Entre VHILS e os Jerónimos: arte urbana de Lisboa enquanto objeto turístico

Campos, Ricardo; Sequeira, Ágata Dourado

doi:10.1590/s0104-71832019000300005

Cited by 4 publications

(4 citation statements)

References 25 publications

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“…To begin with, there are internal factors with a direct impact on the development of objective conditions that allow for the emergence and expansion of this niche market. On the one hand, the development by local government, over a decade, of systematic and structured policies of support and legitimation of Urban Art in the city of Lisbon has had a direct impact on the existing landscape and variety of artistic assets (Campos and Sequeira, forthcoming; Grondeau and Pondaven, 2018). This is why we see the structures promoting tourism in Lisbon conceiving Urban Art as one of the city’s main assets, following a strategy similar to that employed in other global cities where culture, art and creativity are being promoted to reinforce their external image (Marques and Richards, 2014; Mould, 2015; Schacter, 2014; Zukin, 2000).…”

Section: Resultsmentioning

confidence: 99%

“…As far as the specific work package involving tourism is concerned, we have adopted a theoretical-conceptual framework developed around research carried out in recent years (Campos, 2013, 2015; Sequeira, 2016; Campos and Sequeira, forthcoming) and a more recent ethnographical approach (2017–2018). From this research, we have been able to identify the key actors in the recent trend of touristification of Urban Art.…”

Section: Conceptual and Methodological Notementioning

confidence: 99%

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Urban Art touristification: The case of Lisbon

Campos

Sequeira

2019

Tourist Studies

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Urban Art is gradually assuming an increasingly significant role in the development of a city’s character, something which is often promoted by public institutions. This has been strongly instigated by the rhetoric of creative cities, present in the strategies for the urban development of many cities in recent years. The rising appreciation of this artistic movement and the recognition of the cultural and symbolic role it currently plays are accompanied by a growing offer of tourism services in this field, namely, through dozens of tours operated by multiple entities. The literature has, in fact, been paying some attention to this phenomenon of touristification of Urban Art. In this article, we draw on qualitative empirical material from an ongoing research project on Urban Art in the city of Lisbon. We consider the touristification of Urban Art in Lisbon to be a recent and still ongoing process involving several social actors with specific perspectives, strategies, actions and representations. We have concluded that there is currently a combination of social and economic factors favourable to the development of this process of touristification. This could not have happened without (a) a number of institutional initiatives, (b) local entrepreneurship ventures and (c) the development of a narrative shared by the different agents.

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Section: Resultsmentioning

confidence: 99%

Section: Conceptual and Methodological Notementioning

confidence: 99%

Urban Art touristification: The case of Lisbon

Campos

Sequeira

2019

Tourist Studies

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“…Urban art might be interpreted here ‘as an umbrella term for any art in the style of Street Art, Style Writing or mural art’ (Blanché, 2016: 59). From the point of view of plastic expression, it might be described as an ‘extended family’ (Campos and Sequeira, 2019, 2020) involving a combination of techniques and pictorial formats (spray painting, stencil, reverse graffiti, stickers, etc.) generally associated with art practices developed originally in urban public spaces.…”

Section: Note On Methodsmentioning

confidence: 99%

“…Finally, we should mention the role played by academics (Campos and Sequeira, 2019; Ferro, 2016; Neves, 2015). We believe that academics have assumed – especially since the mid-2000s − an increasingly important role in legitimizing graffiti and street art at two levels: on the one hand, by giving visibility and validating this academic subject, 19 on the other hand, by deconstructing the clearly negative stereotypes put forward by the media and politicians that until that time set the tone of the debate.…”

Section: Note On Methodsmentioning

confidence: 99%

Urban Art in Lisbon: Emerging Opportunities and Career Aspirations

2022

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This article focuses on contemporary urban art in the city of Lisbon. We understand urban art as an art world that has developed through a historical process that, in Portugal, is essentially three decades old. It began with the emergence of the subculture of graffiti in Portugal and it culminates in the gradual artification, commodification and institutionalization of graffiti and street art. We believe this was caused by a particular historical arrangement during the previous decade that produced extremely favourable conditions for the emergence of a set of artists in this field. This arrangement is characterized internationally by the expansion and recognition of street art and, on a national level (especially in Lisbon), by the actions of a number of agents (media, municipalities, art world, commercial entities, academia) that contributed to a higher visibility and legitimacy of this artistic community. Thus, we argue that a structure of opportunities was created that a allowed a number of actors to establish and define a strategy of professionalization in this field. In this article we analyse three types of opportunities: practice opportunities, symbolic, and financial. We consider the social actors that generate these opportunities as well as the way in which artists perceive them and adapt.

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Public art and social media: street art tourism, sociocultural agency and cultural production in contemporary Lisbon

Castellano

Raposo

2023

Community Development Journal

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This essay engages with Guias do Mocho [Mocho’s Tourist Guides], a bottom-up cultural tourism initiative emerging in Quinta do Mocho, a ‘peripheral’ neighbourhood of Lisbon, as a way of problematizing the relationship between public and street art and social media aesthetics. Scholarship on digital creative industries and street art tourism tends to emphasize the complicities of this kind of cultural experience with neoliberal understandings of the urban space. By examining an example of bottom-up, localized guided tours that operates through social media in the context of peripheral areas of Lisbon, we argue that public art and social media should be seen as part of a more complicated correlation, one in which the affects and effects of creative, site-specific projects are actively developed and expanded in unforeseen ways. Our research demonstrates that public art and social media are mutually developing a renewed economy of attention and system of valorization. The critical examination of both elements is compulsory when measuring the impact of art-driven processes of community development.

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Entre VHILS e os Jerónimos: arte urbana de Lisboa enquanto objeto turístico

Cited by 4 publications

References 25 publications

Urban Art touristification: The case of Lisbon

Urban Art touristification: The case of Lisbon

Urban Art in Lisbon: Emerging Opportunities and Career Aspirations

Public art and social media: street art tourism, sociocultural agency and cultural production in contemporary Lisbon

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