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THE FLÂNEURS

IN THEIR
TERRITORIES:
ART, PUBLIC
SPACE AND
COMMUNITY
DEVELOPMENT
IN THE
FLÂNEUR
PROJECT
PEDRO COSTA
RICARDO VENÂNCIO LOPES
INSTITUTO UNIVERSITÁRIO DE LISBOA (ISCTE-IUL)
DINAMIA’CET-IUL
THE FLÂNEURS IN THEIR TERRITORIES:
ART, PUBLIC SPACE AND COMMUNITY DEVELOPMENT
IN THE FLÂNEUR PROJECT

1. INTRODUCTION1 that involved 20 organizations from 11 different3 countries.
The project was based on artistic interventions within
The project “Flâneur – New urban narratives”, which took public spaces, challenging contemporary photography
place in several European cities between 2015 and 2017, practices, both at the creative side and at the level of
endeavored new approaches to the relation between art, exhibition and mediation processes.
public sphere and local communities through the way
Artists were encouraged to create new interpretations of
creative processes were developed and exhibition devices
urban territories, taking the concept of “flâneur” as their
on public space were displayed.
starting point and considering the physical context of the
In this text we aim to shed some light on the relations city as a social construct in a state of constant flux and
and processes which can be stablished between the change. A transversal perspective on the social dynamics
artworks created, the kinds of creative processes that configure urban space was pursued, created by a
developed, and the territories and art worlds where large and diverse group of artists who, drawing from a
they were implemented. Our main interest is to analyze common theme, would render a new look upon the plural
the contribution of the project’s activities to enhance realities that compose public space - a look that would
sustainable territorial development processes in these be shared with a wide audience, who was invited to drift
communities, exploring particularly the dynamics and stroll around the city, rediscovering it. Besides the
of sharing artistic creations and the co-creation of art projects and interventions in the public space, the
knowledge involved. Their territorial embeddedness, the project comprised several other parallel dimensions
contribute they bring to community development, and the brought to light in various ways, such as workshops,
way they build their relation with photography art worlds masterclasses, artistic residencies, creative camps and
are particularly explored, drawing upon empirical work conferences – initiatives intended to foster a critical
based on direct observation and interviews to most of the analysis of contemporary photography and to contribute to
27 international photographers as well to some of the a reflection on the relationship between art practices and
curators and producers involved in the network of festivals the city.
and cultural institutions that were gathered around this
During its two year span, Flâneur project was being
project.
developed and presented in 18 cities4, mixing internal
“Flâneur – New Urban Narratives” was itself set up as a and external perspectives, which resulted from the
network project2, designed as an international partnership participation of local photographers and invited ones, who
were asked to develop artistic residencies in those cities with the exhibition device and the way it was appropriated approached the thematic and how the interventions in the raised on a deep and vibrant debate which was structured
(and in several cities, in addition, a complementary work by the audience; and the relation with the mediation different cities and contexts were set up and developed. around 3 main discussion topics: “Rethinking the city walk
was conducted within workshops that target the local processes and the structuring of the art world. A brief This material was worked both for the documentary and in modern and contemporary art”, “City and Cinema: the
population). The results were displayed in public space concluding note gives us some hints about the relation of for the component of “academic” analysis of this project, representations of the flâneur in the audiovisual” and
(in central squares, streets or parks, in each of those this project with the idea of the promotion of sustainable being always complemented and confronted with the “Territories of flânerie: experiencing urban spaces today”.
cities), contributing to a process of deconstruction and and community-based development processes. results of direct observation carried out in the field by the The results of this reflection, which are available in the
“democratization” of the access to art, sharing it with an researchers. book originated in the conference7, were accessible for all
heterogeneous audience. Replicating the city, open and photographers and participants in the project, in case they
The interviews followed a pre-defined script which
accessible 24 hours a day, the exhibition displays were would consider it to inspire or frame their work (although
covered five main broad themes, each of them comprising
configured as modular backlit structures, which were that was not the option for most of them).
different subcomponents and questions. These broad
adapted to each specific site.
themes were: (i) the theme and the approach chosen by In this context, and considering also that most of the
The analysis in this text draws upon empirical work each participant in their specific personal project; (ii) their photographers were chosen having in consideration
collected by direct observation and through semi- 2. THE ANALYSIS OF THE FLANÊUR: particular creative process in this work and the way it “flâneur-related” approaches to urban spaces in their
structured interviews to most of the 24 international INTRODUCTORY AND relates to their usual work practices; (iii) the relation each previous works, the thematic of the Flâneur, drifting
photographers selected to develop the artistic residencies METHODOLOGICAL ASPECTS of them stablished with space and with the territories through the city, and the idea of the “new urban
and the exhibitions as well to some of the curators and in which they photographed and exhibited their works; narratives” were, not surprisingly, very familiar and
producers involved in the network of festivals and cultural In parallel with the multiple interventions on public space (iv) the relationship they stablished with the particular esteemed by all participants which we had opportunity to
institutions that were gathered around this project. It which were displayed in several cities throughout Europe, exhibition device used in this project and the way they talk to.
was our aim to analyse how the relational dynamics the Flâneur project encompassed a more reflexive and perceived the public appropriation of it; and (v) the way
analytical dimension, which is being reported in this text. Nevertheless, the way they interpreted the thematic and
stablished between the diversity of agents involved in the they see the mediation processes and their relation within
That was centered on the exploration of the work of the the way they approached their diverse territories reveal
creative process, in the mediation mechanisms, and in their art worlds after this project. Naturally, the questions
photographers and its relation with the territories and the different backgrounds and varied interests that were
the exhibitions displaying are connected to a culturally were adapted to the context and to the work developed by
communities in which they were working, as well as on expressed in a multitude of perspectives and outputs.
sustainable development perspective. On one hand, in each respondent, providing a very fruitful and satisfying
their relation with the photography art worlds. But that was predictable and would be perfectly natural
an artistic perspective, studying artists’ and curators’ dialogue.
A documentary film (directed by Eduardo Amaro5) and a and even appropriate, with a thematic such as this one,
options and the way they assume the role of the “flâneur”
set of scientific papers and academic presentations6 (by It is important to notice that, before all this, one of the opening to several forms of dealing with the strolling in
in the city and the relation with the territories where they
Pedro Costa and Ricardo Lopes) were developed and give starting points of this project has been the International the city, and with the several “cities” inside that city, in
photographed and where they exhibit their work; on the
us a quite extensive panorama about the organization of Conference “Flâneur – New Urban Narratives”, held their building (or subverting) of the “new”, the “urban”,
other hand, through the analysis of the ways these public
this project, the involvement of the photographers with in Lisbon (São Luiz Municipal Theatre, May 12nd-13rd and the “narratives”. As it was quite well stated by
space interventions (and their performativity) engage with
the “flâneur” thematic, their personal approaches to this 2015), which was a key-moment in the launching of the Arianna Rinaldo (curator, Cortona) in her interview, the
the local communities, in the diverse cities, and the way
object, their relation with the territories they visited and project, and provided a broad forum to exchange ideas possibilities of working with this are virtually endless: “I
they enhance the co-creation of knowledge and reflexivity
their artistic practices. amongst the participants and to discuss, conceptually and think the beauty of urban narrative is the infinite. First
on urban issues and the involvement of audiences in these
Apart from the visit to several of the exhibitions, with in practical terms, about the pertinence of the Flâneur of all because cities are transforming and changing
processes.
on-site direct observation, and informal talks to several of concept in contemporary times and in contemporary continuously. So, every time you walk in a city or you
In the next section some introductory and methodological those involved in the project, most of this work was based cities. The idea was to question the potential for “new walk around a place you can look at it differently (…)”.
aspects about the work conducted will be explained. on a series of semi-structured interviews which were urban narratives” of the traditional “flânerie” concept, New urban narratives can be seen as something infinite,
The following sections present some results of the conducted by Pedro Costa and Eduardo Amaro, either raising issues such as: what is the sense of flânerie an infinite potential of ideas, as cities are always in
analysis of the several topics under scrutiny: the themes in person or via skype phone calls, to several elements today? how does it cope with the acceleration of modern transformation and in permanent dynamics.
and approaches to the “Flâneur” topic followed by of the Flâneur Project. They tried to get contributions societies? what forms can it have? in which territories
By the same token, very diverse attitudes were taken
photographers; their creative processes; their relation from most of the curators and producers involved and all can be developed? by whom? in which conditions? with
considering the way they related with the exhibition
with space and territory; the way they see the relation the photographers, aiming to understand how they have what purposes? These and many other questions were
dispositive and the art world, as well as that enabled them
to work their relation with the community. But that was 3. THE THEMES AND THE APPROACHES
also other of the crucial dimensions the project wanted FOLLOWED BY THE PHOTOGRAPHERS
to explore, seizing the freedom offered by an exhibition
device in public space, permanently open to non-expert The first main issue raised for discussion was centered
audiences, and outside the “protection” of an art gallery on understanding how each photographer approached
or a museum. As Krzysztof Candrowicz (Curator, the general theme of the project (the flânerie) and coped
Hamburg and Lodz Festivals) points out “(…) there is no with the territory and the community in which he or she
better place to present art than the streets; like streets has been working. All of them were confronted with the
belongs to people and art belongs to people; art is free Flâneur thematic, although most of them in the context
and streets are free and create this tension between the of a specific festival, with its particular framework
artists and viewers. So, I couldn’t imagine better place to and focus. Each of them developed their personal
display the work about Flâneur (…)”. perspectives departing from those specific frames and
from a general idea of building new urban narratives
This diversity in the approaches to the photographic
from the flâneur perspective. We were interested in
thematic, the organization of their work, the relation
disentangling how they explored the idea of flâneur as a
with the community and the art worlds was the main
concept in contemporaneity as well as in perceiving how
richness this project gave us to explore, and one of its
photographers related their work to this concept, to the
main structural characteristics. In this text we explore
festival frameworks, and with the public space of the
some insights on each of those topics, which for us
exhibitions, as well as to the particularities of an audience
were the fundamental ones, in analytical terms, to
which was marked by its fluidity, diversity and, at the end,
interpret and acknowledge this diversity, giving some
by being quite uncharacteristic.
examples of the issues raised, and aiming to provide a
panoramic view of the overall project and its diversity. The proximity between the contemporary urban
For a more comprehensive approach, reading this text photography and the ideal of the flâneur is present in
must be complemented with the visioning of the Flâneur almost all the interviews, including here the producers
documentary which is the other face of this work, and and curators involved as well as the photographers.
which is provided with this publication. For a detailed This is quite well illustrated by what Kajal Nisha Patel
analysis of the results of the project and the challenges it (photographer, residency in Mansfield) tells us: “us
has brought this can also be accompanied by the several photographers, I guess, we do it anyway, we are just
texts and reports produced on its scope, including the walking true and observing life”. This relation is almost
two editions of the “Cahiers du Flâneur”, as well as the unanimously raised by all photographers which either
aforementioned book which resulted from the initial refer that this is something that is always in their artistic
conference where the contemporaneity of the Flâneur practices and in previous work (being assumed by many
concept was discussed. as the motivation for their own selection for this project),
as well as something that was presumed (even if for
being deconstructed) as leading driver for this work.
Nevertheless, the way how the photographers interpreted
the challenge was diverse. In some cases, they followed
their own personal subjects and ways of working,
following or reinventing it (e.g Augusto Brázio in Lisbon);
in other cases they tried to draw new ideas and practices
for themselves. These diverse ways potentiate different
imaginaries and the construction of a multitude of “new were the main topic (e.g, Martina Cleary in Lisbon,
urban narratives”. Mariusz Forecki in Kaunas, David Severn and Kajal Nisha
Patel in Mansfield, Toni Amengual and Dougie Wallace
Some examples give us a perspective on this. Some of
in Cortona), to others tiny details of the city assume
the photographers adopted a personal-experience point
the leading role in the search, be it objects and urban
of view to deal with the theme (e,g, Kajal Nisha Patel,
fragments (e.g, Henry Duncker in Kaunas, Alex F. Webb in
who revisited her family background through a flânerie
Riga, Rik Moran in Dublin) or buildings and textures (e.g
through the manufacture working class at Mainsfield),
Sonia Hamza in Lisbon, Jonas Feige in Riga). The diversity
while other cultivate a certain distance as flâneurs
of sensibilities on the general ambiences of the city (e.g.,
strolling as external to those territories (e,g, Martina
Virgilio Ferreira in Hamburg, Alexander Gronsky in Lodz)
Cleary in Lisbon). Some of them, like Giacomo Brunelli,
or its surrounding regions (e.g., Antonio Julio Duarte, in
in Hamburg, or Augusto Brázio, in the peripheries of
Olot), the combination of the multiple layers of history,
Lisbon, followed randomly persons who ended up being
carefully researched (e.g., Discipula, in Derby), or the
the ones who conduct them in their “dèrives”. Other
capture of the festivity of an ephemeral moment (Olot Art
chose to deal with the contingencies of a short-term
School students, in Olot), can all be mobilized as drivers
residency to do this work on a different manner. For
for this search.
instance, Toni Amengual (exhibited in Cortona) decided
to explore the ephemeral appropriation of the tourists in In some cases, the concept of appropriation of public
main monuments of the city of Rome, because the period space was expanded to spaces of the “public sphere” in
of residence in Rome wouldn’t allow him to enter in the projects such as the one of Cristina de Middel, in Lodz
everyday life of those who live in the city. The differences (as she proposed to interpret the city without leaving her
between the urban narratives of the ones who live in the hotel room, using it as a studio to build a story) or the
city and the tourist or the passerby were highlighted in one of Marcello Bonfanti, in Cortona (driving us to Turin
almost all the interviews. Some photographers decided through images of interior spaces of buildings designed
to assume themselves as a tourist or at least a transient by the “eccentric” Italian architect Carlo Mollino). In
resident in the city while others tried to enter more deeply other cases, a wide idea of public sphere is apprehended
in the ambiences and the environment of their living through the look over specific segments of the community
spaces. Jens Masmann (residency in Lisbon) gives notice that caught the eye of the artist (e,g, the brass bands of
about this when he relates us the difference between the Liz Hingley, in Derby; or the Milan’s wealthy shoppers
“spaces of utopias”, where he claims to took the photos, in Dougie Wallace’s work exhibited in Cortona), or
and the “Disneyland” spaces he felt returning home at through the dialogue with its historical evolution and with
night. specific social or political issues which challenge those
communities (e.g, Alexander Gronsky and Dyma Gavrish
Some draw upon literary references to build narratives
in Lodz, Sergiy Lebediskiy in Kaunas, Tom Hunter in
(e.g. Ruth Blees Luxemburg in London), other let
Derby).
themselves surprise by the exotic and the eccentric (e.g.,
Dougie Wallace’s Milan, exhibited in Cortona), while Many photographers didn’t knew beforehand the
other simply totally subvert the idea of urban narrative territories in which they were making their residencies (or
(Esther Teichmann, in Dublin). The relation established at least not more than in a superficial way), what fueled
between the city and photographers in their flâneries the potential of “change” and of “drift” and empowered
reveals diverse sensibilities, as it will be seen in the the “flâneur” attitude, as argued by Nuno Ricou Salgado
following sections. While for some of them the “people” (producer and curator, Lisbon and Olot, general

Photo: Virgílio Ferreira
coordinator of the project). developed in following projects.
On the contrary to all these richness and diversity of
Wrapping up, in this project the “Contemporary Flâneur”
approaches, the perspectives of the participants about
can be seen as someone who crosses “accuracy” and
the way their projects were adapted and targeted to the
“research”, as it was expressed by the words of the
festival frameworks, and to the specific characteristics
photograph Virgilio Ferreira (exhibited in Hamburg).
of the public space of the exhibitions and its audience are
The potential of all the “new” “urban” “narratives”
much more inconclusive. In spite of all of them declare
these artists brought to life gives us a multitude of
to appreciate and value the relation with the public space
layers that certainly help us de-codifying contemporary
and the potential of the passersby as audience, as can be
urban space and social relations in the city. The idea of
seen in the next sections, the fact is that just a minority
“accumulation” of urban narratives was itself explored
of them assume that effectively explored a project which
in the project, by curators, photographers and the
was thematically and conceptually aimed to correspond
audiences. Mindaguas Kavaliauskas (curator, Kaunas)
to those audiences, to the festival particularities, or to the
talked to us about the ambition of creating an online
specificities of an exhibition display at the public space.
database where photographers could deposit narratives
They assume they do it for the sake of their own projects
about street photography. The experience of the project
but not necessarily for corresponding for pre-requisites
of the photographers Caravan Gallery (also in Kaunas),
such like those ones.
for instance, establishing a participative way to create
Overall, we can consider that most of the photographers, urban narratives in an informal museum, gives also signs
in their artistic approaches to the terrain, embraced the in this direction. At the end, all these (quite personal
generic challenges with which they had been confronted, and diverse) layers of flânerie, which were accumulated
that is, the ones related to the idea of deconstructing, during this period by all this artists, throughout these
today, the traditional flâneur paradigm, the one that still multiple cities seem (fortunately) quite diverse and
is recalled as being (mostly) a male, quite wealthy, drifting disperse. One of the generic ambitions of this project, as
lazily through urban space, that is, just within its central his leader Nuno Ricou Salgado told us, was to bring us “a
areas, and looking to the urban realm essentially by the transversal look over an imaginary city”, an idea of “city”,
lens of his external and privileged gaze. In this project, of “urban space” which could cross the several specific
these several dimensions were challenged. However, realities which were strolled and portrayed. This diversity
although quite more gender balanced and urban diverse, of perspectives on the contemporary urban realm, in
with many of our artists strolling by the centers and all these cities, will certainly contribute for that endless
by the peripheries of these cities, the diversity in the work-in-progress project…
approaches was the rule, with some of them building
projects strongly committed with the communities they
were observing, but other ones opting to develop projects
with a much more external look. One aspect was though
quite surprising for us. The dimension of exploring the
potential of the “virtual” spaces which interrelate with
these contemporary urban territories, in particular with
the exploration of “on-line” dimensions of flânerie and
their relations with the physical territories, was much
less explored than it could be predictable, and that must
be certainly one of the aspects which can be further

Photo: Augusto Brázio
4. THE CREATIVE PROCESS Lisbon). Some of them coordinated their final work and reality, as it was integrated in Lluèrnia light Festival, “immersion” of the flâneur in the city was made in very
combined it in the exhibition display; other worked and which congregates a series of urban interventions under diverse circumstances and with quite distinct objectives,
Our second main discussion issue was centered on the exhibited it separately. In some cases the curators had a the theme of the fire, allowing an access of everyone to from the ones that assume their “dèrive” in the city, more
creative process itself. We tried to understand how the preponderant role on these choices; on other cases they the symbolic representations of the town, as refers its or less intuitively (e.g Alexander Gronsky in Lodz, Sonia
creative work had been developed by their authors; give total liberty to the artists. director, Pep Fargas. Hamza in Lisbon, Alex F. Webb and Jonas Feige in Riga), to
what was their starting point and how did those ideas The “new urban narratives” were assumed by the The fictional way, building or recovering narratives, the ones who subvert it, building their narratives indoors
materialized; how did the personal photographing photographers as a mix between realities, framed by was another important mechanism used by some (e.g, Cristina de Middel, in Lodz) or playing with different
methodologies occurred in practice; and, at the end, if the their photos, and fictions created by their perceptions photographers. For instance, Dima Gavrysh crossed historical layers and memories (e.g., Discipula in Derby).
creative process in this project had been different or not and constructions of territory. This aspect reveals a imagens of previous works, in Afghanistan and Ukraine, All these configure different ways of exploring, artistically
from their usual procedures and habits. wide range of diverse creative processes, from the more with images produced in Lodz, trying to create “something and technically, the limits of their work, and most of
ethnographic perspectives to the almost surrealistic ones. that had never been there”, as he was interested in them assume that this work was important to expand the
In this topic we can find, again, a huge diversity, Between these extremes, a diversity of rich results was building an atmosphere, which confronted the audience frontiers of their previous works, although in some cases
complexity and density in the interviews answers. produced, enabling a complexification and a broadening of with an hypothetical reality (induced by the texts (e.g, Augusto Brazio, in Lisboa), they claim this project
Naturally, that will not be a surprise, as this is the readings on the atmospheres of these cities. displayed), which raised a set of political and social claims hasn’t changed their ways of photographing.
core nature of their “creative” work, and it would be for the city of Riga, but having always in mind an inherent
expectable this richness of contributions on a discussion The next examples give us a general idea of diversity of Regarding the comparison between the creative
statement with what was happening in Gavrysh’s Donetsk,
about the way the project have been developed by each approaches inherent to those creative processes and their processes followed in this project and the previous work
in Ukraine. The creative process of Rut Blees Luxemburg
photographer and curator. richness. The creative process of Virgílio Ferreira was from the same artists the answers were very diverse
(in London) also assumed a performative option between
assumed as a “social kaleidoscope”. Juxtaposing imagens between the speakers. Elements of continuity and of
The everyday life of the cities was assumed as the stage the images and the place where the photos were
of everyday life of Hamburg in diverse hours and points of disruption can be identified concerning the photographic
for all these works, but the look at it was completely displayed. She imagined a narrative relation between the
views, he built images that represent a possible lecture subjects; the techniques and formats used; the drifting
different between them. We found photographers that “banality” of the everyday life in East London, where she
of the multitude of layers that compose one city. Henrik procedures; the way audiences and community were
arrived to the cities, to do their artistic residence, without lives, and the photogenic place of Somerset House where
Duncker, on the contrary, created an atmosphere between aimed or engaged in the process; amongst other aspects.
any previous research (many of them said that done it on the photos would be exhibited, creating a performance
photographing street details (Savanoriai Street had been Overall, we can sketch two main patterns, the ones
purpose, to be “free” to look at the city and to be “open” with her photos and using sentences from the work of
chosen by the curators of Kaunas Festival for all projects who followed essentially their normal way of working,
to it) while others programmed in detail their work before philosopher Alexander García Duttmann.
in this city) and objects collected in shops. Working at the with slight adaptations to the particularities of this
arriving. As an example, we can think on two completely same street, The Caravan Gallery (Jan Williams and Chris These are just some examples of the diversity of these project; and the ones who tried to approach the concept
different perspectives on the photographers who worked Teasdale) proposed an informal museum composed by creative processes put into practice. The contingencies proposed exploring new techniques and perspectives, and
at Lisbon in 2016, with Jens Masmann, researching the objects and imagens made by them and by objects and and practicalities of the photographing processes often challenging their own traditional procedures. In any case,
Portuguese history and pre-programming beforehand memories brought by the local population. conditioned also the creative process. For instance, when elements of innovation and creativity can be found in all of
in detail with “google views” most of the places that he Martina Clearly realized that the Lisbon inhabitants those works, considering the ways each of these artworks
would like to photograph in the city, at the same time that The banality of the commercial street was confronted,
didn’t like to be photographed as she wanted, she was conceived, their sets of images were produced,
Sonia Hamza deliberately arrived in Lisbon without any for three weeks, with a “museum”. Other approaches let
started to work as a voyeur, with a secret camera, trying selected and composed, and the exhibition displays were
specific idea, opening her mind to the a free and “clean” the place contaminate and define the creative process
to be discreet to capture her “true” milieus in a Lisbon imagined and put together.
drifting through the city. in a different manner. Usually António Júlio Duarte
marked by the fluxes of tourists and residents. On the
works about the urban milieu but when he arrived at Assuming each cube as a narrative (e.g, Ruth Blees
Some of the photographers made their residencies contrary, conditioned by the choice of photographing
Olot and was confronted with that reality he decided to Luxemburg, in London), interpreting each face of the
together in the city, others were alone during that time; with a large format camera, and with the contingencies
work instead with the natural environment of the city’s cube as a composition of images and narratives (e.g
some preferred to stroll on their own (most of them), of its imposition on public space, Jens Masmann, also in
volcanic outskirts, marked by the woods and natural Dima Gavrysh in Lodz), playing with the set of all cubes
other wandered often together through the city (e.g. Alex Lisbon, explored the advantages of long stays on public
landscapes. Bringing this atmosphere to one of the city’s as a narrative (as happened in the most cases), or even
Webb and Jonas Feige in Riga); some planned to join space and the interactions that were provided by that.
old squares, where the exhibition was displayed, was the assuming the set as interaction between works of more
each other and to confront and discuss their work at the way of the author confronting the audience with a parallel As it is explored in the other sections of this text, the than one artist (eg. Sonia Hamza and Jens Masmann in
end of the day (e.g. Sonia Hamza and Jens Masmann in
Lisbon), the exhibition device was used in very diverse particular place or neighborhood in the city, and how and
perspectives. It enabled exploring its 3-dimensional why it occurred. We were also interested in understanding
materiality, but also the interaction with other media if each project was related to a specific representation of
(e.g, the use of live performance, relating with literature, that city (or other), and how that symbolic construction
by Ruth Blees Luxemburg in London, or the use of the was perceived or (re)constructed by each photographer.
potential of augmented reality by Liz Hingley, in Derby). We wanted to explore the relation between the works
Interestingly, the formal contingency of the square produced and some particularities of the physical, social
format was generally very well accepted by all the and cultural space of these cities. Then, we would try
photographers, essentially as a (in some cases new) also to perceive the use of these spatial and territorial
challenge. Nevertheless, some of them highlighted implications on the artists’ work and how these ideas
using it already, or reporting it as something particularly could or not be interpreted by the local audiences from
adequate to their way of framing/photographing (e.g. the images displayed.
Cristina de Middel, Lodz), while other were testing the use
The richness of the contributions on this topic and the
on both formats (square and 4:3 or 3:2) for different uses
fruitfulness of the discussions and debates that they allow
of the images (e.g Henrik Duncker in Kaunas, Kajal Nisha
is the first aspect to highlight. Naturally they could not
Patel, in Mansfield) and other were subverting the cube
all be covered in this brief text but will be just referring to
exhibition format, expanding square or rectangles outside
some highlights and examples of it. The Flâneur project
of the faces of the cubes (e.g. Jens Masmann and Sonia
was conceptually anchored on the notion of territoriality
Hamza in Lisbon, Discipula in Derby).
from its beginnings and it would be natural that this would
Anyway, at the end, each of them assumed this creative be reflected in the work of the local production teams and
process as a challenge, in their multiple dimensions (the of all the curators and artists involved (even if, in some
residency on a new territory, the link with the community, cases, they had to try to question and challenge this link
the exhibition in a public space, the narrative in a set of to territory, as could be naturally expected, as creatives
cubes, ), which was dealt with in very different manners. that they are…).
But it was always a new challenge, for each of them,
The relationship between the artists and the territory
assumed always as a very personal and site-specific
reveal different starting points. All of them were invited to
endeavor. As it was curiously put in words by Sonia Hamza
present their work on a specific city, most of them after an
“I felt Lisbon like a person, that I have to seduce (...)”.
artistic residence in that city, realized in the framework of
the project. Naturally, that period and the particular daily
life conditions during it structurally shaped that work,
even if in some cases the artists would have previous
contact with that city.

In some cases the curators and producers pre-defined
5. THE RELATION WITH SPACE the territories to be explored (e.g, the centering of all
AND TERRITORY projects on one main street, in Kaunas; or, the choice
or three other Italian cities for the 3 projects displayed
The third main discussion topic was related to the spatial on Cortona), as well as the coincidence of it with the
dimension of the project and the territorial embeddedness spaces for public exhibition of the final outputs in the city
of it. Several aspects were explored on this. We were (usually a square or a street, that could be more central or
interested to know to what extent each project related to a peripheral, as appropriate in each case). In other cases,
the artists had total freedom to explore the city as they territoriality of place, exploring their own personal or
would like, to interpret their own concepts, and build their familial roots in those territories (e.g, exploring specific
own representations of a wider or narrower territory. communities, such as Kajal Nisha Patel, in Mansfield), the
This is expressed in a wide diversity of “points of signs of local history (e.g, the work of Alexander Gronsky
entrance” in the city: some entering by the city center, in Lodz); the touristic gaze that marks them now (e.g, Tony
other by peripheral locations; some by the daily life of Amengual, with “Icona”, exhibited in Cortona, exploring
the regular users, other by the tourist fluxes; some by its the way people approach the places with the new
social life, other by its architecture and landscapes; some technologies) or the consumption tendencies and signs
by well-recognized signs and symbols; other by textures of global capitalism that also structures their identities
and details. (e.g., the luxury consumer practices in Milan explored
by Dougie Wallace, also in Cortona), for instance. The
The choice of the place had always a directly reflex in
confronts between the outsider and insider looks into the
the works. That could, in some cases, result from a
territory were permanently raised, be it by the perspective
progressive immersion in the city and the discovering
of the own photographer (e.g Martina Cleary, Lisbon) or
of its neighborhoods and streets, in-deepening the
by the narrative dispositive constructed to support the
knowledge of a (re)new(ed) reality, or, in other cases,
artistic intervention (e.g, the use of the A. G. Düttmann
result from the contamination of this process by disruptive
texts in Rut Blees Luxemburg work, at London, and the
forces. For instance, António Júlio Duarte arrived at Olot
performance set up by the artist for it).
and decided to break with his previously work, usually
based on urban atmospheres, to explore the natural area The spatial dimension of the project can also be seen in
around the city which fascinated him. The state of mind the perspective of the connection between the photos
of the artists in that moment, the cultural milieu they and the dispositive used for displaying the images in the
found, the artistic or political statements they need to public space (the “cubes”), which was explored by some
perform, were several of the motivations we can highlight of the artists: Virgílio Ferreira (in Hamburg) essayed
from the ideas inferred from the testimonials collected. to make a relation between the facades of the “cubes”
As aforementioned, Cristina Middel, for example, worked with the perspectives the images were produced from
in Lodz without leaving her hotel room, trying to explore the skyscrapers (combining the spatial perspective in
the ambience of these places of passage, and playing the juxtaposition of the images itself); Toni Amengual (in
and challenging the ideas of photographing/exhibiting Cortona) planned the “cubes” in 2D to make a composition
in private/public spaces. Dyma Gavrysh, also in Lodz, in 3D; Discipula collective (in Derby) mixed several layers
created an “alternative reality”, confronting the local of knowledge (landscapes, images of coal union banners,
population with a fictional construction which mixed real archive material) in order to subvert the cubes plainness;
images with the (des)contextualization of the discourse Jens Masmann and Sonia Hamza (in Lisbon) combined
“imported” from other reality, challenging that specific and mixed their work in the exhibition device, challenging
territory to deal with the historical, cultural and political the spatial structure of it with images which crossed and
perception of their reality. In the more radical case, Esther overlap its borders.
Teichmann (in Dublin) centered her work on the seaweeds
As it will further discussed in the next section, it is
and on the memory of early botanists, assuming a flânerie
important to notice that the own issue of the territorial
which produced images that could be almost seen as
placement of the exhibiting device – the “cubes” structure
perfectly de-territorialized.
- (and its variability, from case to case, in each street or
On the other hand, other artists worked deeply the square), has considerable impacts both at special level
(that is, in the relation to the physical space where it is 6. THE RELATION WITH THE memories of a father taking photos of his children seizing serve as a chair, as a table or as a support to hang a drink
deployed) and at territorial level (that is, in relation with EXHIBITION DEVICE AND THE WAY IT WAS and enjoying the lights in the boxes, over her images. while talking. People can step over, walk on, jump, or
the community where it operates), functioning either as APPROPRIATED BY THE AUDIENCE In effect, as Louise Clements (Curator, Derby) points interact in the most varied forms and many did it.
focal points of attractiveness and passing itineraries, or as out, the light boxes are architectonic objects that allow Most artists cherish very much this dimension, even the
places that allow a capacity of reflexivity about these same The discussions about the notion of public space and of an interesting articulation with the city, changing the ones who state that their works could be so exposed
territories (as quite explored, for instance in Mansfield or the practice of artistic interventions on the urban realm architecture of the space and potentiating multiple there as elsewhere. The rhetoric of all of them highlights
Lodz, at different scales). were central on this project. Our fourth main topic of changes in everyday life of the squares. They allow new the importance of the art becoming more “public” and
discussion was centered on this. We asked participants if significations of meanings, and the reinvention of everyday less “sacred”, and most of them feel in generally very
Overall, a relationship was pursued with the local
they had the opportunity to observe the relationship of the social practices in these territories, and that was often comfortable with the informality of the appropriation
community, which was built mobilizing very different
public with their work, and how this actually happened. visible in our observation period in the various cities. of it. They are not concerned about the safety of their
aspects in the diverse situations: from the banality of
We tried to find out how it corresponded or not up to their Moreover, as Antonio Carloni (project manager, Cortona) artworks or hypothetical vandalism which could affect
the quotidian (as stated by Ruth Blees Luxemburg, in
expectations and what surprised them in the dynamics evidenced, the cubes were absorbed by the users, from them, and some of them even assume that informal
London, or pursued by Martina Cleary in Lisbon) to
that they had opportunity to observe between their the younger to the elderly, in very informal manners, In interventions on their works (such as graffiti or other
the exceptional, be it the different or the specific (e.g,
audience and the exhibition display. the specific case of Cortona, the fact of having this specific forms of interaction with their art works) could eventually
Amengual’s tourist gaze, Wallace’s wealthy consumers,
device on public space was an important tool to attract give rise to a creative dialogue between the vandalizers
Hingley’s brass bands,…), or the staging of nice narratives, This was a structural point on most of the interviews, the local population to visit the festival, as in precedent and the artists. However, despite of this discourse,
even if somehow displaced (e.g, the fictions of Dyma which in generally revealed a very passionate discussion editions, the symbolic (and pragmatic) barriers between most of them, essentially accustomed to the art gallery
Gavrysh or Cristina de Middel in Lodz). Some sought about it. We approached this thematic trying to the population and the indoor exhibitions realized in the environment, centered their creative work on developing
the recognition effect from the community, and worked understand the opinion of the photographers, curators scope of this Festival still persisted. quite conventional exhibition ideas on the streets, not
specifically with a view to the exhibition place (the specific and producers questioned about the “cubes” device and challenging too much furtherer the differences between
square or street where the images would be displayed). the way the public related to the exhibitions. Most of All of the actors, in general, enjoyed the different
designing an artwork to a gallery or to the street.
That were, for instance, the cases of Giacomo Brunelli in them were able, at the moment of the survey, to have reactions expressed by the passerby who discovers the
Hamburg, of Alexander Gronsky in Lodz, or of Kajal Nisha been already present there, but some of them had not yet exhibitions. Some of them essayed stablishing dialogues In general, the exhibitions were marked by great tolerance
Patel in Mansfield. Others sought active involvement that opportunity and expressed themselves about their with them, trying to catch the reactions. The design and acceptance, from the point of view of the contents
of the community in the experiencing of the images expectancies, also very vibrantly. and the location of the structure in the public space exhibited, even if most of the artists did not seem too
(e.g, Liz Hingley, with augmented reality, in Derby). In enabled the easy crossing of it, by the passers-by who keen on challenging the audiences through controversial
The concept of the structure, displayed in a central stroll themselves in the city, by the flows of people who aspects, in a public space open to everyone (rather than
some cases, it was the own photographic process which
square or street of each city, open 24/24 hours, and easily come home back from work, by the nightlife people who in an aesthetical perspective, and even that just in some
helped to develop that linked with the community, while
accessible by all kind of audiences, were they more or less appropriates public space. The possibility of observing cases). However some more provocative works in sexual
capturing the images (e.g, Jens Masmann, in Lisbon with
familiar with photography art worlds, or even unrelated to the photos “in transit”, as highlighted by Augusto Brázio (e.g. Ruth Blees Luxemburg, in London), political (e.g
his large format camera) or in the research behind it (e.g.
cultural practices at all, was crucial in the entire project. or Rut Blees Luxemburg, assumes great relevance for Dyma Gavrysh, in Lodz) or social terms (e.g, Kajal Nisha
Discipula, in Derby, collecting and crossing a diversity
This was an important aspect of the overall project design, the photographers, as well as the possibility of being Patel, in Mansfield) were taken into practice, but were
of stories and imaginaries of a territory in deep socio-
allowing the development of new audiences, particularly there, hanging around, for quite a long time, chatting perfectly pacific.
economic restructuring).
amongst those segments that in most the cases do not or drinking, and having the opportunity to (re)discover a
have cultural habits or cultural capital to access regularly The exhibition display, therefore, easily openable to
particular photography, with a new occasional look to one
to the often sacred “white cube” of the art gallery or of the involving communities, allowed confronting them
of the images exposed. The easy accessibility for cycling,
the fine arts museum. This was perfectly intelligible to to their specific problems, assuming a certain degree
for skating, for baby strollers or for wheelchairs, for
all the actors involved, who tried to make the most of its of reflexivity on contemporary urban issues. That was
instance, allowed different kinds of appropriation, many
potential. The light box mechanism, illuminating photos another important dimension of the project, which was
of them quite unusual to most of the artists involved. Even
during the night, was particularly appreciated for many very diversely worked in the different scenarios. The
if many of them were already used to exhibit their images
of those involved (e,g Giacomo Brunelli, Augusto Brázio). choice of the particular location for the exhibition device
on public space and to show their work on unconventional
Martina Cleary, for instance, called our attention for her was not neutral (the side of the street or of the square
places, here their artwork can be easily trodden, can
in which it was set up; the selection of the neighborhood The complexity and dimension of this heavy itinerant
itself, etc.), and some of the Flâneur initiatives were structure, resembling a kind-of-rock-band tournée over
particularly attentive to this aspects involving or aiming at Europe (involving a logistic of moving 11 tons between
particular populations (e.g., more deprived or “difficult” each exhibition), set important challenges in terms of
communities, in Mansfield, or in the Intendente location the overall programming articulation as well as in the
at Lisbon). For instance, the working class people brought place-based local decisions, which had to be dealt, on a
to Mansfield square by David Severn and Kajal Nisha daily basis, as highlighted by the producers. However, in
Patel, becoming “models” of another possible story general, the functioning of all these went quite well, and
than the restructuring post-industrial socially deprived the structure was rarely vandalized or damaged, being the
landscapes of that region, was an important symbolic care of maintenance easily treated. Local communities
contribute to the empowerment of the community. Even appropriated quite easily and rapidly the “new” public
if some of the portrayed were initially afraid of being space structure provided, in every location, may be aware
photographed as they fear that someone would pee in the of their ephemerality. Despite some episodic small
photo with their face, the fact is that the exhibition went problems, which happened more by accident, than by
unscathed, in a quite difficult area, and was gradually vandalism or by intentional purposes, and that were
appropriated and advocated by the community. Naturally, promptly solved, the structure rapidly become (though
other kinds of “links” were stablished between the temporarily) assumed as part of that public space. Be
photographers and the community, assuring channels it at the center of central main squares (e.g. in Olot
for this communication, which has naturally different or in Kaunas), at important crossing points on central
requirements than the one stablished in the framework commuting trajectories (e.g in Lodz, or at Intendente, in
of an art gallery or other conventional exhibition Lisbon), at more demanding locations requiring dedicated
space. Public space, with its overdose of images and dislocations to most of its users (e.g in Derby or Paris),
advertisements, can definitely be very challenging in the or nearby important sociability areas (e.g in Mansfield or
field of communication. The generalist “target” that is in Príncipe Real, in Lisbon), these places always gained a
the potential audience to these open-air exhibitions could vibrancy and vitality during the period of the exhibitions,
be involved by diverse mechanisms and many authors and the device was clearly an important key-factor to the
explored different mechanisms in that communication involvement of the community.
process, promoting the identification with their audiences.

The Caravan Gallery, for instance used the idea of
everyday life. Also in Kaunas, Henrik Drunker, opted
to adopt the relation with the consumer as driver for
designing his relation with the street. The students of Olot
Art school, under direction of Boris Eldagsen, draw upon
the recognition effect of a remarkable event in the life of 7. THE PROCESSES OF CULTURAL
the city. Several others, as seen above, used disrupting MEDIATION AND THE RELATION
mechanisms to draw an involving narrative. But on the WITH THE ART WORLD
end, as Sonia Hamza mentioned, the “cubes” give back
to the streets tiny intimate parts of photographer’s The final of the main issues discussed in these interviews
observations, and that, in all its diversity, is the trigger to related to the way the ones involved see the mediation and
a real community involvement. gatekeeping processes and the way they evaluate their
position within their art worlds after being involved in this
project. On one hand, we tried to assess the perception knew the work of the majority of the photographers to have a reputation which establishes them at the eyes were the relations of these flâneurs with their territories,
of the impacts of the participation on this project for the involved beforehand. of those audiences. At the end, that would be easily trying to understand a little more which were the relations
festival partners and for the photographers careers; the understandable, not just because, in most of the cases, between art, public space and community development
Anyway, in general, the impact of their participation
idea was to understand how each one of them became they are fairly established and internationally recognized in this Flâneur Project. At the limit, we were considering
is quite well assessed, and its importance perfectly
involved in the project and what they ended up gaining photographers, as also by the fact that, beyond the the links that can be stablished between a project like this
recognized, even if, naturally, reflecting the different
with it. On the other hand, we tried to understand to what project Flâneur itself, each of the respective festivals and the contribution for the sustainable development on
stages in their artistic and professional careers as
extent those involved considered it would be different where their exhibitions are included works per se as a those communities and those territories.
photographers: some of them highlight the importance
and relevant to be exposed in the street, instead of sufficient legitimizer for the display of their work in the
of the opportunity of doing this kind of residency after
being in a gallery or a more dedicated (and reputed) public space. Anyway, even if the vulnerability of being From the observation conducted around this project
graduation (e.g Jonas Feige), other stress the importance
exhibition space. The idea was to discuss the differences in the public space without the symbolic protection of we can identify a set of different channels for the
of the project for their internationalization (pe., Toni
between developing a project in public space or under an art gallery or a museum is not accepted by most of promotion of community involvement in activities
Amengual), while most of them generally assume
the “protection” of the legitimization granted by the art the artists, some of them (e.g, Toni Amengual, Cortona) such as the ones developed in Flâneur. A multiplicity
it as one more step (but a quite relevant step) on a
galleries or other well-recognized institutions. recognize the need to combine the two different “worlds”, of layers in what concerns to the relation with the
rather natural and smooth trajectory, even if not pre-
and develop different kinds of projects, more and less territory and the community are discernible: in the
Concerning the first issue, a diversity of mechanisms programmed at all. As Andreas Gorsky puts it, “it’s quite
“institutional”, in order to manage more efficiently their work of the photographers (the theme, the approach to
of involvement with the project were identified, which complicated (...) I really don’t know how career works (…)
reputational value. flânerie, the approach to the city, the approach to the
relates to the great variety of partners involved in the so it is very much about happy coincidences or unhappy
local communities,…); in curatorial terms (the choice
project (festivals, publishing and training institutions, etc., coincidences”. And in fact, a project such as this one
of places, of themes, of artists); in choosing the sites
both in the fields of photography or more enlarged visual can be structuring in putting together the conditions
and locations for displaying the exhibition device; in the
arts), as well as to the diversity of the artists involved, for the existence of these “coincidences”, even if people
relation stablished by the population with the device
in different positions on their careers and professional aren’t quite aware of them. These network effects are
and its appropriation; in the attitude pursued towards
and personal trajectories. Previous personal direct work decisively one of the success key-factors on a project
openness and inclusiveness, and audiences development;
and interactions between team members, or the contact such as this one, both at pragmatic production effects
8. CONCLUDING NOTE: in the range of complementary activities developed;
with some specific work of each of the artists were level and at reputation building level, considering the
SOME CONTRIBUTIONS in the changes induced in the symbolic and material
aspects mentioned as very important in the structuring of multiple gatekeeping mechanisms involved. In parallel to
TO COMMUNITY DEVELOPMENT relation of the community with the local festivals; in the
participation opportunities. Most of the participants were this, some of the artists surveyed (e.g Cristina de Middel)
changes induced in the positioning of this actors (and
selected by the curators, during the process, although acknowledge also the importance of a project like this
A project such as this one, comprising so many different events) in their specific art worlds. All these dimensions
certain exceptions (e.g., in Riga) allowed the participation in terms of legitimizing the small cities and the festivals
looks, on so many different cities, is not easy to cover in are intertwined, but effects in each and all of these
via open calls. Interesting data about the structuring themselves, contributing for building up their own
all its extension, as it is spreading its effects at diverse dimensions can and should be assessed in future work.
and reputation-building process in the art world was reputation in photography art worlds, adding up some
range of levels. From the aforementioned ambition of
provided and can be furthered explored, shedding some evidence of these other gatekeeping layers to the multiple As it was expressed by Krzysztof Candrowicz (Curator,
providing “a transversal look on an imaginary city” (Nuno
light to the complex gatekeeping mechanisms behind symbolic and reputational effects of the project. Hamburg, Lodz), this was “the first project in which all
Ricou Salgado), an idea of contemporary city, which would
the structuring of the legitimizations on this field and the is connected (curators, artists, audiences,…)” and this
Regarding the second question, most of those involved cross the various realities of all the cities photographed,
networks construction in the art world itself. However, brings a vast potential for the crossed-potentiation of all
in the project share a rhetoric which considers that the to the pragmatic and tangible effect that any of the
maybe seeming something quite naif, for most of the these community development effects. Moreover, the
exhibition in the public space, without the protection of exhibitions or any image had in the life of any passer-by
artists interviewed, the conviction expressed is that their “choreographic structure”, “the performing arts side” of
an art gallery or a museum or other institution is not a who crossed one of these squares, the achievements of
selection was due essentially to the awareness about this project (Nuno Ricou Salgado, general coordinator,
problem at all for them. They assume they are working the project could be measured and accountable (both
their previous works and about their quality. All of them curator, producer, Lisbon, Olot) enables an increased
in their personal projects, without constraints, and quantitatively and qualitatively) in a multitude of different
acknowledge the importance of this project for their potential of performativity in the public space (by artists,
value the challenges on working on public space most levels and dimensions, in their artistic, urban, social,
artistic careers, even if some of them hadn’t heard about but also, particularly, by their audiences and by the
from the side of the capacity of communicating with the economic or political dimensions, for instance
its mentors (Procur.arte) or about some of the festivals mixed types of uses permissible at the same time that
audiences rather than from the side of having the need In this text, we were particularly interested in seeing what
involved before. Most of them declare, anyway, that they the art work is being experienced) which, by several
mechanisms, promote the community involvement and residences, location in public space, positive externalities)
even allow the development of deliberate strategies for should not also be underestimated, and even, in
that by the promoter or by public policy promoters. some cases, the work of some of the photographers
This project gives us very interesting signs of the multiple and curators, raised a social, economic or ecological
roles of art in/for/as sustainable development8 which awareness that, at the end, is also a contribution of
will be certainly further explored in future works. On a this project for sustainable development. On a third
first level, naturally, several aspects can be identified level, the one of arts as sustainable development, that
concerning the role of arts in sustainable development (as is the way this project could be creating sustainability,
an essential support to sustainability), that is considering potentiating the transformative role of culture as
the effects of several aspects of this project in terms of sustainable development, may be the project (as most
having a self-standing role in sustainable development: of the cultural projects in general) became a little short
for instance if we consider all the creative and cultural of this potential. Despite the development of some links
value created by these residencies, expressed in these of solidarity, amongst partners, to cope with risks of
artworks, the effects they caused through their fruition uncertainty (mostly economic) and some signs in terms of
to their audiences, the impacts on the raise of cultural a coherent aesthetic and ethic attitude, exploring paths for
capital, in the knowledge accumulated by the artists, and emancipation, as well as interesting cooperation effects
so on. In parallel, many other effects can be identified between newcomers and renowned artists, other aspects,
if we think in the perspective of art as element of such as the co-construction of sustainable projects and
connection, in the role of art for sustainability. The creative the developing of sustainable network collaborative links
and artistic manifestations had effects in the pursuing amongst artists, creators, partners, festivals, could go
of the other “pillars” of sustainable development, and a step forward. Naturally some collaborative links were
that should also be acknowledged. Aspects such as established, particularly in some festivals, although many
promoting equity by merely providing the art in public times relying just on utilitarian short-term interests.
space (access for all, opening 24/24 to wider audiences
But many interesting signs of potential sustainable
, increasing cultural capital), allowing the expression of
collaboration (between these artists, these producing
cultural diversity (in curatorial and photographers work);
teams, these communities) through this network were
promoting the protection of national/local cultural capital
also evident, and many of these effects will have naturally
and its specificities (in the work of some photographers)
space for grow in the future, after (for many of them) this
or the several mechanisms for interconnecting cultural
first opportunity for co-creating knowledge together.
and economic development (e,g market opportunities,
Naturally, a more comprehensive assessment of the
books, careers, workshops in parallel to exhibitions
impacts and results of a project like this would need
in most festivals; acknowledgment of economic value
more background work, and that certainly can be done
creation opportunities) are crucial here. Despite the
in future opportunities. Regardless this aspect, the fact
aspect of the high ecological footprint of the festival (the
is that this project gives us several clues about how its
11 ton “rock tour”), the fact is that there is a concern with
various initiatives have given important contributions to
the permanent reutilization of the structure and recycling
the involvement and empowerment of the communities
of materials. Other aspects such as the accessibility and
involved, and thus also contributed to the sustainability of
inclusiveness of the device and its public display and
the development of these territories.
the social cohesion it allows through the wider access
permitted (e.g. handicapped), or the fact they stimulate
indirect economic returns to those territories (artistic
1. A synthetic and briefer version of this text was published in the Internacionale, Paris, 8th-10th March 2017; Costa, P. and Lopes R.
final catalogue of the Flâneur Project (Salgado, 2017), under the title (2017), “New urban narratives at the public space: art, territoriality
“Catching the flâneurs: the interviews of the “Flâneur Project”. For that and community development in the Flâneur project”, 13th Conference
reason, naturally, some parts of this text are similar to that text. of the European Sociological Association “(Un)Making Europe:
Capitalism, Solidarities, Subjectivities”, Athens, Greece, 29th August
2. Coordinated by Procur.arte and funded by UNESCO (International -1st September 2017.
Fund for Promotion of Culture) and the European Commission
(Creative Europe Cooperation Program), among other partners. 7. Alves, M.B; Costa, P.; Lamoni, G.; Saldanha, J.L; Soares, A.I;
Tavares, M. (Coord) (2016), Flâneur. New Urban Narratives, Lisboa:
3. Procur.arte (Lisbon, Portugal), Câmara Municipal de Lisboa Procur.arte
(Lisbon, Portugal), Canal 180 (Porto, Portugal), Cap Magellan
(Paris, France), CCCB – Centre de Cultura Contemporània de 8. Using the terminology stablished in the context of the discussion
Barcelona (Barcelona, Spain), Cortona on the Move (Cortona, Italy), held in a recent COST action (cf Dessein, J; Soini, K; Fairclough,
EGEAC (Lisbon, Portugal), First Art (Creswell, United Kingdom), G; Horlings, L. (eds) (2015), Culture in, for and as Sustainable
Fundacja Edukacji Wizualnej – Fotofestival Lodz (Lodz, Poland), Development – Conclusions from the COST action IS1007
Gloc – Festimagem (Águas de Prata, Brazil), Instituto Universitário Investigating Cultural Sustainability, Jyvaskyla: Jyvaskyla University
de Lisboa – ISCTE-IUL / DINAMIA’CET-IUL (Lisbon, Portugal), ISSP – Press).
International Summer School of Photography (Riga, Latvia), Lluèrnia
Associació Cultural (Olot, Spain), Next Levl Projects (London, United
Kingdom), Photoireland (Dublin, Ireland), Photo London (London,
United Kingdom), Quad / Format (Derby, United Kingdom), Triennale
der Photographie (Hamburg, Germany), Universidade Nova de
Lisboa – FCSH (Lisbon, Portugal), Vsl Sviesos Rastas – Kaunas Photo
(Lithuania).

4. With project’s exhibitions (and other activities) in Mansfield (UK,
April 2015 and April 2017), Lisboa (Portugal, May 2015, September
2015 and August 2016), London (UK, May 2015), Hamburg (Germany,
June 2015), Águas de Prata (Brazil, July 2015), Cortona (Italy, July
2015), Paris (France, May 2016), Riga (Latvia, May 2016), Lodz (Poland,
June 2016), Dublin (Ireland, July 2016), Kaunas (Lithuania, September
2016), Olot (Spain, November 2016), and Derby (UK, March 2016),
and other parallel activities also in Abrantes (Portugal) and Kuldiga
(Latvia). Apart from these, some other cities have been targeted
by the work carried out in this project. For example, the artist
residencies in Italy, whose results were presented in Cortona, took
place in Rome, Milan and Torino.

5. “Documentary “Flâneur - New Urban Narratives”, which is also
part of this edition (in its short version with aprox 28 minutes, 2017,
Dir. Eduardo Amaro, Prod. Procur.arte).

6. Costa, P. (2017), “Arte, espaço público e desenvolvimento
sustentável: o território e o seu uso no projecto Flâneur – Novas
Narrativas Urbanas”, Seminar “Criatividade, Cultura e Território: A
intervenção urbana e as dinâmicas criativas no(s) seu(s) território(s)”,
ISCTE-IUL, Lisboa, 24th January 2017; Costa P. and Lopes, R. (2017),
“Art, public space and sustainable development: the use of urban
territory in the Flâneur project”, Colloque International “Les arts du
spectacle au prisme du développement durable”, Théâtre da la Cité
Aknowledgements:

The authors would like to acknowledge the indispensable
contribution and permanent collaboration of Eduardo
Amaro, director of the documentary that is the “other
face” of the analysis undertaken in this text, and that was
an active part in all the interviews.
The authors would also like express their gratitude to
all the photographers that collaborated in this work
being interviewed and sharing their “flâneur” experience
with us: Alex F. Webb, Alexander Gronsky, António Júlio
Duarte, Augusto Brázio, Caravan Gallery (Janet Patricia
Williams and Christopher Teasdale), Cristina de Middel,
Dima Gavrysh, Discipula (Tommaso Tannini), Giacomo
Brunelli, Henrik Duncker, Jens Masmann, Jonas Feige,
Kajal Nisha Patel, Liz Hingley, Martina Cleary, Rut Blees
Luxemburg, Sonia Hamza, Toni Amengual and Virgilio
Ferreira. By the same token, the authors express their
recognition to all the festival producers and curators
which have granted us with their interviews: Antonio
Carloni (project manager, Cortona), Arianna Rinaldo
(Curator, Cortona), Krzysztof Candrowicz (Curator,
Hamburg, Lodz), Louise Clements (Curator, Derby),
Mindaugas Kavaliauskas (Curator, Kaunas), Nuno Ricou
Salgado (General coordinator of the project, producer and
curator, Lisbon, Olot) and Pep Fargas (Producer, Olot).
Finally, the authors would like to acknowledge the
importance of several informal talks and discussions held
during all over the period of concretization of this project
with other members of Procur.arte production team
(Pedro Bacelar, Maria Salgado, Francisco Salgado), and
the “set-location” team Ana Limpinho and Tiago Pombal,
as well as some informal talks held with other curators
and agents involved, including Angel Luis Gonzalez
(Curator, Dublin), Boris Eldagsen (responsible for the
workshop Students of Olot Art School, Olot) and some of
the other photographers involved in the project, which
comprised (in addition to the above mentioned) also works
of: David Severn, Dougie Wallace, Esther Teichmann,
Marcello Bonfanti, Mariusz Forecki, Rik Moran, Sergiy
Lebediskiy, Students of Olot Art School and Tom Hunter.
Photo: Toni Amengual Photo: Kajal Nisha Patel
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