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Analisa-se o evento de arte pública Lisboa Capital do Nada, constituído por uma série de projectos de intervenção pública que tiveram lugar em Lisboa em 2001. O projecto levanta questões sobre o papel social da arte na preservação de modos de vida autênticos, e sobre o papel do artista enquanto testemunha do quotidiano ao tentar regenerar espaços urbanos considerados problemáticos e ajudar a construir uma identidade social, vista como a identidade das pessoas com o lugar. No entanto, a condição de mobilidade de artistas, intelectuais, políticos e especialistas, contrasta com a imobilidade de outros, que são, dessa forma, sujeitos a uma identidade local e objectificados por um olhar turístico. Esta forma de turismo cultural mantém as assimetrias de mobilidade, reforçando o poder daqueles que detêm o controlo sobre a sua própria mobilidade e sobre a circulação de significados; ao tentar substituir a experiência fragmentada e subjectiva do espaço por uma representação disciplinadora e unificadora, ou coerente, descura‑se o conceito de lugar como processo. This article analyzes the public art event “Lisboa Capital do Nada” [Lisbon Capital of Nothing], which involved a series of projects of public intervention that took place in Lisbon in 2001. This project raises questions about the social role of art in the preservation of “authentic” ways of life, as well as about the role of the artist as witness of daily life in his/her attempt to regenerate urban spaces considered to be problematic and in helping to construct a social identity that identifies the people with the place. However, the mobility of artists, intellectuals, politicians and experts contrasts with the stationary condition of others, who are thus subjected to a local identity and are objectified by a touristic gaze. This form of cultural tourism maintains the asymmetries of mobility, reinforcing the power of those that have control over their own mobility and over the circulation of meanings. In attempting to substitute the fragmented and subjective experience of space by a disciplining and unifying, or coherent, representation, the concept of place as process is disregarded. On analyse ici la manifestation culturelle de Lisbonne Capital du Rien, constituée par une série de projets d’intervention publique qui ont eu lieu à Lisbonne en 2001. Le projet soulève des questions sur le rôle social de l’art dans la préservation des modes de vie authentiques, et sur le rôle de l’artiste en tant que témoin du quotidien dans sa tentative de régénérer les espaces urbains considérés problématiques, dans son effort d’aider à construire une identité sociale, vue comme identité des gens avec le lieu. Cependant, la condition de la mobilité des artistes, des intellectuels, des politiques et des spécialistes contraste avec l’immobilité des autres, sujets, en conséquence, à une identité locale et objectivés par un regard touristique. Cette forme de tourisme culturel maintient les asymétries de la mobilité, renforçant le pouvoir de ceux qui détiennent le contrôle sur leur propre mobilité et sur la circulation des significations; en tentant de substituer l’expérience fragmentée et subjective de l’espace par une représentation disciplinaire et unificatrice, ou cohérente, c’est le concept de lieu comme processus qui est négligé

“Vidas reais, gente real”: A re-presentação de outros na arte no espaço público