A City-wide Art Gallery
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.25765/sauc.v4i1.119 |
Resumo: | In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, di erent directions. Some of them have commercial functions, while others transmit moral messages and religious and political slogans. In the spring of 2015, billboards in Tehran suddenly transmitted a new message. A new urban project, called “A City-wide Art Gallery”, converted Tehran into a gallery using billboards. For many people, this was “a city-wide coincidence”. This was the rst time that the municipality of Tehran allocated billboards to a topic that followed neither a commercial nor an ideological purpose. The change that the project brought about in the city’s landscape has sparked debates among citizens and experts. The present study investigates the relationship of citizens with the images displayed in this project and compares this urban-scaled movement to people’s reference to art galleries and museums. Data for this study are collected using questionnaires and interviews. According to the results, the respondents were generally satis ed with the selection of artworks and their layouts. However, the size of the artworks and the size of the subtitle letters of the images were criticized. Data analysis also shows that this program has been able to partially create a discursive space among citizens and encourage people to visit museums and art galleries. |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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7160 |
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A City-wide Art GalleryIn Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, di erent directions. Some of them have commercial functions, while others transmit moral messages and religious and political slogans. In the spring of 2015, billboards in Tehran suddenly transmitted a new message. A new urban project, called “A City-wide Art Gallery”, converted Tehran into a gallery using billboards. For many people, this was “a city-wide coincidence”. This was the rst time that the municipality of Tehran allocated billboards to a topic that followed neither a commercial nor an ideological purpose. The change that the project brought about in the city’s landscape has sparked debates among citizens and experts. The present study investigates the relationship of citizens with the images displayed in this project and compares this urban-scaled movement to people’s reference to art galleries and museums. Data for this study are collected using questionnaires and interviews. According to the results, the respondents were generally satis ed with the selection of artworks and their layouts. However, the size of the artworks and the size of the subtitle letters of the images were criticized. Data analysis also shows that this program has been able to partially create a discursive space among citizens and encourage people to visit museums and art galleries.AP22019-03-02info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articlehttps://doi.org/10.25765/sauc.v4i1.119https://doi.org/10.25765/sauc.v4i1.119SAUC - Street Art and Urban Creativity; Vol 4 No 1 (2018): Changing times: Tactics; 18 - 282183-99562183-3869reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://journals.ap2.pt/index.php/sauc/article/view/119https://journals.ap2.pt/index.php/sauc/article/view/119/76Sohrabi, NarcissZojaji, Negarinfo:eu-repo/semantics/openAccess2024-01-26T14:15:34Zoai:journals.ap2.pt:article/119Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:57:48.658605Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
A City-wide Art Gallery |
title |
A City-wide Art Gallery |
spellingShingle |
A City-wide Art Gallery Sohrabi, Narciss |
title_short |
A City-wide Art Gallery |
title_full |
A City-wide Art Gallery |
title_fullStr |
A City-wide Art Gallery |
title_full_unstemmed |
A City-wide Art Gallery |
title_sort |
A City-wide Art Gallery |
author |
Sohrabi, Narciss |
author_facet |
Sohrabi, Narciss Zojaji, Negar |
author_role |
author |
author2 |
Zojaji, Negar |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Sohrabi, Narciss Zojaji, Negar |
description |
In Tehran, the capital of Iran, billboards bear two parallel responsibilities with, of course, di erent directions. Some of them have commercial functions, while others transmit moral messages and religious and political slogans. In the spring of 2015, billboards in Tehran suddenly transmitted a new message. A new urban project, called “A City-wide Art Gallery”, converted Tehran into a gallery using billboards. For many people, this was “a city-wide coincidence”. This was the rst time that the municipality of Tehran allocated billboards to a topic that followed neither a commercial nor an ideological purpose. The change that the project brought about in the city’s landscape has sparked debates among citizens and experts. The present study investigates the relationship of citizens with the images displayed in this project and compares this urban-scaled movement to people’s reference to art galleries and museums. Data for this study are collected using questionnaires and interviews. According to the results, the respondents were generally satis ed with the selection of artworks and their layouts. However, the size of the artworks and the size of the subtitle letters of the images were criticized. Data analysis also shows that this program has been able to partially create a discursive space among citizens and encourage people to visit museums and art galleries. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-03-02 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.25765/sauc.v4i1.119 https://doi.org/10.25765/sauc.v4i1.119 |
url |
https://doi.org/10.25765/sauc.v4i1.119 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://journals.ap2.pt/index.php/sauc/article/view/119 https://journals.ap2.pt/index.php/sauc/article/view/119/76 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
AP2 |
publisher.none.fl_str_mv |
AP2 |
dc.source.none.fl_str_mv |
SAUC - Street Art and Urban Creativity; Vol 4 No 1 (2018): Changing times: Tactics; 18 - 28 2183-9956 2183-3869 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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