In contemporary society, public space has become a crucial arena for artistic expression, social engagement, and political reflection. Within this context, street art and outdoor performing arts hold a unique position. They operate in the liminal space between institutionalized culture and everyday life, engaging directly with communities and fostering a renewed sense of collective ownership over shared environments.

As someone deeply involved in the professional development of this sector, I have witnessed firsthand how outdoor arts possess a unique poetic power to transform the way people experience public spaces. Beyond mere entertainment, these practices create opportunities for dialogue, reflection, and collective imagination. When artists step into public spaces, they do more than perform - they invite us to reconsider our relationship with the environments we inhabit and the communities around us. This power to foster connection is both timely and essential in a world marked by increasing fragmentation.

Professor Cerruti But, an urban planning scholar from the University of Turin, introduces the concept of "Urban Tensions" in the volume Art and Public Space, published by the Italian Ministry of Culture. According to Cerruti But, these tensions emerge in public spaces, which are defined not solely by property regimes but rather by the uses and interactions they enable. Public spaces, in this sense, are constantly negotiated territories where diverse social, political, and cultural forces collide and coalesce. As Cerruti But notes, these tensions trigger "a dynamic balance between the forces acting on space, a continuous and persistent search for a moving center of gravity, resulting from explicit and implicit negotiations". This framework provides a valuable lens through which to examine the evolving poetics of outdoor arts today.

Rooted in popular tradition, street art has historically been a collective form of expression, echoing the voices and experiences of local communities. Over time, it has evolved into a sophisticated artistic practice that blurs the boundaries between performance, activism, and urban research. Outdoor performing arts, in particular, highlight the transformative power of public space. When a performance unfolds in the street, it disrupts the rhythms of everyday life, inviting passersby to pause, observe, and participate. This spontaneous interaction generates what can be described as an "alchemical magic" - a shared experience that reclaims urban spaces as sites of collective imagination and cultural inquiry.

I believe this alchemical magic lies at the heart of why outdoor arts matter today. In a world where digital spaces increasingly shape human interactions, the physical act of gathering in public spaces takes on profound significance. Outdoor performances, through their ephemeral yet deeply felt presence, reveal hidden layers of the urban landscape and open new avenues for collective memory and belonging. This poetic dimension is not merely an artistic choice - it is a form of resistance against the forces that seek to homogenize and privatize public life.

Participation lies at the heart of this artistic language. Yet, as cultural, technological, and political landscapes rapidly shift, the nature of participation is becoming increasingly complex. Participatory art is not a neutral act; it involves individuals with diverse backgrounds and perspectives, each bringing their histories, desires, and concerns to the table. This unpredictability is both a strength and a challenge. It opens possibilities for genuine dialogue and co-creation, while simultaneously requiring artists to navigate the risks of manipulation, exclusion, or superficial engagement.

Artists working in public and participatory contexts must struggle with questions of political agency and ethical responsibility. As facilitators of collective processes, they do not merely present neutral spaces for interaction. Rather, they actively shape the conditions under which participation occurs, being mindful of power dynamics and the socio-political implications of their work. The ability to foster inclusion and transformation depends on the careful design of these processes - ensuring that they remain responsive to the communities they engage and the contexts they inhabit.

The emergence of digital platforms adds another layer of complexity. Social media and virtual environments have reshaped how public spaces are defined and experienced. While these technologies offer new possibilities for artistic dissemination and collaborative creation, they also introduce questions of accessibility, authenticity, and control. Who defines the rules of these digital arenas? To what extent can participatory processes extend into virtual spaces without losing their embodied and collective essence?

Despite these challenges, I remain convinced of the enduring relevance of outdoor arts. They remind us that public spaces are not static or neutral. They are living, breathing environments shaped by the people who move through them. Through my work, I have seen how performances in public space can foster unexpected encounters, provoke new questions, and cultivate a sense of shared belonging. This is the poetic and political power of outdoor arts: they create openings, both literal and metaphorical, where new imaginaries can take root and flourish.

In an era marked by profound social and political transformations, the poetics of outdoor arts call us to reconsider the meaning of public space itself. They remind us that public spaces are not fixed or passive but are instead dynamic and contested arenas where new forms of community and imagination can emerge. Through participatory processes and the reclaiming of urban landscapes, outdoor arts invite us to envision a future where the commons are not only preserved but continuously reinvented through collective action and creative dialogue.

Photo: © Roberto Bonomo.

Eleonora Ariolfo

Eleonora Ariolfo is the Director of Outdoor Arts Italia ETS, leading international relations and production. With a background in performing arts and a degree from Codarts, she specializes in cultural project development and has managed major festivals and events.