the public space as open text to a plurality of readings, with the aim of reconstructing various sociological narratives that various parties are trying to identify with the contemporary values.
The Social art could be a factor in the economic development of nations, produce work corroborating the sense of place with works by agents of the creativity involved in the development of the city, investing in the reconnaissance of the sites, spaces and neighborhoods that make up the city as a primary factor in the evolution of the communities that live there.
The Public / Urban / Social art should be part of a strategic project of worship included in urban planning that is focused on the man in relation to space. The more a city invests in public art, the more apparent its resource distinctive and competitive, highlighting its cultural identity and thus enhancing the cultural economy .
Given these elements would be appropriate to rethink the Public art as a redevelopment project of the spaces of the city, the society in which art and architecture talk to each other, starting from taxonomic communities and ethnic groups that inhabit, to discover the genesis of specification that will be born on that place.
The artist should interrogate the places you lived in, not decontestualizzarli, since you have to interact with them , create a report in its approach to redesign emotional and aesthetic. The Public art that is imposed in places of everyday life, squares, in the gardens or in the neighborhoods more or less degraded without a minimum critical reflection on the value and meaning of the intervention in public spaces, is obsolete, and sterile and does not produce exchange relationships. The Social art can become socially sustainable and produce communication of the place., space as a laboratory of active flows. Before acting in the public space would be appropriate to ask: What makes a site-specific public space?
And 'the 1967 the program "Art in Public Places", created with the aim of bringing out of the traditional exhibition sculptures, but the project thus conceived has had its day, because part of modern sculptures located in parks or squares that do not interact actively leave indifferent citizens. Therefore it is not enough to place a volume more or less large in a public area, but you have to wonder what role, if the work of art in that place. The other question is: What do we mean by public space?
Perhaps it would be to put the problem to people who live, artists, children, mothers, the elderly and young people of all ages who frequent it as an area of relationship, social gathering to transform public art in an aesthetic social.