Rebranding Ronda: el muralismo institucional como atractivo turístico
[EN] Since the second decade of the 21st century, the province of Malaga has experienced the intervention of dozens of muralists under the label of street art. These murals have not been carried out independently, but have been done through the intermediation of the political powers of each locality...
| Autor: | |
|---|---|
| Tipo de recurso: | artículo |
| Fecha de publicación: | 2023 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/199879 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/199879 |
| Access Level: | acceso abierto |
| Palabra clave: | Urban art Graffiti Muralism Gentrification Tourism Okuda Ronda Fitur Branding Arte urbano Muralismo Gentrificación Turismo |
| Sumario: | [EN] Since the second decade of the 21st century, the province of Malaga has experienced the intervention of dozens of muralists under the label of street art. These murals have not been carried out independently, but have been done through the intermediation of the political powers of each locality in which these events have taken place. One of these places is Ronda, which, under the name Rebranding Ronda, has promoted a series of large-format murals starting in 2021, with the main objective of adding a new tourist attraction to its city. The artist chosen as the emblem to inaugurate this marketing strategy has been Okuda, an internationally recognized muralist in this field. To analyze this event we have compiled a wide series of articles that appeared in the local press during the days in which the interventions took place. Furthermore, they have been contrasted with similar interventions carried out previously both in the province of Malaga and in other places, in order to be able to draw conclusions that essentially refer us to the relationship between art and politics. It is also for this reason that in this text authors referring to such disciplines are cited, which illuminate a series of final reflections. The instrumentalization of street art by different governments around the world is a more than proven fact. Muralism, as the main discipline of this movement, is the one that leads the vast majority of events. The use of muralism to attract tourists, as well as to regenerate depressed areas of cities, has become a common tool in our cities. Neoliberalism is the system that has most intensely understood the advantages that spectacular practices such as large-format muralism can bring, which become a new type of low-cost monumentality, whose signature is as or more important than the work itself. Thus, certain brand-artists become objects of desire for the rulers, sensing that with this they will provide an avant-garde incentive to their respective cities, as we understand has happened in the case we present in Ronda. |
|---|