In a determined and fortunate place, space art is characterized by the repose of an aesthetic experience. It coexists with the environment making it more beautiful, distinguishing itself while it is portrayed profusely. This borderline art coexists with architecture, is in charge of representing the protagonist species of the world, and gilds cities by remembering significant events, commemorating characters, or simply, by fulfilling a contemplative function.

In the act of embellishing cities, for centuries, everyday experiences have been enriched with the existing natural sense: from the streets of Greece, Renaissance Italy to Colonial America and the environmental pieces of the 21st century. Art has found one of the most gratifying forms of expression in the public experience and it will undoubtedly continue to do so with the artistic feats of the future.

In terms of taking the aesthetic experience to a massive diffusion, the logic behind the act of abandoning the easel in order to charge against the wall, staying away from the pedestal to focus on fountains and public squares, makes sense. Modern materials and the rupture with classical forms, enable a public art that in most cases is dazzling and inclusive. Technological experiences within this field are usually well received, the unfolding of lights, laser and video projections; delight the fortunate cities that have become studios for great artists.

The social benefits of public art are well known to the fearless people who go up to the piece to transit and experience it. Surrounding the act of socializing creation innumerable profound and inspiring social practices could be applied. While public art is a meaningful aesthetic experience, the possibilities that exist in the act of fostering creative empowerment of the audience that stands in front of urban or natural pieces, are truly transgressive.

The term is employed by Adolfo Sanchez Vazquez in the essay “Socialization of Creation or the Death of Art”. The author delves into the possibilities that are opened when a piece is created, which the artist does not conclude, but merely inaugurates, and whose transformation corresponds to the audience. With the purpose of motivating and inspiring the audience with the creation of mutable and accessible forms, the socializing experience is also encouraged in workshops and lectures. In this scenario the artist is a guide, or a researcher of creative forms and the audience becomes the creator. Therefore the artist is not the only person who is created or licensed to perform creative acts.

We should practice inspiring acts that spread creativity throughout public space and into the intimacy of the private moment, a safe and profound transformation of societies and individuals.

In a determined and fortunate place, space art is characterized by the repose of an aesthetic experience. It coexists with the environment making it more beautiful, distinguishing itself while it is portrayed profusely. This borderline art coexists with architecture, is in charge of representing the protagonist species of the world, and gilds cities by remembering significant events, commemorating characters, or simply, by fulfilling a contemplative function.

In the act of embellishing cities, for centuries, everyday experiences have been enriched with the existing natural sense: from the streets of Greece, Renaissance Italy to Colonial America and the environmental pieces of the 21st century. Art has found one of the most gratifying forms of expression in the public experience and it will undoubtedly continue to do so with the artistic feats of the future.

In terms of taking the aesthetic experience to a massive diffusion, the logic behind the act of abandoning the easel in order to charge against the wall, staying away from the pedestal to focus on fountains and public squares, makes sense. Modern materials and the rupture with classical forms, enable a public art that in most cases is dazzling and inclusive. Technological experiences within this field are usually well received, the unfolding of lights, laser and video projections; delight the fortunate cities that have become studios for great artists.

The social benefits of public art are well known to the fearless people who go up to the piece to transit and experience it. Surrounding the act of socializing creation innumerable profound and inspiring social practices could be applied. While public art is a meaningful aesthetic experience, the possibilities that exist in the act of fostering creative empowerment of the audience that stands in front of urban or natural pieces, are truly transgressive.

The term is employed by Adolfo Sanchez Vazquez in the essay “Socialization of Creation or the Death of Art”. The author delves into the possibilities that are opened when a piece is created, which the artist does not conclude, but merely inaugurates, and whose transformation corresponds to the audience. With the purpose of motivating and inspiring the audience with the creation of mutable and accessible forms, the socializing experience is also encouraged in workshops and lectures. In this scenario the artist is a guide, or a researcher of creative forms and the audience becomes the creator. Therefore the artist is not the only person who is created or licensed to perform creative acts.

We should practice inspiring acts that spread creativity throughout public space and into the intimacy of the private moment, a safe and profound transformation of societies and individuals.

Tagged: , ,