‘Musealizar por aí’ Graffiti – The Street as Exhibit (original) (raw)
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SAUC - Journal V4 - N1 , 2018
The 2010s have witnessed the rise of a new aspect of street art on the world stage: institutionalized murals. Downtown Madrid is no exception, though the mural scene there remains less developed than in some other European cities like Saragossa or Paris. Forsaking its graffiti forbear’s emphasis on writing, this new trend embraces instead the power of imagery. Meanwhile in the walls of central Madrid, the writers are showing a new resilience with a variety of strategies that will ensure that the written word survives the ascent of the image in street art. This leads to a plastic discord juxtaposed—graffiti and mural, illicit and sanctioned, word and image—in an urban art scene in constant flux.
Exploring Ibero-American Youth Cultures in the 21st Century, 2021
part of the material is concerned, speci cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on micro lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a speci c statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.
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Lo impreso, como medio de comunicación, ha tenido siempre importancia en los espacios públicos de todas las épocas. Superada la finalidad comunicativa, como característica exclusiva, el arte contemporáneo encuentra en la estampa -y en su capacidad reproductiva- un potente medio de expresión y denuncia.
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The Centre for Intercultural Studies of the Polytechnic of Porto (CEI) launched the project StreetArtCEI-Routes of Graffiti and Street Art in Porto and Northern Portugal in the fall of 2017. Initially, fieldwork on the streets of Porto and other cities and villages of Northern Portugal intended simply to create routes inspired by canonical literary authors who had lived or located their narratives in these cultural territories, currently undergoing a blooming tourism demand. This fieldwork was undertaken as part of the project "TheRoute-Tourism and Heritage Routes including Ambient Intelligence with Visitants' Profile Adaptation and Context Awareness", headed by P.PORTO. However, and at the same time, researchers in the field gradually awoke to other visual and polychromous narratives, also inscribed in the city. As a consequence, the Centre embarked on a parallel spin-off project motivated by the unexpected and anonymous art on the city walls. Resorting to the conceptual tools of cultural, intercultural and literary studies, the StreetArtCEI project started to blur the already tenuous frontiers between dominant and marginal cultures, their practices, symbols and aesthetic manifestations, as expressions of site-specific cultural dynamics, in the open, unstable and always ephemeral space of the city. Aware that the concept of intercultural is synonym with movement, communication, and encounter between cultures (Abdallah
"Dangerous Liaisons: Graffiti in da Museum," in Pietro Rivasi, Un(Authorized)//Commissioned
By taking Rivasi's exhibition "1984: Evolution and Regeneration of Writing" in Modena as case study, this essay explores the possibility of including graffiti within institutional contexts. It argues for the possibility of graffiti exhibitions under peculiar circumstances, namely when such an inclusion does not strip them of their subversiveness. Such a condition appears to be fulfilled when photographs and videos are showed rather than pieces taken from the street. In order to defend this claim, the essay proposes a new ontology of graffiti as performances.
SAUC Street Art & Urban Creativity, 2023
In the social mobilizations (2020-2022) during and after the COVID-19 lockdown in Colombia, the graffiti-projections produced, projected, and published by La nueva banda de la terraza played an essential role in visualizing, nurturing, and accompanying the social protests and the demands. As part of an unparalleled visual activism in Colombia, the graffitiprojections, which began in Medellín and soon expanded to other cities and beyond the country's borders, created an expanded para-cinema of protests, played an essential role in a complex web of actions and practices that made it possible, for the first time in the republican history of Colombia, to create a comprehensive, multivocal, and diverse social movement. The present analysis discusses how the graffiti-projections catalyzed engagement and dialogue and strengthened the democratization of the public sphere by developing an expanded para-cinema that involved textuality and social media, reenergized graffiti, street art, and communal Do-It-With-Others, and developed emancipatory strategies and networks. [En las movilizaciones sociales (2020-2022) en Colombia, durante y después del confinamiento por el COVID-19, las graffiti-proyecciones producidas, proyectadas y publicadas por La nueva banda de la terraza jugaron un papel esencial para visualizar, nutrir y acompañar la protesta y las demandas sociales. Como parte de un activismo visual sin igual en Colombia, las proyecciones que comenzaron en Medellín y pronto se expandieron a otras ciudades e incluso más allá de las fronteras del país, crearon un para-cine extendido de protestas, jugaron un papel esencial en una compleja red de acciones y prácticas que permitió, por primera vez en la historia republicana de Colombia, crear un movimiento social incluyente, multivocal y diverso. El presente análisis analiza cómo las proyecciones de graffiti catalizaron el compromiso y el diálogo y fortalecieron la democratización de la esfera pública mediante el desarrollo de un para-cine expandido que involucró la textualidad y las redes sociales, revitalizaron el graffiti, el arte callejero y el "Hazlo-con-otros" comunitario, y desarrolló estrategias y redes emancipadoras].
(In)Visibilidades urbanas: Mu‐ lheres Artistas de Graffiti na Cidade de Salvador
Combart 2023: Art, artivism and citizenship. Utopias and imagined futures, 2023
Este artigo pretende abordar as relações entre o feminino e o campo do Graffiti, entendendo-o como um fenómeno inerentemente urbano cuja linguagem está ligada às representações culturais periféricas; procurando compreender as possíveis transformações presentes nesta área, ocupada principalmente por homens. Considerada uma prática artística da cultura visual urbana, as mensagens transmitidas através do Graffiti são dinâmicas e articuladas, artística e politicamente, indivíduos tornados invisíveis na sociedade. A fim de compreender este processo de representação política através da arte, apresentamos a produção de cinco artistas Graffiti cujas obras estão localizadas principalmente na cidade de Salvador - Bahia, artistas que utilizam o Graffiti para difundir mensagens desrespeitadas pelo status quo social. Através de entrevistas com estes artistas, as questões de género, raça/etnia e classe foram abordadas à luz do feminismo interseccional. Pretende-se contribuir através desta investigação para as questões de género nas artes visuais e para a investigação sobre o Graffiti em geral.
Uses of the street and confrontation of the city of the graffiti practices in Sao Paulo
DiverCity - diversity in the city (TICYUrb Vol. IV), 2018
This paper approaches some aspects of graffiti practices in the city of São Paulo from the situational analysis of a painting process. These practices are understood as a doing where there is subjectivity invested in the action, so it is also through it that writers constituted themselves. Forgetting the wall and understanding the interactions, representations, values and meanings that are far beyond it allowed us to apprehend a particular way of being in the city, embedded in specific ways of using and interacting with urban spaces. Through painting in the street without permission they sign their existence as authors of the inscriptions, but also as authors of the city: they draw on the surfaces at the same time they redraw symbolically and aesthetically the constructed urban space from their own interests.