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Abstract(s)
As feiras de arte contemporânea, cuja primeira edição remonta ao ano de 1967, têm
vindo a tornar-se eventos cada vez mais relevantes no sistema e no mercado de arte
contemporânea. Para isto contribuem o facto de terem alterado significativamente a forma
de comercializar arte, assim como a sua expansão por diversas partes do globo de forma
mais ou menos padronizada, fenómeno que passou a ser designado de ‘feirização’.
Consequentemente, têm-se procurado formas de diferenciação e de criação de uma
identidade de modo a consolidar determinada feira no calendário de arte contemporânea –
as ferramentas do novo feirismo têm sido a resposta mais comum. Este trabalho toma como
caso de estudo, a partir do estágio realizado na ARCOmadrid e ARCOlisboa entre Janeiro e
Maio de 2017, a ARCOlisboa, questionando qual a estratégia de diferenciação que esta feira
poderá colocar em prática para se estabelecer e se posicionar no sistema de arte global. Uma
solução possível aponta para a criação de uma identidade própria a partir da identidade da
cidade onde se estabelece, seja através da sua dimensão, do tipo de actividades do programa
paralelo, na arte exibida, entre outros – entendendo Lisboa como cidade simultaneame nte
criativa, bairrista e cosmopolita.
Contemporary art fairs, which had their first edition in 1967, have become increasingly important events in the contemporary art market and system. The fact that they have significantly altered the way of commercializing art and its expansion across the globe in a standardized way, phenomena known as ‘fairization’, have contributed to the fair’s growing role. Therefore, new forms of differentiation and the creation of an unique identity have been pursued in order to consolidate the fair in the contemporary art calendar – the tools of new fairism have been the most common answer. This work uses ARCOlisboa as a case study (from the internship in ARCOmadrid and ARCOlisboa between January and May of 2017), questioning which differentiation strategy can the fair use to establish and position itself in the global art system. A possible answer is the creation of its own identity from the city identity where it takes place, reflected in its dimension, in the kind of activities of the parallel programme, in the art that is exhibited, among others – understanding Lisbon as a simultaneously creative, cosmopolitan and with a strong sense of the neighbourhoods city.
Contemporary art fairs, which had their first edition in 1967, have become increasingly important events in the contemporary art market and system. The fact that they have significantly altered the way of commercializing art and its expansion across the globe in a standardized way, phenomena known as ‘fairization’, have contributed to the fair’s growing role. Therefore, new forms of differentiation and the creation of an unique identity have been pursued in order to consolidate the fair in the contemporary art calendar – the tools of new fairism have been the most common answer. This work uses ARCOlisboa as a case study (from the internship in ARCOmadrid and ARCOlisboa between January and May of 2017), questioning which differentiation strategy can the fair use to establish and position itself in the global art system. A possible answer is the creation of its own identity from the city identity where it takes place, reflected in its dimension, in the kind of activities of the parallel programme, in the art that is exhibited, among others – understanding Lisbon as a simultaneously creative, cosmopolitan and with a strong sense of the neighbourhoods city.
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Keywords
Feira de arte contemporânea Mercado de arte Sistema de arte Identidade cultural Contemporary art fair Art market Art system Cultural identity