Street Art and Graffiti

TESIS DOCTORAL COMPLETA
Proyecto de investigación artístico y social que a través del estudio de las principales influencias, herramientas, una selección de fuentes filmográficas y bibliográficas y entrevistas personales, pretende facilitar la compresión del graffiti y el arte urbano.
Se propone acuñar los términos “visión purista” y “visión evolutiva" para diferenciar dos formas de entender el graffiti y el arte urbano.
Se incluyen más de 40 entrevistas a escritores de graffiti y artistas urbanos principalmente de Madrid, Barcelona y Granada. También hay capítulos dedicados a los argumentos que justifican la ilegalidad y a los valores e ideologías que impulsan el movimiento.
Las conclusiones proponen un enfoque constructivo para la generación que tomará el relevo.

Mit dem Ziel, ein prototypisches, webbasiertes Werkverzeichnis in Form einer allgemein zugänglichen Datenbank für einen Street-Artist zu erstellen, stehen Bildwissenschaftler vor einer Reihe von Herausforderungen. Einige davon möchte ich anhand des „bekanntesten Street-Art-Künstlers Banksy“ (F.A.Z.) vorstellen.
Mit dem Durchbruch des Internets um 2000 erfolgt der von Street Art, beides hängt zusammen. Street Art wird mehrheitlich online betrachtet, durch digitale Fotos und Videos. Zuerst nahm die Qualität und Quantität der Fotos zu, bis die durchschnittliche Rechner- und Internetkapazität auch Videos in akzeptabler bis gestochen scharfer Version zeigen konnte. Neuere Bilder sind teils vom Künstler, teils von anderen bereits geogetagged. Diese in Bild/Videodateien schon vorhandenen Daten sollen für ein digitalen catalogue raisonné mit zusätzlichen Daten an der „fertigen“ Datenbank durch Laien und Wissenschaftler ergänzt werden können. Zu Einsatz kommen dabei neueste Methoden des automatischen Bildverstehens und verschiedene Ansätze der Computer Vision zum Analysieren und Vergleichen von Kunstwerken, etwa Anwendungen zur Segmentierung und Verschlagwortung großer (Bild-)Datensätze.
Da Street Artists illegal arbeiten, sind sie teils nicht kooperationsbereit, d.h. Datensätze können oft kaum „klassisch“ mit Hilfe des Künstlers, seines Nachlasses oder seiner Galerie erstellt werden. An die Stelle von Institutionen und dem Umfeld des Künstlers treten verschlagwortete Web-Bilddateien als Hauptquelle. Digitale Provenienzforschung ist mit Hilfe der Webseite des Street Artists und mit der von ihm herausgegebenen Bildbänden / Künstlerbüchern möglich. Dies bildet nur den Anfang, da z.B. Banksy oft nur die beste Version veröffentlicht, es also mehrere „Originale“ gibt, oder weil die Webseite aktualisiert wurde (wodurch frühere Informationen oft verloren gehen). Da die Bilder oft von anderen gespeichert werden und dank Internet-Archiven auch Rekonstruktionen von Webseiten möglich sind, lässt sich ein Street Artist-Oeuvre rekonstruieren.
Da „Street“ Art oft ortspezifisch ist, ist mit Google Street View ab 2007 eine Verlinkung der Werkabbildung mit dem Original-Kontext möglich. Bei älteren Werken gilt es, den Anbringungsort z.B. anhand von digitaler Verschlagwortung zu eruieren, oder durch das Analysieren von Fan-, Presse-Fotografien und solchen des Künstlers Hinweise suchen, die den Ort erschließen lassen. Es folgen zudem Fragen der Material- und Maße-Bestimmung bei Street Art sowie nach deren Betitelung. Für Street-Art-Werkkomplexe, die oft seriell und mit oeuvre-immanenten Verweisen operieren ist eine link-basierte, netzartige Datenbank folgerichtiger als ein Buch, das fortschreitend eine Geschichte erzählt.
Diese und weitere Methoden und Fragestellungen - anhand eines Street-Artist-Werkverzeichnisses entwickelt - könnten für heute zeitgenössische Künstler angewendet werden, deren Werk die Schwelle zum Digitalen überschritten hat und für die „klassische“ Werkverzeichnisse nicht mehr greifen.

"Bild och natur" is an anthology edited by Peter Bengtsen, Max Liljefors and Moa Petersén. Ten researchers from the Division of Art History and Visual Studies at Lund University, Sweden, have contributed chapters.

The ten texts (seven in Swedish and three in English) explore how nature has been visually depicted throughout history. From medieval church paintings to contemporary computer games and street art, from art photography to genetic diagrams – in these varied and fascinating images, nature is given a face, becomes concrete. The chapters in the book address these different images of nature and show that they are also multifaceted portraits of ourselves.

"Bild och natur" was published with generous support from The Gyllenstierna Krapperup's Foundation and The Elisabeth Rausing Memorial Foundation.

This panel set out to explore the popular and scholarly literature on graffiti and street art, to assess what has been accomplished in these fields, and where scholarly research in the fields of criminology, criminal justice and allied social sciences and humanities must go to better understand these largely urban phenomena.

Today we are witnessing some sudden changes concerning the perception of the urban space in Poland. The social and spatial consequences of the processes of rapid and chaotic development and transformation of the cities during the last two decades have been thoroughly
investigated and criticized by the specialists from the fields of architecture, sociology and
philosophy, and even covered in some recent popular bestseller books. It is thus not an exaggeration to state that the quality of the urban space is becoming an increasingly important issue for many Poles. It is striking, however, that the mentioned scholarly work offers more criticism than positive, innovative solutions for the future. It seems to be concentrated more on the defense of the modernist architectural heritage, the preservation of modernist urban developments and inventing new functions for old modernist buildings than creating ideas for the urban spaces of the future. The local Silesian context seems to fit perfectly into this pattern.

In this chapter, I propose that indigenous graffiti and street art are interconnected with the political mobilization of indigenous groups who actively oppose the structural and systemic histories of violence suffered by indigenous people under settler colonialism. Indigenous graffiti and street art work to destabilize colonial occupations of indigenous territory, by drawing attention to the ways that the existence of settler colonial infrastructure and architecture operates as material evidence of indigenous suffering. By attempting to reclaim the constructed spaces of colonialism through modes of socio-aesthetic intervention, I maintain that the work produced by indigenous graffiti writers and street artists unfold productive strategies of decolonization. My analysis raises questions about the radical potential of indigenous graffiti and street art to delegitimize oppressive social conditions inflicted upon indigenous people by colonial powers.

Presentation about the difficulties involved when attempting to represent graffiti and street art in an institutional context.

The presentation was given at the workshop "From City Streets to Museum Galleries: Discussing Street Art and Graffiti's Leap" at New York University Abu Dhabi.

In this anthology chapter, I relate Miwon Kwon's different definitions of sites and site specificity to the field of street art. The case being studied is a photograph of two stencil works by the British artist Banksy and the artist collective Faile respectively.

Cedar Lewisohn, curator of the Street Art show at Tate Modern (2008), blustered in an international street art conference in Lisbon (2014) about Street Artacademics being rather fans than critical academics and most Street Art to be pathetic and kitschy. The latter might be right. Or it is a truism that is true for any art, maybe both. The first thing Lewisohn said, is, in my opinion, just a problem of communication, i.e. what’s not available in English simply might not exist in the minds of some researchers.“What is Street Art?” This the first question in a call for Paper for a Street Art conference in New York in March this year as well as in our conference today.
Since about 2005 a range of academic authors already tried to answer that question. A lot of them don’t write in English. My paper is a short introduction and discussion of the term Street Art and related terms from the position of a visual culture researcher. I quote first and foremost German researchers that are not translated into English but in my opinion should be part of the international academic discussion.
 
Lewisohn is not completely wrong in what he said. Most research about Street Art is not written without critical distance, but most of the papers given at Street Art conferences are ratherdescriptive. They can be summarized as “there is this Street Art project in such-and-such, I give you more details about that”– and that’s it. Although there is some recent critical research in English done for instance by Jacob Kimvall (The G Word, 2014), Peter Bengsen (Street Art World, 2014) and Rafael Schacter (Ornament and Order, 2014).
As a researcher in visual culture (Bildwissenschaftler) in academic Street Art researchI often miss a debate and an examination of what we see. This is the second point of my paper based on the discussion of the term. A lot of researchers just deal with the frame-set of Street Art, i.e. with Street Artists, the scene, combined with background information about shows. Some researchers show a lot of examples of Street Art, pictures, and leave the viewer alone with that - as if those pictures would speak for themselves. Well, they do, but with everyone differently. A lot of researchers spoke with Street Artists, graffiti writers, and new media practitioners but not with Street Art itself. Interviews for instancemight not always be the solution for everything. To come back to Lewisohn’s claim - most Street Art would be kitsch, “middlebrow”, “illustration” but not (street) art. But who is to judge if it is Street Art or not? And who if it is good? Most Street Artists, who say their art is great might be wrong as well if they say the opposite.“Anything-goes” might be fruitful for Street Art but not for Street Art research, some debatable categories might be helpful. I plead for more Street Art research and less research about Street Artistsalthough one cannot be without the other.

This paper applied an ecocritical perspective on street art to expand on the notion that street art can have an impact on how we relate to urban public space. In doing so, it argued that street art is particularly well positioned to affect the way we think and act with regard to the environment.

URBAN ART: CREATING THE URBAN WITH ART
14-16 July 2016 – Humboldt University Berlin
Keynote: Prof. Dr. Frank Eckardt (Bauhaus-Universität Weimar)

The conference deals with Urban Art, a new form of art and activism, that occurs in urban areas worldwide. First known under the label of "Street Art", the term has expanded to include diverse artistic and visual interventions in the exterior space. In contrast to the traditional term ‘public art’ Urban Art is very inclusive. Thus, it is both part of and reflective of current processes of global urbanization.
The extremely heterogeneous manifestations of Urban Art range from large-scale wall paintings to tiny stickers, performative interventions to alternative forms of urban planning; they accompany multiple forms of urban and global criticism and try to encourage participation through low artistic techniques.They are seen in passing, often by chance, on the street or by the discovery of images and locations online and in social media. Finally, the ambivalent areas of upvaluation and reinterpretation of urban spaces (gentrification), advertising and city marketing (commoditization) and attacks on private property (vandalism) are topics of Urban Art.

Works of Urban Art tend not to emerge from the art establishment, but come from anonymous players who make use of simple techniques and materials. Therefore, Urban Art is a phenomenon of the 'Low', which indeed evolved from a subculture, but clearly has features of mass culture: it is easily accessible to a wide audience on the street and online, works of Urban Art are often produced in series and at a low price.Urban Art messages are striking, comparable to advertising, and serve as entertainment or express site-specific criticism of urban surroundings. At the same time, the implicit notion of the urban provides the opportunity to reflect on the present development of the city and its medialization or aestheticism. This includes processes of virtualization, which participants test in a playful artistic environment or also concerning the monitoring in public space.

Topics of interest for submission may include, but are not limited to:

• Urban or Public Art?
• New Media (Internet and social media in the production and reception of urbanity)
• Performativity (Action and reception by moving in the urban space)
• Politics (Processes of participation and gentrification)
• Tourism and Vandalism (Strategies of production and denial of urbanity)
• Global-Local (Site-specific significance - global expansion)
• Architecture and City Planning (Medialization of architecture and alternative forms of urban design/city planning)
• Urban Art Research (Terminology, history of the core concepts)
• Historicizing and Conservation of Urban Art
• The Urban Pedestrian
• Discussion of the concept of work (Werkbegriff) at Urban Art (What is the work of art in Urban Art?)
• Urban Planning and Philosophy
• Applied Ethics and the City
• Race in Urban Affairs
• Aesthetics and Urbanity
• Humans, Animals, and Environment and the City
• Feminism and the City
• The City in the History of Philosophy
• Urbanity and Justice
• Urban Technology: Architecture, Engineering and Smart Cities

Abstracts of no more than 1500 characters (including spaces) are invited for papers, panels and workshop presentations and should be suitable for presentations of approximately 30 minutes.

Conference language is English.

Proposals should include name, contact information (address, phone number, e-mail), title of the paper, short CV in English (max. 200 words). In the case of an unconventional presentation, please inquire.

Please send submissions and questions to Ilaria Hoppe, [email protected] and Ulrich Blanché, [email protected].
All submissions should be prepared for anonymous review. Notice of application results will be given by 1st May, 2016.

Deadline: April 1, 2016.

Partial reimbursement for travel expenses may be available for participants.

Contact
Prof. Dr. Ilaria Hoppe
Institut für Kunst- und Bildgeschichte
Humboldt-Universität zu Berlin
Georgenstr. 47
10117 Berlin, Germany
Tel.: +4930-2093-66235

Dr. Ulrich Blanché
ZEGK - Institut für Europäische Kunstgeschichte
Universität Heidelberg
Seminarstraße 4
69117 Heidelberg
Tel.: +496221-54-3544

"Nos muros urbanos que historicamente acolheram o poder e a disciplina, inscreve-se também o inconsciente selvagem de tudo aquilo que permanece indomesticado. Efémeras, dispersas, negligenciadas ou rasuradas, as expressões disruptivas visuais da cidade são traços que, tal como os fósseis do arqueólogo, sobrevivem para testemunhar uma realidade profunda que subjaz ao domínio do que foi instituído. Dar-lhes visibilidade é um exercício detectivesco através do qual se procura adivinhar os segredos provocadores ou resgatar os vestígios da amálgama de modos possíveis de habitar e imaginar a cidade. Algo sempre escapará e o seu mapeamento total é impossível. Apesar disso, é nesse desafio que nos podemos rever, tal como Walter Benjamin descrevia o flâneur baudelairiano, enquanto botânicos do asfalto, ou seja, enquanto testemunhas activas que podem regenerar – na condição de absorverem a vitalidade do seu objecto de observação – o espaço que, pelo movimento, ocupam."

Tor Marancia era un quartiere di case popolari condannato all’immobilità. Almeno fino al 28 febbraio scorso. All’improvviso, alla fine di un caldo febbraio romano, Tor Marancia è finita sotto i riflettori. Centinaia di persone venivano a visitare il quartiere, televisioni di tutto il mondo intervistavano i cittadini, i giornali parlavano di rinascita della periferia. Cos’era successo? Niente di serio: abbiamo parlato con i residenti, abbiamo chiamato degli artisti da tutto il mondo e tutti insieme abbiamo dipinto le facciate delle case.

A lecture by one of the leaders of Cartografía Sur and Graffiti Mujer, Karina Santos Matiz, about the use of graffiti to promote a culture of non-violence towards women and establishing women as political subjects in the Colombian society. The lecture was followed by a discussion about graffiti, resistance and social mobilisation between Karina Santos Matiz and art researcher Peter Bengtsen.

Η παρούσα εργασία διερευνά τη σχέση της street art με το θεσμικό πλαίσιο του μουσείου. Μέσα από την ιστορική ανάδρομή των δύο διαφορετικών αντικειμένων αποτυπώνεται η φύση και τα χαρακτηριστικά τους, που αν και εκ πρώτης φαίνονται αντιθετικά, η σύνδεση τους ξεκινά ήδη από τα πρώτα χρόνια εμφάνισης του σύγχρονου γκραφίτι, σχεδόν μισό αιώνα πριν.
Σκοπός είναι να καταγραφεί η μέχρι τώρα εξέλιξη αυτής της σχέσης και να διασαφηνιστεί ο αντίκτυπος που έχει φέρει τόσο στη street art, όσο και στο μουσείο. Επιπλέον, για την καλύτερη κατανόηση του θεωρητικού πλαισίου, παρουσιάζονται τα ευρήματα μιας εμπειρικής έρευνας που διεξήχθη στην πόλη της Αθήνας και συμπεριλαμβάνει οδοιπορικό στις γειτονιές της πόλης, συνεντεύξεις με εκπροσώπους της street art σκηνής, και χαρτογράφηση των γκαλερί που ασχολούνται την τέχνη του δρόμου.
Συμπερασματικά, η street art  θα συνεχίσει να ζει και να εξελίσσεται στο δημόσιο χώρο, στο διαρκώς μεταβαλλόμενο πεδίο κοινωνικών σχέσεων διότι αποτελεί αναπόσπαστο κομμάτι του αστικού τοπίου και της αστικής κουλτούρας. Η παρουσία του στο δρόμο όμως, δε σημαίνει την απαραίτητη απόρριψη των καλλιτεχνικών θεσμών, γιατί ως μια έκφανση σύγχρονης τέχνης και τεκμήριο της ανθρώπινης κοινωνικής έκφρασης, αναπόφευκτα, η θέση της street art στο μουσείο είναι προδιαγεγραμμένη.

Interview with art historian and sociologist Peter Bengtsen for Inchiesta about the exhibition “Street Art – Banksy & Co. L’arte allo stato urbano” in Bologna and the resultant removal by the Italian artist Blu of all his remaining artworks in the city.

The purpose of this paper is to discuss the contribution of street art as a new economy driver in Penang based on secondary data collected from literature review. This paper attempts to reveal the state and private initiatives in development of Penang’s street art. This paper provides a conceptual discussion about the role of street art and artists in Penang towards urban regeneration and creative place-making. The fame of street art started to flourish in Penang since 2012 when the Lithuanian artist, Ernest Zacharevic started painting a collection of murals within the inner city of George Town to portray local culture and heritage elements. Since then, sculptures, murals and other street art installations started to proliferate within George Town and other places around Penang Island. This has not only drawn the attention from the local communities but also attracted global visitors. Nowadays, Penang is not only well-known with its rich heritage and street food but also with its vibrant showcase of street art. Besides being a new key tourism product, street art is also playing a vital role in cultivating creativity and innovation among Penang’s community. Consequently, this generates impact in stimulating cross-sectors collaboration to strengthen the local economy. The discussion in this paper highlights the economic dividends generated from public art or street art through an artistic and creative public place-making process in a city. Based on the literature and relevant texts and documents, the finding in this paper provides an overview about the existing impact from Penang’s street art in driving or regenerating the local economy. This finding contributes as a reference for researchers who attempt to investigate the potential of art strategy or creative city strategy as a viable urban regeneration strategy.
Key Words: Street Art, Economy, Penang.

Cette photo ne porte pas de titre, car c'est un graffiti. Il a été peint par Banksy (qui est anonyme, nous ne savons pas qui il est). Il a été créé sur le côté palestinien du mur de la bande de Gaza en 2005. La peinture donne un sentiment d'incongruité, car ce graffiti est très coloré et beau, mais le parapet est grise et sale, le graffiti attire l'attention.

This chapter examines viewers’ affective encounters with street art and graffiti, with attention to the critical framework provided by Ranciere (2004) whose work suggests a method for investigating our aesthetic practices of participation (or exclusion) and looking (or not looking). Viewers’ material engagements with street art and graffiti represe...
This chapter examines viewers’ affective encounters with street art and graffiti, with attention to the critical framework provided by Ranciere (2004) whose work suggests a method for investigating our aesthetic practices of participation (or exclusion) and looking (or not looking). Viewers’ material engagements with street art and graffiti represent a disruption of the expectable order that demonstrates that what we see, according to our usual division of the sensible, could be otherwise – thus revealing the contingency of our perceptual and conceptual order. Our examination of the visual dialogue on just one city wall highlights the temporal, site-specific and participatory elements of graffiti and street art as a form of communication, or visual dialogue. We demonstrate that viewers are not passive recipients of the artist’s intentions, but are instead competent social actors capable of understanding, appreciating, and actively and materially engaging with street art and graffiti.

Museums have joined the yarn bomb craze and hosted a variety of projects of their own. Projects have ranged from small, outdoor bombings announcing the opening of a new exhibit to covering whole building facades, and  even an entire suspension bridge in Pittsburgh, PA. While these projects are whimsical and can gain a museum a lot of attention, they also make visitors see the museum in a new light and can be a way to reengage with the public.

Like with other forms of art and craft, the process of creation is just as important as the finished product. Participants not only enjoy the creative and artistic aspects of yarn bomb projects, they also like being part of a community and seeing their pieces as part of a larger work. Small or large, museum yarn bomb projects are not just about adding color to the museum exterior or grounds. They are about inviting the public to interact with the museum in a new way and creating a community that empowers people to be creative and work together for art.

El graffiti que se generó durante el Estallido Social, entre octubre 2019 y marzo 2020, en Santiago de Chile, fue un elemento muy presente en las nuevas experiencias urbanas y formas de percibir la ciudad durante esta crisis. El graffiti, como práctica proveniente del Hip hop, normalmente se centra en el desarrollo de un estilo individual y en el uso de la calle. Durante el Estallido Social el graffiti tomó un rumbo particular, que generó una producción casi exclusivamente dedicada a la contingencia y se comportó de manera más invasiva y osada. Como esta nueva tónica no abandonaba la estetización de la desobediencia, me llevó a preguntarme qué nuevos propósitos y motivos tuvo la producción cultural de pintura callejera en este contexto. Se posicionó en lugares de alta circulación, visibilidad y notoriedad urbana, por sobre la tendencia normal hacia los lugares de identidad barrial o comunitaria. Coincidió con circunstancias de usos del espacio muy particulares: marchas masivas, toques de queda, control y dispersión. Mi predicción es que el graffiti de este periodo resalta e instrumentaliza el factor transgresor y de apropiación de espacio público en su producción, para amplificar los comentarios político-sociales, volcándose a una función activista, pero en gran medida manteniendo la búsqueda por la estilización individual que cultiva originalmente el graffiti Hip hop. Se define como momento particular que rescata, fusiona e innova con respecto a la producción anterior de graffiti, muralismo y afichismo en Chile, que por sobre todo se distingue por auto-identificarse como parte de las manifestaciones, por medio de su iconografía, simbolismos, e interacción con su contexto a través de sus acciones. Me parece que amerita ser analizado como un quiebre en la evolución del graffiti en Chile, y que lo instala como una práctica cultural popular de respuesta frente a la crisis.

This article argues that contemporary street art (or graffiti) uses a unique set of resistant techniques to foreground the contours and shapes of different kinds of structural violence inscribed into, and perpetuated by, the infrastructural layouts of the twenty-first century's increasingly global cities. Graffiti can resist structural violence as it is shaped and exacerbated by-even embedded within-the physical walls of city spaces, ricocheting off into alternative and on occasion more democratic modes of urban habitation. Through a discussion of examples from urban spaces as diverse as revolutionary Cairo, divided East Jerusalem and the West Bank in Palestine, and South African townships and gentrifying East London, the article shows that street art can transform the violent infrastructural strategies of oppressive state governance into a canvas that articulates calls for democratic and political freedom.

Questo volume documenta l'esplorazione e la modificazione da parte di Julien Malland a.k.a. Seth e il curatore Stefano Antonelli di una parte della ex fabbrica Mira Lanza nel quartiere Ostiense di Roma, quello che sarebbe poi diventato il M.A.G.R. Museo Abusivo Gestito dai Rom.

Contributes by Luca Borriello, Christian Ruggiero, Mario Morcellini, Moira Bernardoni, Caitlin Bruce, Daniela V. de Freitas Simões, Jakob Kimvall, Fabio La Rocca, Néstor García Lázaro, Lachlan MacDowall, Thomas Northoff, Axel Philipps and Christoph Pilz, Pedro Soares Neves, Simona Stano, Angela Tinwell, Myrto Tsilimpounidi, Alison Young

language makes the book digestable for academics lacking background in Turkish history or Istanbul's past. Türeli ultimately interprets the anxieties of the Istanbulites and how they imagine the future of their city -a place where media representations and urban issues of the past affect the present.

Chicano Park im südkalifornischen San Diego ist eine der bedeutendsten Stätten sozial und politisch motivierter Kunst in den USA und mit über 70 Kunstwerken gleichzeitig Ort einer der weltweit größten Ansammlungen moderner Freiluft-Wandmalereien. Es handelt sich hierbei aber keineswegs um eine herkömmliche Ausstellung staatlich geförderter Kunstexponate in einem dafür gestalteten öffentlichen Park. Chicano Park entstand zu Beginn der gesellschaftspolitisch turbulenten 1970er Jahre durch den entschlossenen Widerstand der durch rigide Stadtranderweiterung und soziale Ausgrenzungspolitik bedrohten mexikanisch-amerikanischen Arbeitergemeinde Barrio Logan, infolge dessen der Freiraum unter einem gigantischen Brückenbauprojekt bis zur polizeilichen Eskalation verteidigt, zu einem Park um- und durch ein Wandmalereiprogramm an den Brückenpfeilern ausgestaltet wurde.
Obwohl Chicano Park als Bürgerrechtsprojekt und Kunstpark in den USA wahrgenommen wird, ist er in der deutschsprachigen Literatur kaum bekannt. Es ist das Ziel dieses Beitrags Chicano Park in seiner Entstehungs- und Entwicklungsgeschichte vorzustellen und folglich in seiner sozial- und kulturpolitischen, kunstgeschichtlichen und kunstwissenschaftlich-psychologischen Relevanz zu diskutieren und zu würdigen.

This paper is rooted in the observation that there is radically less graffiti of any kind in the north (Lefkosha) than there is in the south (Lefkosia). It was revised in 2010 for the IFJP (12:1). This version presents an overview of kinds, presence and absence of anonymous public writing – graffiti – in Lefkosia/Lefkosha, and then poses possible reasons for this discrepancy. What social and political identity differences does this discrepancy indicate? Why are murals not part of the visual public discourse in Lefkosia/Lefkosha, as they are in other divided societies? What is the graffiti writer's role, in the absence of murals? What political meanings are articulated in the interactions of graffiti writers in specific areas of Lefkosia/Lefkosha, and how does whitewashing fit into a much larger civic discourse that includes individuals, groups and authority? In particular this paper aims to parse the group-oriented visual discourse from the discourse related to individuals, and at the same time looks at gender equality in these expressions. Why, and in what ways do women seem to be less visible in terms of public political expression? How can reconciliation programmes clarify the audiences they target when designing cultural projects? Under what circumstances would a public mural arts programme be appropriate in Lefkosia/Lefkosha, and why is there none in place now? The methodology for collecting data is peripatetic and qualitative, because the emergent nature of graffiti and its erasure calls for a visual-ethnographic and documentary approach to sources and data. The instances of graffiti that shape the content of this paper have been selected from specific parallel areas located in Lefkosia/Lefkosha, although they sit within an expanding and temporal textual framework of graffiti documented in paint and in incision on Cyprus.  This 'expanding temporal and textual framework of graffiti' is a documentation that began in 1997. At that time much graffiti in Lefkosia, and elsewhere on the island had to be collected by frottage: graphite rubbings of incisions in the walls. The walls near the Buffer Zone were especially interesting in that regard. As spray paint became more popular photography was used to catalogue this and other emerging trends. The catalogue now includes a thousand or more images, digital and film, contemporary and historical graffiti from both sides of the island, including some twenty remaining wall rubbings from 1997.

This article investigates how the COVID-19 pandemic becomes visible in
the urban landscape of Vienna in public or commercial signage, posters, graffiti, stickers, and others. I argue that these signs are part of a pandemic inter-discourse (Link 2018). Linking specialised discourses about the virus and its effects with aspects of daily life, they contribute to the discursive construction of knowledge about the virus and the pandemic crisis. Using elements of linguistic landscape studies and visual ethnography, social semiotics, and geosemiotics, I present a thematic-chronological reconstruction of discourses visible in public signage from a corpus of pandemic signs collected in Vienna from March 2020 to June 2021. Besides an abundance of regulative messages (e.g. about masks, physical distance, closure of facilities), pandemic signs refer to discourses on crisis, solidarity and sustainability, scepticism and protest, the role of social and cultural institutions, family violence, social isolation and vague notions of time. Changes in the urban interaction order due to physical distancing and new forms of transgressive practices and grassroots signs develop.

Graffiti and street art are unique forms of cultural heritage which have not yet received the scientific attention they deserve. The potential of graffiti research to answer a variety of social and cultural research questions is underexploited. One reason for this lack of academic rigor lies within the very sparse availability of well-curated and publicly accessible graffiti data. One obvious foundation for a graffiti dataset is images depicting the various pieces, tags or throw-ups. The few existing graffiti image databases do not allow the study of the graffiti’s exact shapes and dimensions as the photographs suffer from various distortions which are introduced by topography, perspective, or the camera itself. Orthophotos have the great advantage of removing above-mentioned image distortions. The creation of orthophotos, however, is time-consuming and requires considerable manual interaction, which poses a significant obstacle considering that comprehensive and up-to-date graffiti databases often deal with hundreds of images per week.

Here, we present a novel methodology which overcomes the above-mentioned limitations in present-day graffiti documentation by deriving graffiti orthophotos in a highly automated way. In contrast to conventional photographs, orthophotos are adjusted for the graffiti surface topography and had all perspective and lens distortions removed. As a result, orthophotos allow the measurement of coordinates, distances, and areas of the depicted graffiti, enabling the derivation of exact proportions and relating the object to a real-world geographic coordinate reference system. Orthophotos in this context are therefore accurate maps of graffiti. The derivation of orthophotos, however, is complex and requires not only exact knowledge about the three-dimensional surface geometry of the object but also about the camera’s internal geometry and its exact location and orientation in space. We are developing a photogrammetric methodology and associated tool that derives the required information based on graffiti photos and outputs the desired orthophotos without any manual intervention during the process.

In this talk, we present this bespoke photogrammetric approach which is currently investigated in the framework of the graffiti documentation and dissemination project INDIGO and is built as a Python add-on to the commercial package Agisoft Metashape Professional. First tests were conducted at the Donaukanal (Eng. Danube Canal), a central waterway through Vienna and a famous graffiti hotspot. The results indicate a reliable performance of our approach: the majority (ca. 85%) of the tested graffiti images were successfully and automatically turned into orthophotos. We will present those results and discuss where further finetuning is needed and demonstrate why the presented tool has the potential to largely automize the way graffiti are being documented. This approach will enable the building of a solid and extensive database for advanced graffiti research.

A street art, ou arte de rua , na contemporaneidade está em evidência com alguns artistas
que alcançaram renome mundial, como: Banksy, Obey, Os Gemeos, Kobra, Nina Pandolfo,
Nunca, Crânio, Invader, Vhils, C215, dentre outros. Arte essa que tem sua origem nos
contextos urbano-periféricos de grandes metrópoles, como Nova Iorque e São Paulo, e que
com o passar dos anos diversificou-se em diferentes e variadas vertentes passando a
ocupar também os circuitos legitimados, como museus e galerias de arte pelo mundo, mas
que continua presente e tem sua força maior nas intervenções em espaços públicos. Além
da expressividade da intervenção, elementos como a potência criativa e transformadora que
essa vertente da arte carrega resultam em politização: seja pela denúncia e crítica ao status
quo, seja pela promoção de Culturas e indivíduos autônomos, seja pela recusa à
convenção. Este trabalho procurou entender o aspecto social e político da arte de rua : os
contextos sociais e econômicos desfavoráveis de onde surgiram artistas e movimentos
culturais importantes da atualidade - a exemplo da Cultura Hip Hop - e de como esses
movimentos são elucidativos para a percepção de como as diferenças sociais e o acesso
diferenciado às estruturas da sociedade pelos periféricos são cruciais para entendermos
minimamente esses movimentos, tal como pode-se notar a “força” e a presença da
ideologia capitalista em, praticamente, todas as áreas da vida social e privada.
Para tal, tomamos o referencial teórico da Teoria Crítica para relacionarmos os efeitos que o
sistema capitalista promove às sociedades e aos seus indivíduos adequando-os à sua
lógica, que por sua vez também altera o papel do Estado, esvazia a opinião pública (por
meio da grande mídia) e promove totalitarismos (dissimulados e sutis) nas sociedades
contemporâneas em concordância com a atual fase do capitalismo . Entendemos que a arte
de rua possui elementos críticos que denunciam e contestam a lógica sistêmica, tal como
procuramos demonstrar que eventuais potenciais de transformação social são
constantemente minados por ações de criminalização e vulgarização, principalmente por
parte do Estado e seus agentes, que tendem a concebê-la como ação de vândalos e
criminosos nocivos à propriedade privada e, consequentemente, à sociedade. Concebemos
que, essencialmente, isso ocorre por conta dela - arte de rua - possuir elementos
contestatórios à ideologia capitalista vigente; para tal atentamos às origens, ao modo como
ela se relaciona com as sociedades, tomando os contextos: histórico, social e político.

This article examines street art as a specific type of public art. With Patricia C. Phillips’ idea of the failing »public art machine« as a point of departure, it contextualises the discussion of public art as a phenomenon that goes beyond sanctioned artistic expressions.

The article examines the characteristics of street art and demonstrates that street art and public artworks have a number of traits in common. However, it is argued that street art’s unsanctioned nature functions as an essential carrier of meaning, and that a practical separation must be upheld between street art and the sphere of commissioned public art in order to preserve street art’s particular qualities.

taken from:

Street Art in Berlin
Version 8.0
von Kai Jakob
Deutsch / Englisch
Broschur, partielle UV-Lackierung, 192 Seiten, 349 farbige Fotos
Format: 20,7 x 27,4 cm
ISBN 978-3-89773-837-9

Über:
Wie die farbenfrohe Straßenkunst zu Berlin gehört, so ist auch das Buch „Street Art in Berlin“ von Kai Jakob vom Berlinbuchmarkt nicht mehr wegzudenken. Der ebenso umfang- wie abwechslungsreiche Bildband hat längst Kultstatus erreicht – geliebt nicht nur von den zahlreichen Street-Art-Anhängern, sondern auch den Künstlern selbst.

Kai Jakob zeigt die Berliner Street Art aus der Insider-Perspektive – aber nicht nur für Insider. Er beschreibt die unterschiedlichen Stiltechniken, dokumentiert die enorme Vielseitigkeit dieser Kunstform, ihre Dynamik und Intensität und stellt die wichtigsten Künstler vor, die das Gesicht Berlins prägen. Besonders ausführlich werden in der neuen Ausgabe jene aufsehenerregenden großflächigen Werke gewürdigt, die zunehmend ganze Häuser schmücken.

Komplett aktualisiert, mit zahlreichen neuen Fotos und neuer Umschlagoptik, die das weltweit bekannte Covermotiv erstmals mit goldener Schrift kombiniert, ist auch die achte Ausgabe von „Street Art in Berlin“ wieder ein echter Hingucker. Mit Kennerblick stellt der Autor und Fotograf Kai Jakob die wichtigsten, schönsten und neuesten Kunstwerke der Berliner Street-Art-Szene vor und beschreibt die aktuellen Trends.

Seit zehn Jahren entwickelt sich Jakobs Buch von Ausgabe zu Ausgabe weiter, wird immer bunter und abwechslungsreicher. Doch in einem Punkt hat es sich nie verändert: Es ist der ungeschlagene Marktführer zum Thema Street Art!



Street art, art in public space, is a part of the lively Berlin art and culture scene. The photographer Kai Jakob, who has observed this scene for many years, gives an insider’s view of the street art – but not just for insiders. He presents the artwork, portrays some of the most important Berlin artists, and describes their techniques and forms.

This is a different kind of art guide through the streets of Berlin – now in a newly updated edition!

This paper explores the hypothesis that the process of rupture in Brazilian graffiti writer’s subculture resulting in different groups - pichadores, pixadores and grafiteiros - took place in two different, though complementary, stages. The first stage is the commodification of graffiti by successive media campaigns and its penal control by the state. The second stage - which may be considered as a side effect of the first one - consists of the emergence of a new transgressive pixação movement. Instead of merely writing or tagging their signatures and messages on the walls of the city, they claim the freedom of usage of the urban space and contest the importance that property has in the late modernity context.

Mainstream but more frequently underground styles of urban centers. The street culture is a perspective of the blocks as shared spaces, made for the advantage of all that live in them. This street culture flourishes in largest cities like, for example, Rio de janeiro, Sao Paolo, but also New York, Barcelona, Berlin, London and Sydney.

Bologna, 12 marzo 2016: tarda mattina. Davanti alla facciata dell'XM24 si è appena arrivati all'apice di un terribile, per taluni, scempio, per altri di un glorioso ultimo atto di "resistenza". Il grande murale che qualche anno prima aveva permesso la salvezza del centro sociale, rendendolo impermeabile alla oliatissima macchina della gen-trification, è stato sacrificato al bene più importante: la libertà. La sua fine è stata decretata dal suo stesso artefice, Blu, che ha deciso di scorticarlo e poi di seppellirlo sotto una valanga di grigio, sorte toccata a quasi tutta la sua produzione felsinea. Il tutto per colpa di una "maledetta" mostra; di quelli che l'hanno promossa, ideata e resa possibile: finanziatori, curatori, conservatori e restauratori che invece di pensare a Vitale, Amico, Annibale o Guido, non solo hanno avuto la bella idea di salvare dal "piccone demolitore" alcuni murales di mano dell'artista di Senigallia, ma anche di musealizzarli a "spregio" del loro contesto originario. È ora giunto il momento di riprendere il filo del discorso, riaprendo il dibattito proprio a partire dalle questioni che Street Art-Banksy & co. L'arte allo stato urbano (Museo della Storia di Bologna, a cura di L. Ciancabilla, C. Omodeo, S. Corcoran) cercò di porre all'attenzione della comunità scientifica. Ovviamente senza rinunciare a fare i conti con le domande che il gesto di Blu ha inevitabilmente portato con sé. A ciò hanno cercato di rispondere storici dell'arte, professionisti del restauro e della conservazione, ma anche studiosi di altre discipline del sapere, chiamati a indagare quei fatti secondo punti di vista inediti e originali. Tutto questo nella consapevolezza che, fra l'11 e il 12 marzo 2016, al catalogo delle pitture murali bolognesi si è aggiunta una nuova opera d'arte: il Grigio di Blu.

This paper gives a short introduction and discussion of the term Street Art and related terms like Graffiti and Urban Art. A
major part discusses my definition of Street Art and other definitions and the differences and commonalities of these terms.
Street Art consists of self-authorized pictures, characters, and forms created in or applied to surfaces in the urban space that
intentionally seek communication with a larger circle of people. Street Art is done in a performative and often site-specific,
ephemeral, and participatory manner. Street Art is mostly viewed online. It differs from Graffiti and Public Art. I quote first and
foremost German researchers that are not translated into English but in my opinion should be part of the international academic
discussion.

Detta är en konst- och kulturhistoriska utredning som har utförts på uppdrag av föreningen Life Style som arbetar med att bevara och utveckla graffiti i Rågsved och andra delar av Stockholmsregionen. I fokus för utredningen står muralmålningen Highway (1989), av målargruppen SHOF (Still Heavens Only Force), i Rågsved Centrum. Målningen skapades sommaren 1989 på uppdrag av Rågsvedsgården (idag Rågsveds Fritidsgård) och den dåvarande fastighetsägaren Stockholmshem.

Utredningen innefattar en beskrivning och analys av verket samt en rumslig och historisk kontextualisering, samt slutligen sammanfattande slutsatser i form av en bredare kulturhistorisk tolkning. Bibliografin rymmer förutom referenser till undersökningens direkta källor också en sammanställning av litteratur kring graffiti och kulturarv.

Den bör läsas tillsammans med konservator Elin Lundmarks PM (Lundmark 2020) och Tomas Örns antikvariska undersökning (Örn 2020) av Highway som utförts parallellt.