02767nas a2200337   4500000000100000000000100001008004100002653001900043653002200062653002700084653002700111653001700138653001500155653001400170653002700184653002300211653002200234653001500256653001900271653001800290653002000308100002200328700002600350700001800376245010000394856015400494300000900648490000700657520174500664022002002409                                       d10aBasque country10aCommunity practce10aEthnographic fieldwork10aEuropean Green Capital10aIMVG project10aKen Follet10aMural art10aOpen for works project10aPublic partcipaton10aSocial engagement10astreet art10aSustainability10aUrban gallery10aVitoria-Gasteiz1 aSantiago Villajos1 aVeronica Werckmeister1 aLander Garcia00aStreet Art and Intangible Heritage: a contextualising approach to public art in Vitoria-Gasteiz  uhttps://www.scopus.com/inward/record.uri?eid=2-s2.0-85076003791&doi=10.1344%2fwaterfront2019.61.6.6&partnerID=40&md5=a56116ae9f93e8e4ee2cd6e54c064e67  a3-290 v613 aThis paper presents the results of ethnographic fieldwork carried out in the city of Vitoria-Gasteiz, capital of the Basque country, between the 4th and the 8th of December 2017. In the last decade, Vitoria-Gasteiz has become internatonally known thanks to its urban gallery of public mural art. The murals of Vitoria-Gasteiz, in fact, were one of the main atractons of the city when it got the recogniton of European Green Capital in 2012.1 They started being produced by the IMVG project in 2007 on the same basis of sustainability as the general agenda of the city. This cultural agenda became a world-class reference in the field of cultural heritage studies, management and the archaeology of architecture thanks to the project Abierto por Obras (Open for works) that integrated sustainability within the research and development processes of excavatng, restoring, repairing, consolidatng, documentng and exhibitng the Gothic cathedral of St. Mary through cultural interpretaton.2 That program became an example of good practce recognized internatonally and atractng people such as Ken Follet, who presented A World without End, his sequel to The Pillars of Earth, in the building.3 The emphasis on sustainability makes the IMVG an exceptonal case-study within the current Street Art world, where normally expressions tend to be more ephemeral. One of the most singular aspects of the IMVG is its working methods based on community practce, social engagement and public partcipaton.4 The combinaton of these partcular features makes the IMVG an exceptonal case in the Iberian peninsula, where many Street Art festvals and projects developed quickly and produced large pieces of public mural art in parallel to the IMVG since the 2000s.  a11397365 (ISSN)