Thinking about artistic practices, identity and territory in the intervention of public space in the Historic Center of Quito
DOI:
https://doi.org/10.29019/eidos.v14i20.1059Keywords:
Art and community, Identity, Memory, Participation, Representation, TerritoryAbstract
The free expression of artistic practices is an undoubted right, however, when an artwork is situated in a public space and, therefore, becomes an organism that is part of a community, the borders between individual expression and social impact are less marked. Additionally, if this artistic intervention is settled as a part of an historical commemoration wich achieve to produce public memory and celebrating collective identity, increases the controversies linked to the representation and interpretation of the proposed images.
The following article proposes a reflection on the previous processes for the realization of an artistic installation in public space. Trough the analysis of study cases, in addition to the observation of the contribution that ethnography can provide in socially committed artistic practices.
The aim is to provide different methods that allow the community to feel identified and, then, take care and engage with this new organism that will become part of the collective memory.
The starting point of this research is the mural made in the Historic Center of Quito, on 24 de Mayo street, by the Spanish artist Okuda San Miguel, followed by the analysis of methods applied in artistic projects with social perspective. With the purpose of answering the following question: How to establish ethical artistic practices in public space intervention processes?
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