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THE SHADOW THEATRE IN THE ZONE. ON GRAFFITI ON THE WALLS OF CHERNOBYL AND PRIPYAT (Teatr cieni w Zonie. O graffiti na murach Czarnobyla i Prypeci)

100%
Czapiga M.
Konteksty - Polska Sztuka Ludowa
|
2010
|
vol. 64
|
issue 2-3(289-290)
348-352
EN
The text concerns a paradoxical phenomenon, namely, graffiti on the walls of abandoned houses in the 'ghost towns' of Chernobyl and Pripyat. The zone is empty and suspended communication makes it impossible to establish a concrete place. While penetrating its space, the arrival must perform an arduous task - discover and name the existing traces and restore meanings, both impossible and present only in those traces. What are we to do with drawings displayed in ghost towns without any people? How are we to deal with texts deprived of spectators-readers? Present-day urban graffiti possesses predominantly a certain aesthetic function - it was painted to be noticed in sheer cascades of visual impressions. Graffiti artists working on the walls of Chernobyl and Pripyat must take into account that no one will ever see their works. The communication model shall be abolished because communication characteristic for graffiti must be suspended - an author, codes and communication are present but there is no addresse...
2

SOMETHING ABOUT FACE: ITINERANT POST-SPECTACLE PRACTICES AND THE WORK OF GRAHAM LANDIN

88%
Michael R.
ARS
|
2010
|
vol. 43
|
issue 1
69-84
EN
The paper focuses on Canadian artist Graham Landin (b. 1982), whose works are an example of a new development that demonstrates an itinerant post-spectacle practice activated through urban public sphere(s). The works in question appropriate everyday elements and architecture of urban public sphere(s) to effectuate their dissemination and understanding. The materials used by the artist are large sheets of vinyl adhesive cut into anthropomorphic characteristics: noses, eyes, a mouth etc. These elements are then spatially arranged and adhered to a public wall, a public monument, windows, doors, basically anything the artist deems relatable to the characteristics of a human face.
3

STREET ART A GRAFFITI V KONTEXTU MĚSTA

88%
Wiesner A.
Slovenský národopis (Slovak Ethnology)
|
2019
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vol. 67
|
issue 1
47 - 62
EN
The paper presents data from interviews conducted in 2006–2007 with four representatives of the Prague street art and graffiti scene who worked in the Czech capital city at the beginning of the 2000s. A part of the article deals with creative activities in the Prague subway where most of the interviewed authors created their works. The author thus offers the perspective of the authors of the Prague street art and graffiti scenes and presents their view of the (il)legal works of art from around ten years ago in the context of the current discourse in social sciences. Over the last twenty years, this discourse has evolved to such an extent that it now enables to see the phenomenon of urban public works of art as a phenomenon full of paradoxes. Graffiti and street art therefore cannot be interpreted only from the point of view of legality or the art of resistance. Their definition must remain sufficiently open, since certain ambivalence, contradiction and ghostliness are characteristic of it equally as of life in a modern global city that is inherently tied to it.
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