{"title":"艺术与社区","authors":"Susana Gonçalves","doi":"10.1108/978-1-80043-896-520211010","DOIUrl":null,"url":null,"abstract":"This chapter analyzes a specific form of contemporary art, the one that is created and exhibited in the community, conceived and visualized outside of the art market and independent of the agenda of creative industries and art galleries. The motivation, purpose and meaning of such art practices, for both the artists and the community, are discussed and examples of community art projects are analyzed in order to understand how art became, in this first quarter of the twenty-first century, such a valued collective asset, so accessible and present in the daily life of the common man. Two Portuguese case studies have been chosen as illustrations: the first one is a funding programme of projects focussed on artistic practices for inclusion (the PARTIS programme, by the Calouste Gulbenkian Foundation) and the second is a self-financed and self-curated artistic collective, Pescada no 5.","PeriodicalId":297380,"journal":{"name":"Art in Diverse Social Settings","volume":"8 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2021-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Art and the Community\",\"authors\":\"Susana Gonçalves\",\"doi\":\"10.1108/978-1-80043-896-520211010\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This chapter analyzes a specific form of contemporary art, the one that is created and exhibited in the community, conceived and visualized outside of the art market and independent of the agenda of creative industries and art galleries. The motivation, purpose and meaning of such art practices, for both the artists and the community, are discussed and examples of community art projects are analyzed in order to understand how art became, in this first quarter of the twenty-first century, such a valued collective asset, so accessible and present in the daily life of the common man. Two Portuguese case studies have been chosen as illustrations: the first one is a funding programme of projects focussed on artistic practices for inclusion (the PARTIS programme, by the Calouste Gulbenkian Foundation) and the second is a self-financed and self-curated artistic collective, Pescada no 5.\",\"PeriodicalId\":297380,\"journal\":{\"name\":\"Art in Diverse Social Settings\",\"volume\":\"8 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2021-03-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Art in Diverse Social Settings\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1108/978-1-80043-896-520211010\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Art in Diverse Social Settings","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1108/978-1-80043-896-520211010","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
本章分析了当代艺术的一种具体形式，即在社区中创作和展出，在艺术市场之外构思和可视化，独立于创意产业和美术馆的议程。这些艺术实践的动机、目的和意义，对艺术家和社区都进行了讨论，并分析了社区艺术项目的例子，以了解艺术是如何在二十一世纪的头四分之一成为一种有价值的集体资产，在普通人的日常生活中如此触手可及。选择了两个葡萄牙案例研究作为例证:第一个是一个以艺术实践为重点的项目资助方案(Calouste Gulbenkian基金会的PARTIS方案)，第二个是一个自筹资金和自我策划的艺术集体Pescada no 5。
This chapter analyzes a specific form of contemporary art, the one that is created and exhibited in the community, conceived and visualized outside of the art market and independent of the agenda of creative industries and art galleries. The motivation, purpose and meaning of such art practices, for both the artists and the community, are discussed and examples of community art projects are analyzed in order to understand how art became, in this first quarter of the twenty-first century, such a valued collective asset, so accessible and present in the daily life of the common man. Two Portuguese case studies have been chosen as illustrations: the first one is a funding programme of projects focussed on artistic practices for inclusion (the PARTIS programme, by the Calouste Gulbenkian Foundation) and the second is a self-financed and self-curated artistic collective, Pescada no 5.
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