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Arts & Communication Geographical-artistic horizons

It is interesting to note that the artistic manifestations art. It makes a lot of sense to be interested in the artistic
in the places act together in a triple dimension: material, manifestations in the daily life of Brazilian cities, which
ideal, and virtual (in the sense of what exists as a power can be the basis for the vanguard of our studies. We must
or as a possibility), and that through literary texts, dance look for art outside galleries and museums, in the spaces
movements, sounds, and images, artists generate visible where artistic production takes place and where everyday
and invisible facts (Merleau–Ponty, 1964) capable of life is in symbiosis with artistic and creative imagination,
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expressively altering spatial practices. along the lines of what Gwiazdzinski proposes:
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In the case of artistic interventions in cities, there is, The geo-artist moves the centralities, contributes to
according to Volvey (2008), a space being constantly recreating the public space, and participates in the
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conceived, based on artistic activities and, conversely, emergence of new ergonomics of the “A la carte city.”
artistic activities being formed, in an intricate way with By leaving the art galleries to appropriate all the spaces
space, as a dimension that must be considered. Much is of the centers and the margins, he exposes inequalities,
more than discussing the relationship between space and takes a position in the city, and challenges the citizens.
artistic activity, “it becomes appropriate to talk about By moving the lines and borders, it forces everyone to
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the spatial dimension of artistic activity and the artistic move (GWIAZDZINSKI, 2014, p. 9, our translation) .
dimension of space” (VOLVEY, 2008, p. 2). The conceptualization of a critical geography of art must
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Art events in cities can be “geographic tools” that also recognize that the production of art that has not been
allow us to highlight and understand the movements of fully commodified has a significantly greater potential to
construction (or deconstruction) of the public character represent new and alternative perspectives.
of spaces, especially in metropolitan contexts, where In this sense, our research should not be limited to the
art is presented by artists as a way of reinventing public (high) places of official culture such as operas, concert
spaces, redefining the relationships of different audiences halls, dance halls, and theaters (GRÉSILLON, 2008),
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in different spaces, starting for example from artists’ in a classical and elitist sense of the term culture, but
collectives. cover the places of creativity called “alternative,” “off” or
Art has also been an element of dissemination of cities, “underground” (electronic music clubs, circuses, alternative
as we can see in the case of musical cities, which also involve theaters, artists’ ateliers, and art centers in former factories,
a game of urban images in the sense of urban marketing or such as the former chocolate and candy factory Bhering in
creative cities (DOZENA, 2016a). 19 Rio de Janeiro), which turned into a place of ateliers, art
studios, shops, and musical performances (VALVERDE,
The artistic phenomena such as the batucadas abroad 2017). 24
(Dozena, 2016b) and the Honk River festival that takes
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place in the streets and squares of the city of Rio de Janeiro Art is fundamental for the creation of other realities
(Moreaux, 2018), also evidence performances that put by the creative inspirations that spring from it and allows
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musicians in relation to places and their audience, and can geography to reorganize theoretically methodologically, in
act as a catalyst for social interaction between individuals, its close relationship, with and in the world.
who exhibit from their artistic manifestations, places of Methodologically, approaches in the subfields of
encounter with the public and the public establishment of humanist-cultural geography and urban geography can
possibilities for a life in common. gain inconsistency, adding to traditional geographical
Artistic production, the organization of cultural spaces methods the urban confrontation of looks in respect to
in cities, and the local cultural political economy are artists. This invitation, however, presupposes a prerequisite:
interconnected, demonstrating the basis of a relationship the formation of the geographical look at art (Grésillon,
between the creation of art and the conformation of spaces. 2008).
We are therefore invited to assume an attitude of geographers The author reminds us that, in a reverse sense, the
of art, in the varied spatial contexts of art production. geographer, rich in his knowledge, his experiences, and
Adopting this geo-artistic perspective, we can assume
it contains a character of a certain (critical) geography of 12 Le géo-artiste déplace les centralités, contribue à recréer
l’espace public et participe à l’émergence d’une nouvelle
ergonomie de la “ ville à la carte. En sortant des galeries d’art
11 Plutôt que de parler d’un rapport entre espace et activité pour s’approprier tous les espaces des centres et des marges,
artistique, il serait en ce sens plus juste de parler de la il dénonce les inégalités, prendre position sur la ville, et
dimension spatiale de l’activité artistique et de la dimension interpelle le citoyen. En déplaçant les lignes et les frontières,
œuvrée de l’espace. il oblige tout le monde à bouger.

Volume 2 Issue 2 (2024) 5 doi: 10.36922/ac.1870