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Il processo di produzione di opere pubbliche. Douala (Camerun) nella commistione di arte antropologia

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Il processo di produzione di opere pubbliche. Douala (Camerun) nella commistione di arte antropologia, Convegno SIAA Società Italiana di Antropologia Applicata, Prato, 18 dicembre 2015.

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Il processo di produzione di opere pubbliche. Douala (Camerun) nella commistione di arte antropologia

  1. 1. Salifou Lindou, Douala, 2010, cc by-sa. Il processo di produzione di opere pubbliche. Douala (Camerun) nella commistione di arte antropologia, Convegno SIAA Società Italiana di Antropologia Applicata, Prato, 18 dicembre 2015. Iolanda Pensa, Ph.D. - io@pensa.it - http://iopensa.it  SUPSI University of Applied Sciences and Arts of Southern Switzerland, Department for Environment Constructions and Design, Laboratory of visual culture.
  2. 2. Biennial Foundation, Biennial Map, 2010.
  3. 3. Wiki Loves Monuments Cameroun 2013 (Douala, Edéa et Limbe). Douala ville d’art et d’histoire, doual’art, 1991-2012.
  4. 4. 1. Produzione di contenuti
  5. 5. Joseph-Francis Sumégné, Douala, 1996, cc by-sa. 2.Analisi delle opere
  6. 6. Joseph-Francis Sumégné and Catherine de Senarclens with a sculpture and the model of La Nouvelle Liberté, Douala. Photo Roberto Paci Dalò, doual’art, Douala, 2010, CC BY-SA,
  7. 7. 3. Finanziamenti
  8. 8. 0 € 25.000 € 50.000 € 75.000 € 100.000 € 2007 2008 2009 2010 2011 2012 2013 Culture and Development Cultural cooperation Culture Development Cooperation SUD 2010 SUD 2013SUD 2007 doual’art - How the typology of support changes through time (by amount of grants).
  9. 9. Alioum Moussa, Douala, 2005, cc by-sa. 4. La negoziazione per il terreno I veri processi partecipati
  10. 10. HervéYamguen, Douala, 2010, cc by-sa.
  11. 11. Lucas Grandin, Douala, 2010, cc by-sa.
  12. 12. Tracey Rose, Douala, 2010, cc by-sa.
  13. 13. The arts as a space of experimentation and research Factor Freedom Limitations Selection • The artist can work independently. • New institutions can be created and there is a potentially unlimited number of curators and committee that can select artworks. • Institutions, curators and committee can defend and support the work of artists. • The artist is selected by a curator, institution or committee. • The selection is inscribed into a cultural events, project or program, which frames and influence the selection process and results (aims, location, budget, time-frame, expectations, target, stakeholders). • The competitive process of selection can lead to conflicts and tensions in particular among the local art system (negative feedback of artists who have not been selected, curators and members of the committee who have not been included and institutions which are not represented among the stakeholders; conflicts related to the use of public resources). Location • Artists can choose the location where they want to intervene. • The temporary nature of ephemeral interventions and performances benefit of more freedom. • The location can be determined and limited by the obtainment of the necessary authorization (government, private owner, community). • The location is determined by regeneration plans and the artist is invited to intervene on a pre-determinated site. • Even when the artwork is produced without authorization, it might be in the interest of the artists to build a consensus around the artwork from the community. • The location has an impact on how viewers read and perceive an artwork. Production • The artist can directly manage all aspects of the production of the artwork (materials, equipment, technique, suppliers, authorization). • The artist is not asked to produce the work but a concept; the work will be produced by others (institution, production company, assistant). • Necessity of a team behind the production of large-scale artworks. • The production requires the involvement of a producer (or production company) who can manage the technical implementation of the project (materials, equipment, technique, suppliers, authorization), • The production is limited by the availability of specific materials (not necessarily available in all countries) and by the presence of specialized suppliers (not necessarily available in all countries). • The necessary skills to produce complex artworks are an asset of a limited number of people. This can generate a perceived monopoly of key producers; in reality the monopoly is due to the extremely limited number of competitors. Concept • The artist is free to define the concept of its work. • The temporary nature of ephemeral interventions and performances and the limited cost and investment of small-scale artworks benefit of less limitations. • The concept is limited by its feasibility, location, budget. • The concept is limited by a specific theme or general project frame. • The concept is reviewed and selected by a curato, institution or committee.r • The concept is limited by censure and auto-censure. • The concept change during production according to available materials and available suppliers. Clients • Addressing a wide public can trigger new ideas and it can encourage artists to make relevant statements. • Addressing a new public can trigger research and experimentation, and it can challenge the artist. • Viewers are not the only client of an artwork: the artist is asked to respond to the requests of curators, institutions, committees, grant-makers and other stakeholders (among which government and media). • The pressure of addressing a wide or a new public can lead to auto-censure. • In the production of artworks – in particular in the so-called developing countries and in informal settlements – the process can be limited by the implicit or explicitly request of producing development (expectation or project aim). Maintence • Artists do not necessarily want their artworks to be permanent. In the concept of the artwork the life-cycle of the artwork can include its disappearance. • The necessity of maintenance can be a space of freedom. • Artworks can be maintained by public administrations, private owners, cultural organizations and communities. • Recurrent cultural events (i.e. biennials, triennials, festivals) can facilitate a cyclical maintenance (artworks are reinstalled and repaired for every edition). • The necessity of maintenance makes all artworks ephemeral or partly ephemeral. • Maintenance can be determinant also in assuring an artwork does not become dangerous and unsafe for its public and users. • Ownerships of the artwork determines who will manage maintenance. • The artwork can be vandalized or can be damaged intentionally or intentionally. To protect artworks, fences, gates and the presence of guards are sometimes used. Quality • A wide range of works and practices can be considered art. • The impact of cultural events and public art is not a determinant element for artistic quality. • Quality of an artwork can only be assessed by the art system (reviews and essays by art critics, art historians and journalists, publications, presentation of the artwork within an exhibition). • An artwork can be framed within its selection process, which can involve an institution, curator or committee. The selection process doesn’t assure the quality of the artwork but it contributes to its artistic legitimacy. • Dynamics of power and of inclusion and exclusion still determine art history and the acknowledgement of art practices around the world. • According to its location, art can be expected to produce an impact on development and it can be expected to represent “local” or “national” practices. • The biography of the artist (birth place, origins, working place) can have a determinant impact in his/her artistic evaluation and in the way his/her work is framed.
  14. 14. Please find 4’000 images related to doual’art on Wikimedia Commons under cc by-sa. https://commons.wikimedia.org/wiki/Category:Archive_of_Doual%27art Get the background knowledge on Wikipedia and move on.
  15. 15. List of public art in Douala, http://en.wikipedia.org/wiki/List_of_public_art_in_Douala,Wikipedia, cc by-sa.
  16. 16. Creative Commons licenses. Il processo di produzione di opere pubbliche. Douala (Camerun) nella commistione di arte antropologia, Convegno SIAA Società Italiana di Antropologia Applicata, Prato, 18 dicembre 2015. Iolanda Pensa, Ph.D. - io@pensa.it - http://iopensa.it  SUPSI University of Applied Sciences and Arts of Southern Switzerland, Department for Environment Constructions and Design, Laboratory of visual culture.

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