In honor of the construction of several new metro stations, ‘Metroselskabet’ has chosen to create a project called ‘Byens Hegn’. This will serve as a public exhibition space for temporary art on a 6 kilometers long fence distributed around 21 buildings in Copenhagen and at Frederiksberg. In this paper we seek to examine how Byens Hegn function as a platform for art in Copenhagen and how public art in general should be included in the public spaces of the city. In our attempt to examine how the art should be part of the urban space we use a theoretical approach. In order to understand how Byens Hegn function as a public exhibition we have collected empirical material through interviews of respondents involved in the project of Byens Hegn as well as visual ethnography. Initially, we seek to identify a definition of public art to discuss how the social, political and site-specific potentials of public art should be exploited in the urban public spaces of society and how Byens Hegn relate to this discussion. We also include theory about street art in general to question if Byens Hegn is street art and to understand top-down commissioned public art versus underground art such as graffiti in order to examine how this dichotomy relate to Byens Hegn. The theory about The Society of the Spectacle is furthermore used as background knowledge to understand a social critique of the society, that art can act weapon against. This approach leads up to the question: who has the right to influence public space and who in society does Byens Hegn include?
|Uddannelser||Plan, By og Proces, (Bachelor/kandidatuddannelse) Bachelor|
|Udgivelsesdato||18 maj 2016|
|Vejledere||Carsten Schjøtt Philipsen|
- Byens Hegn