Liquid Horizons: Public Art and Cultural Transformation on the Margins
DOI:
https://doi.org/10.47456/rf.rf.2132.49280Keywords:
public art, artistic installation, relational art, ecology and aesthetics, coastal territoriesAbstract
This article proposes a reflection on contemporary public art in river and coastal territories, based on three axes: sensitive cartographies of the margins; underwater installations and relational art; and the monument as a symbolic gesture in the face of climate change. Emblematic works are analyzed, such as Roberto Burle Marx's Copacabana Sidewalk; Mark Manders's Fragment of a Living Room Reduced to 88% (2001); Christo and Jeanne-Claude's floating walkways; and Jason deCaires Taylor's underwater museums. These experiences are complemented by the installation COP 30: The Future in Suspension, by the researcher, conceived as situated public art sensitive to environmental urgency. In all these works, art emerges as an aesthetic-political device that reinscribes meanings in the territories of the margins—marine or river—activating memories, affections, and possibilities for re-enchanting the world. By engaging the body and the collective, these artistic practices expand the symbolic field of public space and contribute to imagining new pacts between society and nature.
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