2. Street Art: The City as Canvas

2013 ◽  
pp. 93-122
Keyword(s):  
Street Art ◽  
The City

Queering Bratislava: On Borders, Otherness and Public Space

2020 ◽  
Author(s):  
Myrto Tsilimpounidi
Keyword(s):  
Queer Theory ◽  
Public Space ◽  
Academic Discourse ◽  
Street Art ◽  
Visual Sociology ◽  
Urban Fabric ◽  
Urban Theory ◽  
Visual Material ◽  
The City

This paper follows the multiple layers of an urban fabric that is stereotypically characterised as ‘post-socialist’, yet in essence, it is subject to ongoing transitions – much like the notion of being queer. What can we learn from queer theory in relation to post-socialist urban theory? What are the methodological advancements that derive from a queer approach to research? In this light, the presentation breaks the usually logocentric academic discourse as it engages with the premises of visual sociology. Using visual material from Bratislava focusing on urban inscriptions (street art, urban interventions), it opens up a discussion about the changes in the city and the struggles of different groups.

scholarly journals Possibilities to Apply the Urban Acupuncture Concept in Kaunas: Social Aspect

2018 ◽  
Vol 13 ◽  
pp. 18-27
Author(s):  
Aurelija Daugelaite ◽  
Indre Gražulevičiūte-Vileniške ◽  
Mantas Landauskas
Keyword(s):  
Public Space ◽  
Public Art ◽  
Public Spaces ◽  
Urban Environments ◽  
Street Art ◽  
Small Scale ◽  
Ecological Design ◽  
Social Aspect ◽  
Wide Range ◽  
The City

The concept of urban acupuncture, which has been gaining ground in recent decades, is based on the activation and revitalization of urban environments using small architectural or landscape architectural interventions in precise carefully selected locations of urban fabric. However, the rapid and unexpected design solutions of urban acupuncture, based on ecological design, nature dynamics, street art, material re-use, can cause different social and psychological reactions of urban population and these reactions may vary depending on cultural contexts. Consequently, in order to implement successful urban acupuncture projects in Lithuanian cities, it is very important to find out public opinion and priorities in the fields of public space management, aesthetics, and public art. The aim of the research was to analyze the opinion of Kaunas city residents regarding these issues. For this purpose, a sociological questionnaire survey was used. The questionnaire containing 20 questions was designed, with the aim to find out the trends of use of public spaces in the city, the attitudes of residents towards street art and other small-scale initiatives in public spaces implemented in the recent years, possibilities of creating landscape architecture based on ecological ideas in urban environment, the attitude of inhabitants towards community spaces and community space design in the city, etc. 100 residents of Kaunas participated in this online administered survey. The survey has demonstrated general positive attitude towards contemporary design trends of public spaces and public art; however, the surveyed population expressed preferences towards fully equipped public spaces offering possibilities for a wide range of activities.

scholarly journals Lumumba’s Bike

2014 ◽  
Vol 6 (1) ◽  
pp. 28
Author(s):  
Piet Defraeye
Keyword(s):  
19Th Century ◽  
Prime Minister ◽  
Free State ◽  
Street Art ◽  
Site Specific ◽  
Visual Artist ◽  
Congo Free State ◽  
The 19Th Century ◽  
The City ◽  
Local Narratives

Sven Augustijnen is a Belgian film maker and visual artist. In 2012 he contributed a piece called AWB 082-3317 7922 to the Track exhibition in the city of Gent (Belgium). Track invited artists to provide art installations that were site-specific, and engaged with local narratives, history, and situations. Augustijnen had an old bike chain-locked against a park tree, with a bunch of charcoal on its baggage rack; it stood in the vicinity of the so-called “Moorken” monument, a memorial for the heroic adventures of the brothers Van de Velde in Congo Free State, erected in Gent’s prominent Citadelpark at the end of the 19th century. The idea of AWB 082-3317 7922 came about during the shooting of his film Spectres (2011), in which Augustijnen goes in search for the location of Patrice Lumumba’s assassination in Katanga, Congo, in January 1961. While the theme of the bike installation is the (only partially resolved) murder of Patrice Lumumba, first Prime Minister of the newly independent Congo, the piece spawns a spatial and historical cartography of events and developments within the park landscape as well as the greater urban, and global scope. It is the kind of street art that needs its environment for any chance of meaning, which derive from the contiguities it allows and creates.

City as Canvas

Matatu ◽  
2020 ◽  
Vol 51 (1) ◽  
pp. 23-42
Author(s):  
Farouk El Maarouf ◽  
Moulay Driss El Maarouf
Keyword(s):  
Contentious Politics ◽  
The Other ◽  
Street Art ◽  
Social Emotions ◽  
Economic Opportunities ◽  
The Gaze ◽  
City Walls ◽  
The City

Abstract The city reflects a politics of possession, upon which pieces of land ultimately get encircled by walls for exploitation. Walls—the entities that frame up the city—are territory ma(r)kers, yet this architectural gesture, far from being innocent, symbolizes a lurking desire at owning territories in the ma(r)king. This paper brings this idea home by examining the other meanings of the wall in contemporary Morocco, by closely studying the poetics and politics of the wall in the context of the Jidar street art festival of Rabat, situated, as it were, in the intersection of concepts (such as festival, paint, street art, wall, patronage, cooptation, resistance, local and global). We argue that the JSAF presents, among other things, a venue for local artists to perform and translate their thoughts and artistic visions into murals of a grand scale. Yet under the gaze of power, their performances accentuate the existentialist yet ambivalent position of city walls not only as embodiments of visual escape, but also as terrains of artistic/economic opportunities, incompatible social emotions, and contentious politics.

scholarly journals Os Bois de Carne e Osso, as Vacas Sintéticas e o Pixo Urbano: Quando a estética de rua afronta a ética da “obra de arte” na cidade de Belém (PA)

ILUMINURAS ◽  
2020 ◽  
Vol 21 (54) ◽  
Author(s):  
Flávio Leonel Abreu da Silveira ◽  
Petronio Medeiros Lima Filho
Keyword(s):  
Glass Fibre ◽  
Local Communities ◽  
The State ◽  
Street Art ◽  
Environmental Disaster ◽  
Work Of Art ◽  
Urban Art ◽  
Normal Life ◽  
The City

Resumo: Buscamos compreender os dilemas em torno da ação de uma artista que pixou a palavra “NAUFRÁGIO” no corpo sintético de uma das vacas da CowParade Belém 400 anos, evento internacional de arte na rua que aconteceu na capital do estado do Pará, no ano de 2016. A pixação enquanto uma agência de significativa inserção ético-estética conectou dois episódios de grande impacto no contexto paraense: 1. O episódio envolvendo “bovinos” chamado CowParade, no qual 50 vacas de fibra de vidro foram customizadas por artistas locais e expostas na cidade. 2. O naufrágio de um navio carregado de bois vivos no porto de Vila do Conde a poucos quilômetros de Belém, que matou milhares de bovinos (resultando em 2.450 toneladas de carcaças) num grande desastre socioambiental com repercussões econômicas sérias para as comunidades locais, já que os resíduos do desastre (carcaças e óleo) confundem as ordens do limpo e do sujo, do lixo e do asseio nas paisagens, impossibilitando o curso normal da vida no mundo urbano. Palavras chave: Bois. Arte Urbana. Naufrágio. Desastre. Amazônia Paraense  FLESH AND BONES BULLS, SYNTHETIC COWS AND URBAN TAG-GRAFFITI:WHEN STREET AESTHETICS AFFRONTS HE ETHICS OF A “WORK OF ART” IN THE CITY OF BELÉM (PA). Abstract: We look to comprehend the dilemmas surrounding the act of an artist of tag-graffitiing the word “SHIPWRECK” in a synthetic body of one of the cows taking part in the Belém 400 years’ CowParade, an international street art event which happened in the capital of the state of Pará, in 2016. The tag-graffiti as an agency of significant ethic-aesthetic insertion that connected two episodes of big impact in the context of Para: 1. The episode involving “bovines” called CowParade, in which 50 glass fibre cows were customized by local artists and exposed in the city. 2. The shipwreck of a ship loaded with living bulls in the port of Vila do Conde few kilometres away from Belém, which killed thousands of bovines (resulting in 2.450 tons of carcasses) causing a huge socio-environmental disaster with serious economic repercussions for the local communities since the residues of the disaster (carcasses and oil) confuse the orders of clean and dirty, garbage and cleanliness in the landscapes, making normal life in the urban world impossible.Keywords: Bulls. Urban art. Shipwreck. Disaster. Paraense Amazon

scholarly journals The Contested Gallery: street art, ethnography and the search for urban understandings

AmeriQuests ◽  
2006 ◽  
Vol 2 (1) ◽  
Author(s):  
Justin Armstrong
Keyword(s):  
Visual Culture ◽  
Urban Environment ◽  
Public Space ◽  
Urban Space ◽  
Urban Spaces ◽  
Cultural Value ◽  
Street Art ◽  
Cultural Characteristics ◽  
The Road ◽  
The City

This is a paper on street art and its role as a form of artistic insurrection that challenges popular understandings of public space and urban visual culture. I would like to think of it as a field guide to urban seeing, a means of revising the way in which we view the cityscape and its imagery. It is a way of imagining the city as a canvas onto which ideas may be inscribed and reinterpreted, where resistance percolates up to those who look for it. It is here, in what Kathleen Stewart has called a “place by the side of the road” that the work of the street artist exists, slowly gurgling up through the cracks in the sidewalk and briefly illuminated by the yellow-white glow of the street lights. Street art most often takes the form of adhesive stickers, spray-painted stencils, and wheat-pasted posters, and while it shares many similar aesthetic and cultural characteristics with graffiti, street art embodies a unique ideology. Graffiti represents a territorialization of space (‘tagging’, or reclaiming urban spaces through the use of pseudonyms as territorial markings); street art represents a reterritorialization of space. Rather than taking space, street art attempts to re-purpose the existing urban environment. This paper seeks to reflect the changing dynamic of urban space through an analysis of the practice of street art. By examining the roles that street artists play in disrupting the flow of visual noise in the city, I will illuminate the cultural value and significance of this form of urban artistic resistance.

scholarly journals Gender Inequalities and the Effects of Feminine Artworks on Public Spaces: A Dialogue

2021 ◽  
Vol 9 (4) ◽  
pp. 158-167
Author(s):  
Hooshmand Alizadeh ◽  
Josef Kohlbacher ◽  
Rozhen Kamal Mohammed-Amin ◽  
Tabin Latif Raouf
Keyword(s):  
Social Life ◽  
Street Art ◽  
Gender Inequalities ◽  
Gender Based Violence ◽  
Social Barriers ◽  
The Public ◽  
Kurdish Women ◽  
Gender Based ◽  
And Gender ◽  
The City

Feminist street art aims to transform patriarchal spaces into places of gendered resistance by asserting a feminist presence in the city. Considering this, as well as women’s social life, their struggle against lingering forces of patriarchy, and relating features of inequality (domestic violence), there was a feminist installation artwork by the young Kurdish artist Tara Abdulla that shook the city of Sulaimani in Iraqi Kurdistan on 26 October 2020. She had prepared a 4,800‐meter‐long washing line covered with the clothes of 99,678 Kurdish women who were survivors of sexual and gender‐based violence. They installed it along the busiest street of the city (Salim Street). She used this piece of feminine to express her reaction to the Kurdish society regarding, the abuse that goes on silently, behind closed doors. She also aimed towards normalizing women’s bodies. After the installation, she received many controversial reactions. As her artwork was a pioneering project in line with feminist issues in Kurdistan which preoccupied the city for quite a while, the aim of this article is to investigate the diverse effects of her work on the current dialogue regarding gender inequality in the Kurdish society. To do this, we used the research method of content analysis on big data (Facebook comments) to investigate the public reactions of a larger number of locals. The Feminine effectively exposed some of the deep‐rooted cultural, religious, and social barriers in addressing gender inequalities and silent sexual violence issues in the modern Kurdish patriarchal society.

scholarly journals 'La Escocesa': A fabric of Images

2017 ◽  
Vol 7 (1) ◽  
pp. 31-42
Author(s):  
Placido Munoz Moran
Keyword(s):  
Public Space ◽  
Street Art ◽  
Local Council ◽  
Central Focus ◽  
Art Scene ◽  
The Creation ◽  
The City

The banning of the practice of graffiti in public space since the approval of the civic regulation in 2006 has restricted the production of graffiti artworks in Barcelona. It transformed and coerced the local graffiti and street art scene towards new forms of production in the city, which are the central focus of this article.  ‘La Escocesa: A factory of images’, is based on my dialogues with the resident graffiti artists of the art centre ‘La Escocesa’ in ‘Poble Nou’. Some of these artists participated in both the creation of the graffiti scene in the 90s and the development of this practice in the city. Today they are recognized artistic figures of the local and international graffiti scene. I shared with some of these graffiti artists in the art centre some of my fieldwork experiences in connection with other local artists and representatives of the local council. In addition, I also opened up dialogues with them using anthropological examples about art and artists, the city and the space. The following section contains part of the conversations, reflexions and debates that we had.

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