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1

GRAFFITI AND STREET-ART: BETWEEN PUBLIC ART AND SOCIAL ACTIVISM (Graffiti i 'street art': na pograniczu sztuki publicznej i ruchu alternatywnego)

100%
Biskupski L.
Przegląd Kulturoznawczy
|
2008
|
vol. 1
|
issue 1(4)
163-180
EN
The main goal of the article is to describe some features as well as examples of street art and graffiti practices. Those phenomena are presented in a wider social, cultural and political context. The author employes the metaphor of a 'field' between 'poles' of public art and non-artistic alternative movements to highlight the difficulties in formulating an exact and strong definition of graffiti and street art either in relation to the above mentioned phenomena or to each other. Both practices bear some resemblance to public art-distance to the institutional art world, capacity to create a public sphere and a culturally critical approach. However, they stay far more anti-insitutional, independent and self organised than public art. Graffiti and street art should be rather considered as examples of the 'culture of resistance', a part of practices that can be described as 'semiological guerilla' or 'culture jamming'. That aspect draws them nearear to non-artistic social activists movements which nowadays employ methods resembling artistic approach more and more often. The author proposes to use the name 'graffiti' in regards to those urban graphic activities which are related to America hip-hop culture and which are their visual manifestation. Performance of those activities contributes to the process of group identification as well as to the constitution of pluralistic public space. Alongside with popularisation and commercialisation of hip-hop culture, graffiti developed into more universal form often called 'postgraffiti'. Whereas in the authors interpretation street art is a complex of urban graphical practises which are aimed at articulating resistance to the domnant neoliberal world. It is also important to highlight the illegal, anonymous and humoristic aspect of those practices (which from that point of view can be called 'Groucho-marxism'). The article outlines a brief history of graffiti street-art. As concerns the latter of these are political attempts to articulate resistance as well as avant-garde techniques like situationist detournment. It also describes some of the sub-genres of street art, which are, e.g., subvertising or snipping, and focuses on the work of renowned contemporary street artist 'Banksy'. The final part of the paper contains some reflections on the potential of graffiti and street-art to constitute the pluralistic public sphere. The author applies to Chantal Mouffe's notion of agonistic public spaces and her remark that public art is one of the most important factors in that process to his interpretation of graffiti and street art.
2

THE LOST INNOCENCE OF STREET ART (Utracona cnota ulicznej sztuki)

80%
Gizycki M.
Kwartalnik Filmowy
|
2011
|
issue 73
206-209
EN
The article deals with street art, which the author considers to be the freest domain of artistic creativity. A graffiti artist asks no one for permission, he does what he wants, where he wants, and when he wants. But this freedom offends those who are afraid of any form of uncontrolled expression. Street art is powerful - it is visible, widely discussed, it reaches everyone, and so it is an object of struggle. In the context of thus defined street art Gizycki writes about two famous artists of this genre: the contemporary cult figure - Shepard Fairey and Italian artist called Blu. Some of their work was overtaken by various institutional discourses. Occasionally the work was a cause of a scandal, but was also used for various advertising, corporation and political aims. In conclusion, the author asks whether and to what degree is Polish street art involved in similar discourses.
3
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VARNISHING FACADES, ERASING MEMORY READING URBAN BEAUTIFICATION WITH CRITICAL WHITENESS STUDIES

80%
Raccanelli L.
ESPES
|
2023
|
vol. 12
|
issue 2
88 – 102
EN
The paper addresses the contemporary features of aesthetic capitalism (Böhme, 2001; 2017) in the city, connecting beauty studies with established analyses of ‘territorial stigmatization’ (Wacquant, 2007) in the framework of critical whiteness studies. My argument is that beautification practices in marginal public spaces can be regarded as an attitude of aesthetic neo-colonialism. The text investigates the role that art plays in establishing spaces of difference, focusing on the analysis of the idea of beauty exhibited and used in processes of urban transformation. This beautifying operation could mask the intent of domesticating the ‘urban exotic’, representing the aesthetics of the ‘urban other’, overlapping processes of hypervisibilization and invisibilization within the production of normative white visual domains. The resulting transformation is viewed as a new field of value extraction from the urban space while at the same time being a new arena for privilege and inequality production.
4

STREET ART A GRAFFITI V KONTEXTU MĚSTA

70%
Wiesner A.
Slovenský národopis (Slovak Ethnology)
|
2019
|
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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