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Arte e coletivismo na cidade do Porto (1998 – 2013): o potencial democrático de 15 anos de práticas artísticas colaborativas e os seus antecedentes históricos
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A presente dissertação tem por objetivo analisar o potencial democrático dos processos de coletivização das práticas artísticas, tomando como estudo de caso um movimento inédito de coletivização que ocorreu no Porto entre 1998 e 2013 e que originou a criação de cerca de 45 grupos, envolvendo aproximadamente 160 artistas. Através do mapeamento, categorização e análise da dimensão micropolítica dos coletivos que deram origem a este fenómeno – que permanece até aos dias de hoje por documentar e investigar –, pretende-se avaliar de que forma a coletivização das práticas artísticas contribui para modelos mais participativos e diretos de democracia e de cidadania, alinhando-se com as premissas de cooperação, colaboração e participação política ativa consagradas na Constituição da República Portuguesa, que define as artes e a cultura como campos privilegiados de exercício democrático. Através de entrevistas aos artistas e aos agentes culturais envolvidos, e da análise de material de arquivo, procurou-se reconstituir a atividade destes coletivos, tendo sido possível observar a criação de uma rede de apoio mútuo entre grupos e artistas, assente numa economia de partilha e na construção de um comum artístico. Por forma a melhor compreender o fenómeno, porém, esta dissertação começa por abordar os antecedentes históricos deste movimento, partindo do pressuposto de que a organização coletiva dos artistas se manifesta de forma cíclica, em momentos de crise política e social. Como tal, procurar-se-á identificar as principais linhas de força que terão precipitado a coletivização das práticas artísticas ao longo do século XX, começando pelas primeiras vanguardas e culminando nos ativismos artísticos do século XXI. Depois disso, seguir-se-á uma análise da organização coletiva dos artistas em Portugal no período revolucionário (após a Revolução do 25 de Abril) e à sua colaboração no processo de construção da democracia, argumentando-se que se terão aí desenvolvido os princípios e os valores democráticos que irão dar origem à Constituição da República Portuguesa. Face ao processo de neoliberalização da economia e do sistema democrático que o país irá testemunhar nos anos que se seguem à revolução, a organização coletiva dos artistas irá ressurgir de forma recorrente. Como se procurará mostrar, ela servirá não só para contestar essas transformações, como também para colmatar a falta de apoio institucional à cultura e às artes, provando assim, por um lado, o potencial democrático da organização coletiva a partir de baixo, mas também as fragilidades da governação política e daquilo que é hoje a democracia portuguesa.
In this dissertation, I explore the democratic potential of collective artistic practices, focusing on an unprecedented wave of collectivization in Porto (Portugal) between 1998 and 2013, resulting in nearly 45 groups forming and engaging 160 artists. The study assesses how the collectivization of artistic practices fosters more participatory and direct models of democracy and citizenship through the mapping, categorization, and analysis of the micropolitical dimensions of the collectives that shaped this phenomenon – one that remains largely undocumented and unexplored. This inquiry aligns with the principles of cooperation, collaboration, and active political participation enshrined in the Portuguese Constitution, which recognizes the arts and culture as key arenas for democratic engagement. Drawing on interviews with artists and cultural agents, alongside archival research, this study attempts to reconstruct the activities of these collectives, shedding light on how a network of mutual support among groups and artists may have emerged, rooted in a shared economy and the creation of artistic commons. However, to better grasp this phenomenon, the dissertation first examines its historical antecedents, based on the premise that artists’ collective organization tends to emerge cyclically in times of political and social crisis. Building on this premise, this research explores the key forces driving the collectivization of artistic practices throughout the 20th century, from the early avant-gardes to the artistic activisms of the 21st century. The study then examines the collective organization of artists in Portugal during the revolutionary period following the April 25 Revolution and their role in the democratic transition, arguing that it was in this context that the principles and values that would later shape the Portuguese Constitution began to take form. In response to the neoliberalization of the economy and the democratic system in the years following the revolution, artists’ collective organization repeatedly resurfaced. As this study will demonstrate, these collective efforts challenged these transformations while also addressing the lack of institutional support for culture and the arts. In doing so, they underscored the democratic potential of grassroots organization but also revealed the fragilities of political governance and the limitations of contemporary Portuguese democracy.
In this dissertation, I explore the democratic potential of collective artistic practices, focusing on an unprecedented wave of collectivization in Porto (Portugal) between 1998 and 2013, resulting in nearly 45 groups forming and engaging 160 artists. The study assesses how the collectivization of artistic practices fosters more participatory and direct models of democracy and citizenship through the mapping, categorization, and analysis of the micropolitical dimensions of the collectives that shaped this phenomenon – one that remains largely undocumented and unexplored. This inquiry aligns with the principles of cooperation, collaboration, and active political participation enshrined in the Portuguese Constitution, which recognizes the arts and culture as key arenas for democratic engagement. Drawing on interviews with artists and cultural agents, alongside archival research, this study attempts to reconstruct the activities of these collectives, shedding light on how a network of mutual support among groups and artists may have emerged, rooted in a shared economy and the creation of artistic commons. However, to better grasp this phenomenon, the dissertation first examines its historical antecedents, based on the premise that artists’ collective organization tends to emerge cyclically in times of political and social crisis. Building on this premise, this research explores the key forces driving the collectivization of artistic practices throughout the 20th century, from the early avant-gardes to the artistic activisms of the 21st century. The study then examines the collective organization of artists in Portugal during the revolutionary period following the April 25 Revolution and their role in the democratic transition, arguing that it was in this context that the principles and values that would later shape the Portuguese Constitution began to take form. In response to the neoliberalization of the economy and the democratic system in the years following the revolution, artists’ collective organization repeatedly resurfaced. As this study will demonstrate, these collective efforts challenged these transformations while also addressing the lack of institutional support for culture and the arts. In doing so, they underscored the democratic potential of grassroots organization but also revealed the fragilities of political governance and the limitations of contemporary Portuguese democracy.
Descrição
Palavras-chave
Porto Artists’ collectives Coletivos de artistas Direct and participatory democracy Democracia direta e participativa Portuguese constitution Constituição portuguesa Contagious effect Efeito de contágio Shared economy Economia de partilha Artistic commons Comum artístico