![]() I will analyse in this respect the Unesco document called Florentine Declaration on Landscape (). The question is not trivial and it is open to debate. I state that one of the ways to safeguard landscape is to consider it a common good and also a possible human right. In the contemporary era the main issues relative to commons are the exhaustion of natural resources and the safeguarding of cultural and natural heritage (both material and immaterial). The literature on the concept of commons is currently thriving, and in this paper I focus on the specific relationship between landscape and commons (see also Menatti, 2013 2014). Through the concept of commons, several authors question the liberal theory of state in the management of land, and the fact that private property was often considered the only solution for both poverty’s problem and management of CPRs (see Caffentzis 2004 Hardt and Negri 2009 Harvey 2011 De Bollier 2012 Angelis 2013 ). Nowadays the political implications of the concept of commons/common good are various. ![]() Furthermore, the management of landscape is related to a philosophical idea of state, values and democracy (Olwig, 2003 2013). The analysis of old and new commons shows that there is a specific idea of state, society, politics embedded in the different approaches in analysing and managing landscape. Ostrom (1990 2009), by considering how she changed the idea of commons and the management of CPRs, after the great debate that the topic crated in the sixties (see Hardin 1968). Regarding the distinction among the previous three terms, I will take inspiration from the work by E. In this paper I will analyse and question the idea of “right to landscape” firstly by focusing on the concepts of common good/commons/common pool resources. Referencing both historically situated and contemporary art and anthropological research practices, alongside their modes of dissemination, Part II critically reflects on contested questions surrounding exhibition and curation, allied to the decolonisation of the anthropological museum. The primary concern of Part II is the role of the mediation of the artworks in postproduction, which draws on material collated during intersubjective field encounters, exhibited across contested sites of representation. While acknowledging the central role of the photograph as a critical tool of Western visual representation, focus is directed to multi-sensory cultural practices prevalent in non-Western and indigenous cultures. Adopting a feminist research approach and attention to indigenous methodologies as points of departure, Part I provides a critical overview of relevant and intersecting literature on theories of othering and the Western notion of the portrait it outlines the foundation on which the studied cultural practices were interpreted as practices of relating and attributing. The thesis comprises Parts I and II, together with an introduction and conclusion, in addition to four appendices. Turning the gaze upon the artist/researcher in performative acts of mutual representation as a dialogical method, cross-cultural projects addressed in the thesis include the indigenous Sámi’s yoik, the Aboriginal Australian’s track reading and female veiling in Yemen. Drawing on a selection of projects conducted over two decades across diverse cultural contexts, together with written publications, the thesis explores possible ways to identify and theorise alternative methodological and analytical frameworks through which the Other can be represented. This art practice-based thesis addresses the ocularcentric approach inherent in Western representations of ‘otherness’ with a view to expanding notions of the ‘portrait’ as a culturally specific practice. ![]() ![]() I therefore conclude my contribution by presenting the work of other contemporary artists (Jorma Puranen, Kathleen Petyarre) who have combined aspects of portrait and landscape in their work, providing opportunities for both reflection and social/political change. In particular, I argue that the combination of portrait and landscape through the positions of contemporary artists can make a significant contribution to the discourse on landscape. Suggesting a stronger inclusion of different cultural practices/traditions and artistic positions in the discourse on landscape, I present my own practice-based research on portraiture as a possibility of how landscape could open up new perspectives in the light of other cultural practices and artistic expressions to deepen and ex□pand Mi□chell□□'s in□tercu□l□□tural and multisensory perspective on landscape. Mitchell developed in his nine theses on landscape, applies to the portrait. Discussing the historical commonalities of portrait and landscape, this paper analyses how the cross-cultural and multi-sensory aspects, which W.J.T.
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