scholarly journals Banksy, humor británico e ironía ácida grafiteados. Sentido, significado e inversión del ready-made en el arte urbano

2022 ◽  
Vol 34 (1) ◽  
pp. 233-253
Author(s):  
Carlos L. Marcos-Alba ◽  
Pablo Jeremías Juan Gutiérrez
Keyword(s):  
Street Art

En la periferia del debate intelectual acerca de la redefinición del arte visual, el street art o arte urbano va adquiriendo progresivamente un status más nítido como manifestación artística con valor intrínseco capitaneado por un conjunto de artistas que, bajo el anonimato, son capaces de producir arte sobre los muros de la ciudad misma, proyectándolo en el espacio público y fuera de los circuitos museísticos. Esta investigación analiza los fundamentos teóricos de la significación en los grafitis y el arte urbano y considera, como hipótesis de partida, el papel de la arquitectura y de la ciudad como elementos de un ready-made invertido que los artistas callejeros, en último término, utilizan no sólo como soporte material sino como instrumento de significación integrado en su obra de manera inequívocamente intencional. Las conclusiones situarán al lector y al ciudadano en una posición clave para entender la obra de Banksy como ejemplo paradigmático de este nuevo medio expresivo en el que la obra gráfica dialoga y se integra en su contexto físico definido por los límites materiales que conforman el espacio público. Esta nueva concepción más sofisticada del arte urbano sitúa este tipo de producción artística (ejecutada por una minoría crítica y recibida por una mayoría social) en el centro de la problemática cultural contemporánea, resignificando a la ciudad como continente a la vez que como contenido artístico e integrando a la obra plástica grafiteada y su contexto urbano en un mismo significante.

60 years of street art: A comparative study of the artists’ materials through spectroscopic and mass spectrometric approaches

2020 ◽  
Author(s):  
Jacopo La Nasa ◽  
Beatrice Campanella ◽  
Francesca Sabatini ◽  
Antonio Rava ◽  
Will Shank ◽  
...  
Keyword(s):  
Comparative Study ◽  
Mass Spectrometric ◽  
Street Art

Subverting superhero and meiga imaginaries in street art narrative Fenómenas do rural

2021 ◽  
pp. 136754942110032
Author(s):  
Beatriz Carbajal-Carrera
Keyword(s):  
Discourse Analysis ◽  
Street Art ◽  
Multimodal Discourse Analysis ◽  
Multimodal Discourse ◽  
Narrative Patterns

Heroic narratives are often biased towards a conceptualization of the rural/urban difference that positions rural identities at the margins. In particular, superhero stories have traditionally offered a vision of heroism assumed to be male, urban and young. How can post-rural contexts shaped by migration contest these narrative patterns? This article examines the street narrative of Fenómenas do rural, which recognizes older female rural identities and casts them as superheroines. Through a multimodal discourse analysis, I examine its contestation of heroic patterns, its recognition of older female rural identities and its creation of affiliation opportunities for the Galician community. I argue that this narrative stands as a reflection of the rurban (rural + urban) and the glocal (global + local) elements that subverts pre-existing canons in the superhero and the meiga (‘witch’) mythology imaginaries.

Consuming dark sites via street art: Murals at Chernobyl

2021 ◽  
Vol 90 ◽  
pp. 103256
Author(s):  
Jelena Farkić ◽  
James Kennell
Keyword(s):  
Street Art

scholarly journals Geste graphique et technicité

2013 ◽  
Vol 36 (3) ◽  
pp. 57-75
Author(s):  
Philippe Hameau
Keyword(s):  
Street Art

L’une des particularités du motif peint sur une paroi est qu’il garde la mémoire du geste qui l’a produit. Toutefois, il n’est possible de restituer valablement ce geste qu’en contextualisant le motif, c’est-à-dire en invoquant les paramètres culturels (des circonstances de sa production à son choix) et physiques (les matériaux dont il est fait et sa morphologie) qui ont accompagné sa réalisation. On l’étudie donc dans le cadre d’une anthropologie des gestes associés aux expressions picturales du Néolithique, sachant qu’avec le recul du temps, il nous faudra préalablement présenter des paramètres tels que les contraintes culturelles qui président à l’emplacement des figures et les pratiques rituelles à l’origine de l’expression graphique, sans oublier la topographie des parois et des sites. En effet, le scripteur perçoit, s’adapte et agit en fonction de cet environnement spatial et social. Quelques stratégies culturelles sont évoquées ici : l’attention portée à la microtopographie de la paroi selon les signes à tracer, le respect de certains des critères qui déterminent le choix du site comme l’humidité des lieux et la teinte orangée des parois, la volonté de peindre aux limites de l’accessibilité du site et de la paroi, l’usage d’outils-traceurs augmentant les capacités du corps. L’efficacité du geste consiste alors dans la réalisation d’un motif porteur de sens parce qu’il est en adéquation avec la perception culturellement orientée des caractéristiques de son support. De cette analyse structurée sur un terrain ancien, on tire des éléments de réflexion anthropologique pour d’autres pratiques graphiques, notamment contemporaines et urbaines (tags,street art, etc.)

Iglo-Motto: „Yes, ve gan“

2021 ◽  
Vol 73 (3) ◽  
pp. 41-41
Keyword(s):  
Street Art ◽  
Art Style

Hamburg. Iglo initiiert im gesamten Jahr 2021 Aktionen für eine vegane Ernährung. Eine Plakatkampagne im Street Art-Style macht den Anfang.

Re-storying place: The pedagogical force of walking in the work of Indigenous artist-activists Émilie Monnet and Cam

2021 ◽  
Vol 17 (1) ◽  
pp. 163-185 ◽  
Author(s):  
Pohanna Pyne Feinberg
Keyword(s):  
Collective Memory ◽  
Sense Of Belonging ◽  
Indigenous Women ◽  
Sound Art ◽  
Street Art ◽  
Shared Awareness ◽  
International Discourse ◽  
Founding Director ◽  
Artistic Interventions ◽  
And Gender

Walking plays a generative and pedagogical role in the work of contemporary artists Émilie Monnet (Anishnaabe/French) and Cam (Innu/Québecois), both of whom work and live in the region known as a Tiohtià:ke to the Haudenosaunee, as Mooniyang to the Anishinaabeg, and as Montréal to many others. This article proposes that recent artistic interventions and participatory projects offered by Monnet and Cam infuse the international discourse about walking as a pedagogical force with their distinct perspectives as Indigenous women. They employ walking to reinforce their presence, to learn from place, to contest colonial narratives and exclusions conveyed by visual culture, to honour their ancestors, to indigenize collective memory by amplifying Indigenous voices and contributing to the re-storying of place, a concept inspired by Potawatomi environmental biologist Robin Kimmerer. Monnet is an interdisciplinary artist who combines theatre, performance, image and sound art as a performer, creator and director. She is also the founding director of Onishka, an mutlimedia Indigenous arts organization. Cam is a street artist and the lead coordinator of Unceded Voices, a street art convergence for artists who are Indigenous women, women of colour, queer, two-spirit and gender non-conforming. She is also currently the national coordinator of the Aboriginal Curatorial Collective. With a shared awareness that the dynamics that comprise place are intrinsically relational and dialogical, the work of Cam and Monnet intervenes in the felt and seen world to reinforce their sense of belonging to this region. Walking is integral to their respective research, creation and collaboration that enables their work to contest dominant colonial narratives while honouring the contributions of those who have been disavowed.

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.

Sign in / Sign up

Export Citation Format

Share Document