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Authors
Advisor(s)
Abstract(s)
No âmbito dos Estudos de Cultura, a dissertação “Cidades Transientes, Cidades
Resilientes: a trajectória conjunta da street art e do Muro de Berlim” tem como principal
objectivo reflectir na forma como as práticas artísticas podem intervir, transgredir e
construir o espaço urbano.
Analisando o impacto da função e simbolismo do Muro de Berlim na street art nele
inscrita e em diferentes fases – desde a edificação, implementação e queda, até ao processo
de memorialização do Muro – é possível verificar a relação inversa entre esta prática
artística e os muros, sendo que estes delimitam e condicionam o espaço, e aquela
potencialmente abre e propõe alternativas.
Inspirando-nos no conceito de “slices through space” de Doreen Massey, a
discussão é concretizada em quatro partes: Bernauer Straße 1961-1975, Potsdamer Platz
1975-1989, Brandenburger Tor 1989-1991 e Niederkirchnerstraße 1991-2015.
The thesis “Transient Cities, Resilient Cities: the intertwined trajectory of street art and the Berlin Wall” aims to reflect how artistic practices may intervene in, transgress and construct urban space. Analysing the impact of the intention and symbolism of the Berlin Wall in its street art and in different periods – since its construction, implementation and fall to the memorialisation process – it is possible to observe the inverse relation between this artistic practice and walls. Whilst walls delimitate and constrain space, street art may open and propose alternative meanings. Drawing upon Doreen Massey´s concept of “slices through space”, the discussion is framed in four parts: Bernauer Straße 1961-1975, Potsdamer Platz 1975-1989, Brandenburger Tor 1989-1991 and Niederkirchnerstraße 1991-2015.
The thesis “Transient Cities, Resilient Cities: the intertwined trajectory of street art and the Berlin Wall” aims to reflect how artistic practices may intervene in, transgress and construct urban space. Analysing the impact of the intention and symbolism of the Berlin Wall in its street art and in different periods – since its construction, implementation and fall to the memorialisation process – it is possible to observe the inverse relation between this artistic practice and walls. Whilst walls delimitate and constrain space, street art may open and propose alternative meanings. Drawing upon Doreen Massey´s concept of “slices through space”, the discussion is framed in four parts: Bernauer Straße 1961-1975, Potsdamer Platz 1975-1989, Brandenburger Tor 1989-1991 and Niederkirchnerstraße 1991-2015.