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

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.

The problem of adaptivity of the street art into social and cultural environment of the city (Ukrainian context)

The purpose of the article is to carry out cultorologic comprehension of the adaptivity of the street art into social and cultural environment of the Ukrainian city and to define the directions of the city environment humanization. The topicality of the article. The street art became the inherent part of the social and cultural environment of the city, the ground for artistic self­expression, visual ring for discussions, conflicts and a means for promotion and branding of the city. Despite the humanization of the city environment, the issue of adaptivity of the street art into social and cultural environment of the city remains still urgent and open. The methodology is based on application of the hermeneutic interpretation (to define the notion of the “street art” at the modern stage of research), comparative analysis (with the purpose to detect the peculiarities of the process of the street art integration into the cultural landscape of the city environment), structural and functional method (to clarify the prospective adaptation directions of the urban art into the urban cultural environment), axiological approach (to define the role of the street art in the cultural and artificial development of the city). The central position in the research is allotted to culturological approach allowing to clarify the specific features of the street art adaptivity into social and cultural environment of the city, to reveal the peculiarities of the multicultural city environment formation. The scientific novelty lies in theoretic comprehension of the process of the street art adaptivity into social and cultural environment of the city and detection of the priority ways of the urban art integration into the cultural matrix of the city. The results. Variability of the street art interpretation in the context of the city environment was considered. The specifics of the street art existence at the modern stage of the research was defined. The prospective directions of the urban art integration into the cultural landscape of the city was traced: differentiation at the legislative level of the notions “street art” and “vandalism”, application of the urban art in design of the city environment and creation of the city brand, application of the information and communication technologies in creation of the artistic objects, tourist guides, etc. The practical significance. The research results may be used in training the higher education applicants in the social and art fields of knowledge, for example, lecture materials of the disciplines aimed at the study of ХХІ century culture, mass culture, urban science, etc.

Wers i wiersz jako praca street art. O Sezonie Rafała Wojaczka

Artykuł odwołuje się do pracy street art Roberta Gilarskiego znajdującej się na Plantach w Mikołowie, w której dokonano wizualizacji wiersza Rafała Wojaczka Sezon. Instalacja prezentuje utwór mikołowskiego poety zapisany na stopniach parkowych schodów. Autorka artykułu interpretuje utwór, a następnie rozważa różnicę między semantyka formy Sezonu utrwaloną w druku oraz w pracy street art. Zwraca uwagę na wpływ topografii terenu, analizuje transpozycję formy wiersza w zapis piktorialny, gdzie istotną rolę pełnią schody-wersy. Najbardziej radykalna zmiana zachodzi w trybie lektury wertykalnej, wyznaczonej kierunkiem wchodzenia po stopniach-wersach „do góry”. Zmiana wersyfikacyjnych oczekiwań nie pozostaje bez konsekwencji dla interpretacji utworu. Odwrócony porządek odczytywania wiersza w instalacji ma znamiona prowokacji artystycznej i objawia się jako metanoja.

Mujer Semilla en la resignificación de la identidad de las mujeres de la ciudad de Aguascalientes

El street art es una actividad artística centrada en la intervención gráfica de la infraestructura urbana de las ciudades al transfigurar a las estructuras físicas en soportes expresivos para mostrar diferentes ideas de índole social, cultural o político. Los intereses sociopolíticos convierten al street art en un movimiento contextual, ya que las y los participantes se preocupan por las problemáticas de las urbes. Es el caso de la colectiva Mujer Semilla de la localidad de Aguascalientes a quien le importa las situaciones que viven las mujeres en la sociedad hidrocálida. El interés se ve materializado en la elaboración de piezas de paste up al representar las experiencias que han vivido en la localidad. Las actividades de Mujer Semilla se analizaron bajo los postulados teóricos de Judith Butler (2007) propuestos dentro del libro: El género en disputa. El feminismo y la subversión de la identidad. La autora plantea la posibilidad de construir la identidad de género de manera voluntaria mediante la repetición de actos. Es precisamente la diversidad identitaria lo que se observó en las piezas de paste up de la colectiva debido a la búsqueda por presentar gráficamente opciones de identidades de mujeres sobre la infraestructura de la ciudad, pero dirigidas a la sociedad hidrocálida. Se concluye que la participación de Mujer Semilla es un acto simbólico que pretende cambiar los marcos de referencia de las personas al mostrarles identidades corporales, frases y sentimientos asociados a la cotidianidad de las mujeres

Street Art Participation in Increasing Investments in the City Center of Bucharest, a Paradox or Not?

This article analyses street art’s contribution to the current economic life in the city center of an Eastern European capital, Bucharest. The development of socio-economic activities in the Romanian capital has been strongly influenced in the last 30 years by a complex of effects generated by the transition to the capitalist economy in the early 1990s, the impact of globalization, and recently the COVID-19 pandemic. This study focuses on the investigation of those areas that through street art came to know processes of urban regeneration. By applying semi-structured interviews to providers of alternative guided tours, but also questionnaires among the population that is familiar with this subculture, including an organization of urban regeneration through street art, an important number of economically new spaces, next to reinvented ones, have been investigated. In these areas, street art ends up by supporting activities from hospitality, cultural, and creative industries, changing for the better the perspectives of economic and cultural development, along with the attractiveness of the Bucharest city center. Street art proves to be an important tool in the regeneration process bringing positive effects when involving active cooperation between the public and the private sectors.

INNOVACIÓN EN EL MERCADO TURÍSTICO: EXPERIENCIAS EN ARTE URBANO

El turismo es una de las actividades que más encarecidamente precisa de la innovación y la creatividad para mantenerse constantemente en auge. Las tendencias actuales de la demanda exigen experiencias activas, que generen emociones, esten repletas de contenido, tengan dosis de placer. El arte urbano siempre presente en los espacios públicos de las ciudades, emerge como una propuesta innovadora, atendiendo a su capacidad de provocación e interacción con el peatón espectador. Barcelona es el actual laboratorio turístico en el que se lleva a cabo la denominada Pinacoteca a Cel Obert, una galeria de arte abierta que ocupa el espacio público de la ciudad, con 24 obras pictóricas clásicas en el sí de calles comerciales, en las puertas de sus establecimientos. El análisis cualitativo de la información recopilada en la encuesta a 150 visitantes y las entrevistas a los stakeholders del proyecto, conduce a determinar que esta galeria de arte urbano y su itinerario ofrecen una satisfactoria experiencia turística, repleta de emociones y vivencias. Tourism is one of the activities that most urgently requires innovation and creativity to keep its constantly booming. The current demand tendencies require active experiences, that generate emotions, experience content, doses of pleasure. The permanent presence of street art in public spaces emerge now as an innovative proposal due to its capacity of provocation and interaction with the pedestrian observar. Barcelona is the present tourism lab where the Pinacoteca a Cel Obert is implemented, an open gallery in the public space of the city, with 24 classic paintings into the street, on the business doors. Cualitative analysis of collected data in the survey to 150 visitors and the interviews to the project stakeholders, lead to conclude that this street art gallery and its itinerary offer a satisfactory tourist activity, pleint of emotions and experiences.

Street ARt: Using Augmented Reality to Create Digital Street Art

<p>The long-imagined fiction of a digitally supplemented world is fast becoming a reality. Augmented Reality technology is advancing at a rapid rate, approaching mass adoption and use. Available to anyone with a modern mobile phone, Augmented Reality allows for a number of possibilities, augmenting the physical world with information or content of varying types. These possibilities have a number of implications for both utility and creative expression. This thesis explores the use of Augmented Reality as a tool for creative expression, comparing its use of the physical world to Street Art’s use of the street. Street Art uses the street as an artistic resource (Riggle, 2010) to provoke and elicit response. Augmented Reality uses physical location and context to strengthen its content and deliver information or entertainment. Augmented Reality Artworks have contested physical space (Skwarek, 2014; Veenhof & Skwarek, 2010) and shifted the boundaries of curation (Garbe, 2014). This thesis compares the histories of Augmented Reality and Street Art, resulting in a proposal for using Augmented Reality as a method for Street Art, allowing artists to create Digital Street Art. Research through Design explores this practice, creating Digital Street Art works that use the possibilities of Augmented Reality technology to use the street as an artistic resource. Using digital techniques like animation, interactivity, data visualisation and three-dimensional imagery; this thesis aims to explore how the Digital Street Artist can create work that engages with the public space and provoke a response. This is explored through several Digital Street Art responses to the public space and issues that can be addressed within it. These responses are designed to use digital techniques and AR technology to make artistic use of the street. Allowing it to be both Digital in nature and Street Art in essence.</p>

Street ARt: Using Augmented Reality to Create Digital Street Art

<p>The long-imagined fiction of a digitally supplemented world is fast becoming a reality. Augmented Reality technology is advancing at a rapid rate, approaching mass adoption and use. Available to anyone with a modern mobile phone, Augmented Reality allows for a number of possibilities, augmenting the physical world with information or content of varying types. These possibilities have a number of implications for both utility and creative expression. This thesis explores the use of Augmented Reality as a tool for creative expression, comparing its use of the physical world to Street Art’s use of the street. Street Art uses the street as an artistic resource (Riggle, 2010) to provoke and elicit response. Augmented Reality uses physical location and context to strengthen its content and deliver information or entertainment. Augmented Reality Artworks have contested physical space (Skwarek, 2014; Veenhof & Skwarek, 2010) and shifted the boundaries of curation (Garbe, 2014). This thesis compares the histories of Augmented Reality and Street Art, resulting in a proposal for using Augmented Reality as a method for Street Art, allowing artists to create Digital Street Art. Research through Design explores this practice, creating Digital Street Art works that use the possibilities of Augmented Reality technology to use the street as an artistic resource. Using digital techniques like animation, interactivity, data visualisation and three-dimensional imagery; this thesis aims to explore how the Digital Street Artist can create work that engages with the public space and provoke a response. This is explored through several Digital Street Art responses to the public space and issues that can be addressed within it. These responses are designed to use digital techniques and AR technology to make artistic use of the street. Allowing it to be both Digital in nature and Street Art in essence.</p>

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

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.