Cultural and Creative Mural Spaces : Community, Culture and Tourism of Uruguayan Contemporary Muralism and Other International Mural Spaces

This book puts into context the evolution of mural art in recent years, particularly the case of the contemporary muralism in Uruguay. While the focus of this volume, revolves around Uruguay, the editors demonstrate that circumstances found in Uruguay are also reflected widely in a large number of cases worldwide. Mural art has evolved from an elite audience to a more popular objective. At the same time, it does not lose the necessity of high value artists that, not only technically but also conceptually, will be able to connect to the audience and provide a sense of identity and necessity of preservation of this art. This leads to a down-top approach, where different actors take part in the process, from the conceptualization to the conservation. Moreover, mural art has been studied as a driver of local economic development, attracting visitors and tourists can access these open-air museums easily. This book is of interest to students and researchers working in fine art, heritage and museum studies. Preface 5 Contents 7 Abbreviations 9 Part I: Uruguayan Contemporary Muralism 10 Chapter 1: Challenges and Opportunities of Uruguayan Contemporary Muralism 11 1.1 Context 11 1.2 Needs of Uruguayan Contemporary Muralism 12 1.3 Conclusion 19 References 21 Interviews 22 Chapter 2: Social Realism, a Political and Social Art 23 2.1 Context 23 2.2 The Basis of Social Realism and Its Development in Uruguay 24 2.3 Conclusions 32 References 32 Interviews 33 Chapter 3: Constructive Universalism and the Influence of Torres García 34 3.1 Context 34 3.2 Joaquín Torres García and his Doctrine 35 3.3 The South School. The Torres García’s Workshop (TTG) 39 3.3.1 Torres García’s Workshop (TTG) 41 3.3.2 The Emblematic Murals of Saint Bois Hospital 42 3.4 Conclusions 45 References 46 Interviews 48 Chapter 4: Constructive Universalism, the Golden Artistic Age 49 4.1 Context: The Mechanics of Creation 49 4.2 The Constructive Mural 50 4.3 Art and Symbology Without Literature 52 4.4 The Torres García Workshop and the School of the South 53 4.5 The Unique Mural Proposal of Constructive Universalism 55 4.6 Evolution of the Constructivist Mural After the Disappearance of Torres García 57 4.7 Constructive Murals in Uruguay and Abroad 58 4.8 The First Steps Toward a Future Innovative Aesthetic 63 4.9 The ‘Stereogram Cosmos’ Project’ 70 4.10 Structural Plan 70 4.11 Conclusions 71 References 72 Chapter 5: The Abstraction, the Unknown Part of Uruguayan Contemporary Muralism 74 5.1 Context 74 5.2 Abstraction in Latino America 76 5.3 Uruguayan Abstract Art 78 5.3.1 Miguel Ángel Pareja, Promoter of Abstract Mural Art 79 5.3.2 The Abstract Mural as Part of Modernist Architecture 81 5.4 Conclusions 84 References 85 Interviews 86 Chapter 6: National School of Fine Art. University Extension and Mural Painting 87 6.1 Context 87 6.2 University Extension 87 6.3 National School of Fine Arts 89 6.4 The Muralist Movement 94 6.5 Activity for National Heritage Day 98 6.6 Conclusion 98 References 98 Chapter 7: Study of the Open-Air Museum of Ibero-American Art of San Gregorio de Polanco, Uruguay 100 7.1 Context 100 7.2 MAAIS Creation 101 7.3 MAAIS Evolution 102 7.4 Conclusions 105 References 114 Chapter 8: The New Emerging Artistic Expressions: Public Mural Art, Graffiti and Post-graffiti 116 8.1 Context 116 8.2 Uruguayan Public Mural Art 117 8.2.1 Mural-Based Tourism 117 8.2.2 Beautification Muralism 118 8.2.3 Community Educational Muralism 118 8.2.4 The Identity Process in Uruguayan Public Mural Art 119 8.3 The Graffiti and Post-graffiti Phenomena 120 8.3.1 The Uruguayan Graffiti Scene 122 8.3.2 The Uruguayan Post-graffiti Scene 125 8.4 Conclusions 130 References 131 Interviews 133 Chapter 9: Consequences and Needs of Uruguayan Contemporary Muralism 134 9.1 Context 134 9.2 Type of Mural Production Based on the Intentionality of the Artist 136 9.3 Conclusions 137 References 139 Interviews 140 Part II: Murals, Community and Cultural Tourism 142 Chapter 10: Museographic Project of Uruguayan Contemporary Mural Production 143 10.1 Context 143 10.2 Identity as Museographic Discourse 144 10.3 The New Mural Routes as Patrimonial Environments and Cultural Destinations 146 10.4 Tourist-Patrimonial Management in Cultural Policy 147 10.5 Scheme for Cultural Tourism and Patrimonial Management 150 10.6 Dissemination and Assessment of Uruguayan Contemporary Muralism 152 10.7 The Mural Routes as a High Quality Tourist Destination 153 10.8 Conservation and Restoration 154 10.9 Social Participation 154 10.10 Academic Training and Research 155 10.11 Conclusions 156 References 157 Chapter 11: Murals in North America 159 11.1 Context 159 11.2 Canada: Beautification 160 11.3 Mexico: Diego Rivera’s Revolution 161 11.4 United States: Where Street Art Was Born 163 11.5 Caribbean: Lessons to Learn from ‘The Big Three’ 164 11.6 Conclusions 167 References 167 Chapter 12: Incomplete Museum of Street Art, Evolution as a Cultural Destination 170 12.1 Context 170 12.2 Objective 172 12.3 MIAU, Museo Inacabado de Arte Urbano – The Unfinished Museum of Urban Art 172 12.4 Fanzara and Its Evolution as a Cultural Destination 176 12.5 Conclusions 178 References 181 Chapter 13: Crossroads: Urban Murals and Their Relationship to Memory, Tourism and the Possibility of Conservation and Restoration 183 13.1 Context ...and Art Became Urban 183 13.2 Early Stage 185 13.3 The Need for an Updated Terminology 190 13.4 Interlinked Tools 192 13.4.1 Conquering the Space 192 13.4.2 Artivism 193 13.4.3 Social Art 194 13.4.4 Muralism and Contemporary Urban Interventions 194 13.5 From the Slums to the City Centre 196 13.6 Quantifying the Importance of the Mural Phenomenon 198 13.7 Conservation 204 13.8 Conclusion 206 References 206 Chapter 14: Conclusions. The Sustainability of Cultural and Creative Mural Spaces 208 14.1 Concluding Remarks on the Sustainability of Mural Art 208 References 209 The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.