Gra Ti, Street Art and the Berlin Wall S Heritage
Intangible Heritage PhD candidate (FCT scholarship) at Catholic University of Portugal, School of Human Science | Lisbon, Portugal Doctoral Researcher at University of Copenhagen, Department of Arts and Cultural Studies | Copenhagen, Denmark Abstract context and temporality that this process entails. In order to discuss these issues, I will frame the Berlin Wall as a paradigmatic case that presents a trajectory in time: I will follow the transition of the Wall from a deadly frontier to an obsolete structure and, - ated in between tangible and intangible heritage. Particularly with the Berlin Wall, and in regard to the preservation of memory anonymous. Keywords: 1. Introduction urban decay and street art has been rewarded with more acceptance both from public opinion and the art world, art are crucial when discussing such issues. Indeed, the preservation of the memory of a given community is normally mainly unsanctioned visual interventions in public spaces. ensured by the institutions entrusted with this task. In this considered urban, ephemeral, and context-dependent Riggle has argued that an “artwork is street art if, and only if, ways as its transposition to the gallery or the museum. its material use of the street is internal to its meaning” (Riggle, Moreover, issues of heritage related with these practices it relies exclusively on the characteristics of the artworks, neglecting their social construction and place within the art simultaneously be considered tangible and intangible heritage. world (Bengtsen, 2013), it rightly alludes to the importance of falls somewhere between tangible culture (heritage sites) and suggested that transposing such objects from the street to intangible culture (traditional music, chanting, performances the gallery or the museum necessarily implies a loss, or, at or rituals and festivals)” (MacDowall, 2006: 474).
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