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Contemporary community-based practices in Latin America have a unique lineage and history with dialogically-driven methodologies that were promoted by the Liberation Theology movement within the Catholic Church and the radical pedagogical work of Paolo Freire. That lineage has not been adequately investigated due to the predominance of a post-structuralist-bound post-colonial theory that fails to take these native cultural and social movements into account. As a result, many of the art practices in question have been operating outside of the purview of the art systems and primarily investigated by the social sciences, and not art history or art theory. This dissertation investigates the role of the researcher and curator in supporting these practices and includes three case studies to further the investigation.

espanolEste articulo explora los retos que las practicas artisticas dialogicas plantean al urbanismo de la ciudad global europea. El principal objetivo consiste en identificar formas alternativas de concebir la ciudad que, procedentes del arte comprometido con la transformacion urbana, contribuyen de forma clara a revisar, influenciar y abrir una mirada critica al urbanismo gentrificador para proponer un nuevo termino prestado del campo artistico: el urbanismo dialogico. La investigacion se estructura en cuatro fases: primera, enmarcar el aborde de los procesos de renovacion urbana desde el campo artistico. Segunda, un estudio de tres casos europeos que, situados en el campo artistico, han interpelado al urbanismo complice de la gentrificacion. Tercera, descubrir las lineas discursivas compartidas entre la historia del urbanismo humanista y esos casos. Y cuarta, una revision critica del rescate de estas practicas artisticas por parte del urbanismo. La conclusion final aborda una serie de retos que presentan el arte activista y comunitario como lente util para identificar dificultades que serviran para interrogar y promover un urbanismo mas polisemico, critico y genuinamente participado. EnglishThis article explores the challenges that dialogical artistic practices pose to urbanism in the European global city. The main aim consists of identifying alternative ways of conceiving the city; originating in art that is committed to urban transformation, they clearly contribute to reviewing, influencing and opening up the critical scrutiny of gentrifying urbanism to come up with a new term that is borrowed from the artistic field: dialogical urbanism. The research is structured in four phases: the first is to frame the approach of urban renewal processes from the artistic field. The second, a study of three European cases located in the artistic field that have brought into question urbanism that is complicit in the gentrification process. The third phase is discovering the discursive lines shared between the history of humanistic urbanism and these case studies. And fourth, a critical review of the rescue of these artistic practices by urban planning. Finally, it concludes with a series of challenges that present the activist and community art as a useful lens to identify difficulties that will serve to interrogate and promote a more polysemic, critical and genuinely participated urbanism.

International audience; Since the 1990s, some artists go out to meet the inhabitants of so-called “sensitive” neighborhoods, working to deconstruct our imaginary of suburbs. In a context of urban riots, Suzanne Lacy (The Roof Is On Fire, 1994), Frédéric Moser and Philippe Schwinger (France, détours, 2009), decide to create from teenagers words. Through the study of these two examples, we will discuss how art could host a new form of dissonance, with the exploration of novel speeches and the displacement of representations.; Depuis les années 1990, des artistes partent à la rencontre des habitants de quartiers dits « sensibles », œuvrant à déconstruire notre imaginaire des banlieues. Dans un contexte d’émeutes urbaines, Suzanne Lacy (The Roof Is On Fire, 1994), Frédéric Moser et Philippe Schwinger (France, détours, 2009), décident de faire œuvre à partir de paroles d’adolescents. À travers l’étude de ces deux exemples, nous aborderons la manière dont l’art est susceptible d’accueillir une nouvelle forme de dissonance, par la découverte de discours inédits et le déplacement des représentations.

De la mà de tres projectes artístics —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2014) de Lee Mingwei i The Land Foundation (1998) de Rirkrit Tiravanija— aquest article reflexiona sobre alguns dels preceptes metodològics que fonamenten les bases teòriques i conceptuals de l’art participatiu a l’espai públic. Preses com a casos d’estudi sobre art participatiu, sengles proposicions permeten explorar els conceptes d’art relacional / estètica relacional proposats pel comisari francès artífex de l’Altermodernisme, Nicolas Bourriaud, així com desenvolupar-los i expandir aquest estudi considerant altres debats contemporanis vinculats amb la recerca basada en la pràctica artística (practice-led research / practice-based research in the arts), àmpliament abordats per Hazel Simth i Roger T. Dean en el seu llibre Practice-led Research, Research-led Practice in the Creative Arts (2009).Les propostes d’art participatiu a l’espai públic impliquen un diàleg amb l’audiència —relational art o art relacional abans esmentat—, es basen en la interacció, sociabilització i l’intercanvi entre els participants així com en un diàleg amb l’entorn espacial —site-specific art, és a dir aquell art dissenyat específicament per a una localització determinada i que manté una interrelació amb el propi espai—, ens trobem per tant davant un tipus de creacions d’immenses possibilitats creatives i resolutives, la qual cosa no fa més que engrandir el valor que comporta la seva pròpia praxi.D’altra banda, per la seva mateixa naturalesa, l’art participatiu no es pot aventurar a prefixar un resultat objectual artístic ja que, moltes vegades, gravita sobre les accions o activitats més que en la realització d’objectes. Si bé es poden augurar determinades respostes i interaccions, no es poden donar resultats apriorístics sobre les actituds dels participants, el que resulta en una obra oberta. Aquesta característica d’“allò obert” no significa inconclús. Veurem com un altre dels preceptes que constitueixen les pràctiques artístiques participatives a l’espai públic pot albergar un final obert de múltiples resolucions.En darrera instància, aquest article busca definir els primordials principis constituents de l’art participatiu a l’espai públic en la nostra contemporaneïtat, amb la finalitat de convidar, tant a teòrics sobre la matèria com a artistes, a la seva comprensió, divulgació i “participació” activa., At the hand of three artistic projects —Suzanne Lacy’s Between the Door and the Street (2013), Lee Mingwei’s The Moving Garden (2009/2014) and Rirkrit Tiravanija’s The Land Foundation— this paper reflects on some of the methodological precepts underlying theoretical and conceptual foundations of participatory art at the public space. Taken as cases studies about participatory art, each propositions allow to explore relational art / relational aesthetics concepts proposed by the French curator artificer of the Altermodernism, Nicolas Bourriaud, as well as develop and expand this study considering other contemporary debates related to art practice-based research(practice-led research / practice-based research in the arts), widely addressed by Hazel Simth and Roger T. Dean in their book Practice-led Research, Research-led Practice in the Creative Arts (2009).Participatory art at the public space proposals implies a dialogue with the audience —relational art before mentioned—, they are based on interaction, socialization and exchange between participants as well as a dialogue with the space itself —site-specific art, that is art designed specifically for a particular location that has a relationship with the place itself—, thus we face with a type of creations of immense creative possibilities and resolutions, which increases the value ofthe praxis itself.On the other side, by its own nature, participatory art can not venture prefixing an artistic objectual result because, many times, it gravitates on the actions or activities rather than making objects. Although certain responses and interactions can be predicted, a priori results on the attitudes of the participants can not be given, resulting in an open-ended work. This feature of the "open-ended" does not mean unfinished. We will see that another of the precepts that constitute participatory artistic practices at the public space can hold an open-ended ending of multiple resolutions.Ultimately, this article searches for define the primary constituent principles of participatory art at the public space in our contemporary world, in order to invite both theorists on the subject and artists to understand it, disseminate it and actively "participate" of it., De la mano de tres proyectos artísticos —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2014) de Lee Mingwei y The Land Foundation (1998) de Rirkrit Tiravanija— este artículo reflexiona sobre algunos de los preceptos metodológicos que fundamentan las bases teóricas y conceptuales del arte participativo en el espacio público. Tomadas como casos de estudio sobre arte participativo, sendas proposiciones permiten explorar los conceptos de arte relacional / estética relacional propuestos por el comisario francés artífice del Altermodernismo, Nicolas Bourriaud, así como desarrollarlos y expandir este estudio considerando otros debates contemporáneos vinculados con la investigación basada en la práctica artística (practice-led research / practice-based research in the arts), ampliamente abordados por Hazel Simth y Roger T. Dean en su libro Practice-led Research, Research-led Practice in the Creative Arts (2009).Las propuestas de arte participativo en el espacio público implican un diálogo con el público —relational art o arte relacional antes mencionado—, se basan en la interacción, sociabilización y el intercambio entre los participantes así como en un diálogo con el entorno espacial —site-specific art, es decir aquél arte diseñado específicamente para una localización determinada y que mantiene una interrelación con el propio espacio—, nos encontramos por tanto ante un tipo de creaciones de inmensas posibilidades creativas y resolutivas, lo cual no hace más que engrandecer el valor que conlleva su propia praxis.De otra parte, por su misma naturaleza, el arte participativo no puede aventurarse a prefijar un resultado objetual artístico ya que, muchas de las veces, gravita sobre las acciones u actividades más que en la realización de objetos. Si bien se pueden augurar determinadas respuestas e interacciones, no se pueden dar resultados apriorísticos sobre las actitudes de los participantes, lo que resulta en una obra abierta. Esta característica de “lo abierto” no significa inconcluso. Veremos como otro de los preceptos que constituyen las prácticas artísticas participativas en el espacio público puede albergar un final abierto de múltiples resoluciones.En última instancia, este artículo busca definir los primordiales principios constituyentes del arte participativo en el espacio público en nuestra contemporaneidad, con la finalidad de invitar, tanto a teóricos sobre la materia como a artistas, a su comprensión, divulgación y “participación” activa.

De la mà de tres projectes artístics —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2015) de Lee Mingwei i The Land Foundation (1998) de Rirkrit Tiravanija— aquest article reflexiona sobre els preceptes metodològics que fonamenten les bases teòriques i conceptuals de l’art participatiu a l’espai públic.Preses com a casos d’estudi sobre art participatiu, sengles proposicions permeten explorar els conceptes d’art relacional / estètica relacional proposats pel comisari francès artífex de l’Altermodernisme, Nicolas Bourriaud, així com desenvolupar-los i expandir aquest estudi considerant altres debats contemporanis vinculats amb la recerca basada en la pràctica artística (practice-led research / practice-based research in the arts), àmpliament abordats per Hazel Simth i Roger T. Dean en el seu llibre Practice-led Research, Research-led Practice in the Creative Arts (2009).Les propostes d’art col·laboratiu a l’espai públic impliquen un diàleg amb l’audiència —relational art o art relacional abans esmentat—, es basen en la interacció, sociabilització i l’intercanvi entre els participants així com en un diàleg amb l’entorn espacial —site-specific art, és a dir aquell art dissenyat específicament per a una localització determinada i que manté una interrelació amb el propi espai—, ens trobem per tant davant un tipus de creacions d’immenses possibilitats creatives i resolutives, la qual cosa no fa més que engrandir el valor que comporta la seva pròpia praxi. D’altra banda, per la seva mateixa naturalesa, l’art participatiu no es pot aventurar a prefixar un resultat objectual artístic ja que, moltes vegades, gravita sobre les accions o activitats més que en la realització d’objectes. Si bé es poden augurar determinades respostes i interaccions, no es poden donar resultats apriorístics sobre les actituds dels participants, el que resulta en una obra oberta. Aquesta característica d’“allò obert” no significa inconclús. Veurem com un altre dels preceptes que constitueixen les pràctiques artístiques participatives a l’espai públic pot albergar un final obert de múltiples resolucions.En darrera instància, aquest article busca definir els primordials principis constituents de l’art participatiu a l’espai públic en la nostra contemporaneïtat, amb la finalitat de convidar, tant a teòrics sobre la matèria com a artistes, a la seva comprensió, divulgació i “participació” activa. At the hand of three artistic projects —Suzanne Lacy’s Between the Door and the Street (2013), Lee Mingwei’s The Moving Garden (2009/2015) and Rirkrit Tiravanija’s The Land Foundation— this paper reflects on the methodological precepts underlying theoretical and conceptual foundations of participatory art at the public space. Taken as case studies about participatory art, each propositions allow to explore relational art / relational aesthetics concepts proposed by the French curator artificer of the Altermodernism, Nicolas Bourriaud, as well as develop and expand this study considering other contemporary debates related to art practice-based research (practice-led research / practice-based research in the arts), widely addressed by Hazel Simth and Roger T. Dean in their book Practice-led Research, Research-led Practice in the Creative Arts (2009). Collaborative art at the public space proposals implies a dialogue with the audience —relational art before mentioned—, they are based on interaction, socialization and exchange between participants as well as a dialogue with the space itself —site-specific art, that is art designed specifically for a particular location that has a relationship with the place itself—, thus we face with a type of creations of immense creative possibilities and resolutions, which increases the value of the praxis itself. On the other side, by its own nature, participatory art can not venture prefixing an artistic objectual result because, many times, it gravitates on the actions or activities rather than making objects. Although certain responses and interactions can be predicted, a priori results on the attitudes of the participants can not be given, resulting in an open-ended work. This feature of the "open-ended" does not mean unfinished. We will see that another of the precepts that constitute participatory artistic practices at the public space can hold an open-ended ending of multiple resolutions.Ultimately, this article searches for define the primary constituent principles of participatory art at the public space in our contemporary world, in order to invite both theorists on the subject and artists to understand it, disseminate it and actively "participate" of it. De la mano de tres proyectos artísticos —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2014) de Lee Mingwei y The Land Foundation (1998) de Rirkrit Tiravanija— este artículo reflexiona sobre algunos de los preceptos metodológicos que fundamentan las bases teóricas y conceptuales del arte participativo en el espacio público. Tomadas como casos de estudio sobre arte participativo, sendas proposiciones permiten explorar los conceptos de arte relacional / estética relacional propuestos por el comisario francés artífice del Altermodernismo, Nicolas Bourriaud, así como desarrollarlos y expandir este estudio considerando otros debates contemporáneos vinculados con la investigación basada en la práctica artística (practice-led research / practice-based research in the arts), ampliamente abordados por Hazel Simth y Roger T. Dean en su libro Practice-led Research, Research-led Practice in the Creative Arts (2009).Las propuestas de arte participativo en el espacio público implican un diálogo con el público — relational art o arte relacional antes mencionado—, se basan en la interacción, sociabilización y el intercambio entre los participantes así como en un diálogo con el entorno espacial —site specific art, es decir aquél arte diseñado específicamente para una localización determinada y que mantiene una interrelación con el propio espacio—, nos encontramos por tanto ante un tipo de creaciones de inmensas posibilidades creativas y resolutivas, lo cual no hace más que engrandecer el valor que conlleva su propia praxis.De otra parte, por su misma naturaleza, el arte participativo no puede aventurarse a prefijar un resultado objetual artístico ya que, muchas de las veces, gravita sobre las acciones u actividades más que en la realización de objetos. Si bien se pueden augurar determinadas respuestas e interacciones, no se pueden dar resultados apriorísticos sobre las actitudes de los participantes, lo que resulta en una obra abierta. Esta característica de “lo abierto” no significa inconcluso. Veremos como otro de los preceptos que constituyen las prácticas artísticas participativas en el espacio público puede albergar un final abierto de múltiples resoluciones.En última instancia, este artículo busca definir los primordiales principios constituyentes del arte participativo en el espacio público en nuestra contemporaneidad, con la finalidad de invitar, tanto a teóricos sobre la materia como a artistas, a su comprensión, divulgación y “participación” activa.

Este artigo apresenta reflexões sobre a produção artística da Cooperativa Cultural Eloísa Cartonera - Buenos Aires/Argentina. Eloísa Cartonera é um projeto que articula um forte cunho social, sendo realizado de forma colaborativa com catadores de papelão e seus filhos na cidade de Buenos Aires. Ao produzir arte nesta dimensão, a cooperativa evidencia questões caras à arte contemporânea, tais como a noção de centro e margem do circuito artístico, o hibridismo, a autoria compartilhada e a produção artística em contexto. This article presents approaches on the artistic production of Eloísa Cartonera Cultural Cooperative - Buenos Aires/Argentina. Eloísa Cartonera is a project that articulates a strong social emphasis, being accomplished collaboratively with card board collectors and their children in Buenos Aires. By producing art in this dimension, this cooperative makes evident some aspects that are important to contemporary art, such as the notion of centre and margin of the artistic, hybridism, shared authorship and in context artistic production.

Straipsnyje iš teorinių pozicijų aptariamas vienas svarbiausių šiuolaikinio meno aspektų - dalyvavimo tendencijos. Trumpai apžvelgiama šią problemą nagrinėjanti literatūra, jai nusakyti vartojamų terminų įvairovė. Straipsnyje siekiama įvardyti kai kurias teorines ir praktines šio reiškinio atsiradimo prielaidas ir pristatyti pagrindinius teorinius-kritinius požiūrius į dalyvaujamojo meno praktikas (Nicolas Bourriaud, Granto Kesterio, Claire Bishop), aptarti jų sąsajas ir skirtumus, iškelti trūkumus ir naujas problemas, su kuriomis susiduria tiek dalyvaujamojo meno teoretikas, tiek kritikas. Participation, involvement, sociability are the keywords more and more often applied to contemporary art. Art practices today turn more into dialogue, artist and audience collaboration, rather than being expression of individualistic experience, and art critiques therefore are induced to search for new critical criteria. While in West Europe discussions on participatory art practices have started already in the end of 90's, Lithuanian critics are still behind in using and questioning these theoretical positions. This article aims to present most vivid theoretical and critical approaches to participatory practices of contemporary art, to discuss relations and differences between these standpoints as well as their lacks, and to bring forward new questions and problems. Neither contemporary participatory art practices nor the need to deal with them theoretically arose in the last decade of ao* century: it was rather coherent continuation of changes throughout the history of art and aesthetic thought. The article starts with presentation of most important premises of the phenomenon - that of poststructuralist approach towards art-work, the dematerialization of art, institutional theory of art and Institutional Critique, and critique of art space. Attempts toward changing the relation between art institution and everyday life prompted artists to focus on the viewer, the mediator between these two social spaces, and to rethink her/his relation to the work of art. One of the key notions in participatory art theory today is the one of relational aesthetics by Nicolas Bourriaud - which is true also because of vast critique towards it. Bourriaud takes contemporary art for the field of researching and producing human interactions and its social context: art projects focus on their effect on public or this 'effect' is the work of art itself. Nevertheless the critics like Claire Bishop and Hal Foster criticize the notion of relational aesthetics and relational art due to its overall unconcernedness: participation for the participation's sake, relations for the relations' sake seem to be enough, while the real problems concerning social relations are left behind. Grant Kester meanwhile is interested in sociallyengaged art projects, which define dialogue as their aesthetic core, and the artist is taken for facilitator of the dialogue among diverse communities, and context provider. But Kester as well as other critics comes to the dead-end while attempting to judge dialogical art projects. Bishop calls this dead-end ethical turn, since aesthetical criterions are replaced by ethical ones, based on equality and democracy towards non-artist communities participating in the art projects. The artist is as far conceived as social worker, therapeutist, or cultural animator.These problems in art critique force us to doubt the use of this new genre system. Perhaps renounced to manipulate the terms like relational, participatory, community-based, dialogical etc. we can focus not on ihe participation itself, but on significant whole of the work of art and the contribution of participation to it. There can be however no doubt, that participatory aspects of contemporary artworks change the whole institution of art: the concept of the gallery, the exhibition format, curatorial role, the way artists work, art politics, art critic's way etc. - and these are still waiting for investigations. One more waymark for researchers is the need to look at post-communist countries in regard of their way of understanding community strategies in contemporary art field.