Stencil

La calle es de quien la camina, los stickers de quien los mira. En este ensayo, utilizando elementos diversos como entrevistas, historia, análisis sociológico, filosofía y diseño gráfico, rastrea los orígenes del sticker urbano en México, las razones que tienen los artistas para pegar stickers en las calles y cuales son sus motivaciones. Incluye decenas de fotos de este arte urbano. generalmente incomprendido.

The walled city of Nicosia is, in other words, the “old town” of the Cypriot capital. Divided by the “green line”, but also, separated in both sides from the rest of the developed city by the Venetian walls, the old town acquires a specific character. Walking through the streets and alleys of the area, among the Venetian, Ottoman and Byzantine monuments, one cannot miss the graffiti on the walls. Old styles of graffiti mix with new and political messages on the walls mix with artistic interventions, all together, changing the landscape. In this paper, I will look at the geographies of the graffiti styles, in an attempt to provide an insight in the ways in which practitioners of graffiti interfere with the landscape of the “old town” and at the same time “draw” on issues that concern the social and political life of the city.

Picasso. 70 years of book illustration  is a new compendium of all the books illustrated by the painter. It does not aim to replace the prestigious 1983 Cramer catalogue raisonné Pablo Picasso The Illustrated Books. The purpose is rather to complement it by catering for needs that were not in the mind of Patrick Cramer. In this connection, Orozco’s catalog contains 265 entries, versus the 156 of the 1983 compilation, the main characteristic of the 109 added books being that the illustrations they contain are not registered in Georges Bloch’s Pablo Picasso. Catalogue of the printed graphic work, the requirement for a book to make its way to the Cramer. Orozco includes for instance books illustrated with pochoirs after Picasso, both because they constitute an important part of the artist’s graphic production and in view of the fact that Picasso gave the bon à tirer for many or most of the hundreds of pochoirs realized after his works. This was particularly the case with the prints made in the Paris workshop of Daniel Jacomet, his preferred pochoir printer from 1920 (Le Tricorne) to 1972 (Carnet de Paris). Other criteria used by Orozco in deciding what to include are that Picasso knew about the book and approved the inclusion of his illustrations or selected them or that Picasso participated in the production, gave the bon à tirer or designed the cover or interior. By including all these new books, the author hopes to bring a wider perspective on Picasso’s book illustration work.

Another purpose of the present book is to provide color visual information on how the books look like, including the covers and slip cases and boxes that house them; the page layout; the interaction between text and prints; and of illustrations other than original prints. It should be recalled that the Cramer catalog only includes photos –mostly black & white–of the original graphics the book contains, neglecting the rest.

As reflexões trazidas aqui utilizam a relação arte/cidade como observatório e partem de uma convicção política de que o espaço da cidade deve ser um espaço de realização da vida pública e de encontro com o diferente. Nesse sentido, o tema arte e cidade é pensado de forma simbiótica envolvendo as intervenções artísticas que são feitas no espaço urbano, a arte urbana. A pesquisa acompanha o movimento da cidade, palco de ações políticas, sociais e econômicas, que por vezes conduzem aos processos de comercialização e diferenciação, afinal tanto o espaço urbano quanto a arte, estão inseridos dentro de um sistema de produção. Inicialmente observamos um processo de acomodação da arte ao mercado, no entanto, em um outro momento experimentamos iniciativas artísticas urbanas que se contrapõe ao sistema econômico. Problematizações são trazidas por meio de um viés teórico e culminam em uma ação artística no espaço urbano. De fato, a arte urbana, fenômeno que acontece em escala global, conduz o nosso pensamento em direção a um evento local, ocorrido na cidade de Joao Pessoa (Paraíba). Nesse contexto, tematizamos a mulher no espaço urbano como argumento de uma ação prática realizada, ressaltando aspectos de um processo de diferenciação sexual, utilizando a arte urbana como ferramenta de subversão e empoderamento.

The reflections brough here use the relationship between art / city as an observatory and start from a political conviction that the space of the city should be a space for the realization of public life and commitment with the different. In this sense, the theme art and city is though to symbiotic way involving as artistic interventions that are made in the urban space, the urban art. The research accompanying the movement of the city, a stage of political, social and economic actions that move in the processes of commercialization and differentiation, after all the urban space as an art, are inserted within a system of production. Initially, we observed a process of accommodation of art in the market, however, at another time we experienced urban artistic initiatives that oppose the economic system. Problematizations are brought about by a theoretical bias and culminate in an artistic action in urban space. In fact, the urban art, a phenomenon that happens on a global scale, leads our thinking towards a local event, held in the city of João Pessoa. In this context, we thematize women in urban space as an argument for a practical action performed, emphasizing a process of sexual differentiation, using urban art as a tool of subversion and empowerment.

https://vimeo.com/310189706

Καραθανάσης Παυσανίας (2015), "Πολιτισμική βιογραφία των Stencil: Εξετάζοντας μεθόδους για την ανάλυση της πολλαπλότητας των νοημάτων στα ακτιβιστικά stencil". Στο Πουρκός Μάριος (επιμ.), "Βίωμα και βασισμένες στην Τέχνη Ποιοτικές Μέθοδοι Έρευνας: Επιστημολογικά-Μεθοδολογικά Ζητήματα και Νέες Προοπτικές". Θεσ/νίκη: Εκδόσεις Νησίδες

ΠΕΡΙΛΗΨΗ: Χρησιμοποιώντας ανθρωπολογικές προσεγγίσεις το κείμενο εξετάζει μεθόδους ανάλυσης των οπτικών παρεμβάσεων στον αστικό δημόσιο χώρο. Εστιάζοντας στο stencil graffiti, ένα από τα σύγχρονα είδη του ευρύτερου φαινομένου του graffiti, παρουσιάζονται οι σχέσεις που αναπτύσσει το συγκεκριμένο είδος με τις ευρύτερες παραδόσεις του graffiti, αλλά και της δημόσιας έκφρασης της πολιτικοκοινωνικής διαμαρτυρίας και επιχειρείται μια ανάλυση της πολλαπλότητας των νοημάτων που αναπτύσσουν τα stencil σε σχέση με τα υλικά και ψηφιακά τους περιβάλλοντα, καθώς μεταφέρονται από τους τοίχους των πόλεων στις ηλεκτρονικές και έντυπες σελίδες περιοδικών και εφημερίδων. Χρησιμοποιώντας μια βιογραφική μέθοδο προσέγγισης η εργασία παρακολουθεί την πορεία ενός συγκεκριμένου stencil από τη Λευκωσία της Κύπρου καθώς περνάει από τα διαφορετικά στάδια της υλικής και κοινωνικής του ζωής.


Λέξεις-κλειδιά: Κοινωνική Ανθρωπολογία, Stencil Graffiti, Ακτιβιστικά Stencil, Πολιτισμική βιογραφία, Οπτικός Πολιτισμός, Αστικός Δημόσιος Χώρος, Κύπρος, Λευκωσία.


ABSTRACT: Using anthropological perspectives the article examines methods for the analysis of visual interventions in the urban public space. Focusing at stencil graffiti, one of the contemporary kinds of the broader phenomenon of graffiti, we present the relations that this kind of graffiti develops with the broader tradition of graffiti as well as, with the tradition of the public expression of sociopolitical protest, and we attempt an analysis of the multiplicity of meanings that stencils acquire in relation with their material and digital environments, as they move from the city walls to the printed and the web-pages of magazines and newspapers. Drawing on a biographical method of analysis, the paper follows a specific stencil found in Nicosia, Cyprus as it moves through the different stages of its material and social life.


Key words: Social Anthropology, Stencil Graffiti, Activist Stencils, Cultural Biography, Visual Culture, Urban Public Space, Cyprus, Nicosia

Bu yazı 13 Ekim 2019 tarihinde Hürriyet Gazetesinin Pazar ekinde yayınlanan Güliz Arslan ile yaptığımız röportajdır. Yayınlandığı esnada sebebini anlayamadığım bir nedenle yazının bazı yerleri çıkartılmıştı. Bu sebepten kırpılmamış tam metni buraya koymayı uygun buldum.

Picasso: 70 years of book illustration  is a new compendium of all the books illustrated by the painter. It does not aim to replace the prestigious 1983 Cramer catalogue raisonné Pablo Picasso The Illustrated Books. The purpose is rather to complement it by catering for needs that were not in the mind of Patrick Cramer. In this connection, Orozco’s catalog contains 265 entries, versus the 156 of the 1983 compilation, the main characteristic of the 109 added books being that the illustrations they contain are not registered in Georges Bloch’s Pablo Picasso. Catalogue of the printed graphic work, the requirement for a book to make its way to the Cramer. Orozco includes for instance books illustrated with pochoirs after Picasso, both because they constitute an important part of the artist’s graphic production and in view of the fact that Picasso gave the bon à tirer for many or most of the hundreds of pochoirs realized after his works. This was particularly the case with the prints made in the Paris workshop of Daniel Jacomet, his preferred pochoir printer from 1920 (Le Tricorne) to 1972 (Carnet de Paris). Other criteria used by Orozco in deciding what to include are that Picasso knew about the book and approved the inclusion of his illustrations or selected them or that Picasso participated in the production, gave the bon à tirer or designed the cover or interior. By including all these new books, the author hopes to bring a wider perspective on Picasso’s book illustration work.

Another purpose of the present book is to provide color visual information on how the books look like, including the covers and slip cases and boxes that house them; the page layout; the interaction between text and prints; and of illustrations other than original prints. It should be recalled that the Cramer catalog only includes photos –mostly black & white–of the original graphics the book contains, neglecting the rest.

La auto entrevista es un género muy poco utilizado y que permite al autor, con bastante comodidad, decir lo que realmente desea decir bajo la forma de respuesta a preguntas que uno mismo se plantea tratando así temas concretos y de forma satisfactoria. Decir fielmente lo que quieres decir. Esto es lo que vengo desarrollando desde inicios de 2016 hasta ahora octubre 2019 y que recojo en estas páginas.

Aquí he ido volcando los escritos y reflexiones en mi actividad en el arte urbano desde 2016 a 2019. No intento pontificar, me apoyo en quien/es son actualmente, puntos de referencia teóricos en el graffiti y arte urbano e intento rentabilizar mi viaje por el arte callejero y sus calles laterales para que constituya un viaje tanto exterior como interior.

Me gustaría saber volcar "todo lo que ocurre" para que , de la misma forma que la documentación gráfica, salva las piezas e intervenciones callejeras, del olvido, estas lineas y reflexiones recogieran, a veces con avaricia, tanto y tanto vivido de lo vivido durante estos últimos 5 años.

The Photographer

Resumen El presente trabajo es resultado de la primera eta-pa de investigación sobre el campo de la cultura visual de intervención en el espacio publico, en el conurbano bonaerense. El estudio exploratorio descriptivo se enmarca en el caso del municipio de la Matanza, donde se observa una pluralidad de manifestaciones visuales a través de las cuales diversos agentes procuran hacerse representar en el espacio: la calle es el lugar de un conflicto terri-torial/espacial y los muros el lugar en el cual una disputa se manifiesta en el plano de las imágenes, a través de la manipulación, la acumulación y la superposición de indicios visuales. Proponemos la noción de capital visual para enfocar las estrate-gias y tácticas de visibilidad llevadas adelante por los diferentes actores sociales en la disputa de po-der de la calle como lugar, y poder realizar asi una clasificacion inicial de estas practicas. Palabras clave Murales, graffiti, imaginarios urbanos, comuni-cacion visual, periferia. Abstract The present work is the result of the first stage of research on the field of visual culture of intervention in the public space, in the Buenos Aires conurbano. The descriptive exploratory study is framed in the case of the municipality of La Ma-tanza, where a plurality of visual manifestations are observed through which various agents try to be represented in the space: the street is the place of a territorial / spatial conflict and the walls the place in which a dispute manifests itself in the plane of images, through manipulation, accumulation and superposition of visual cues. We propose the notion of visual capital to focus on the strategies and tactics of visibility carried out by the different social actors in the dispute over the power of the street as a place, and thus be able to carry out an initial classification of these practices.

Lenguaje, conflicto, arte y derecho: Notas sobre un rastreo preventivo de masacres. Enviado al Congreso "Saberes en Diálogo" (Universidad Nacional de Córdoba, Argentina).
En las décadas de 1960 y 1970, la criminología -curso de los discursos criminológicos sobre la cuestión criminal comenzó a incluir en su horizonte de análisis a las agencias del derecho penal- legislativa, policial, judicial, mediática y dejaría de buscar las causas de la criminalidad en el sujeto. Diversas obras artísticas dan una suerte de alarma discursiva sobre la posibilidad de comisión de una masacre en los Estados Latinoamericanos.

Resum. El present article és una anàlisi de l'street art a la ciutat d'Inca, Mallorca, abastint les categories de graffiti, stencil i pintura mural. Les eines que feim servir són una ruta figurada i una web auxiliar: incastreetart.jimdo.com. Amb aquesta tasca documentam la presència d'una sèrie d'artistes urbans actius a la nostra ciutat, incidint en el cas del jove grafiter inquer Geek. Abstract. This article is an analysis of the Street Art in Inca, Majorca, attending the categories of graffiti, stencil and mural painting. We are using two tools: a notional itinerary and an auxiliary website incastreetart.jimdo.com. This task allows us to document the presence of an increasing number of urban artists in our city, focusing on the case of the young graffiti painter from Inca, Geek.

El Street Art es un fenómeno artístico presente en nuestra vida diaria al que se ha condenado a un cierto ostracismo. Tanto la comunidad académica, en este aspecto ajena a lo que ocurre en el mundo real, como la gran mayoría de la sociedad, inmersa en preocupaciones bien distintas, han obviado su existencia ineludible no ya en el arte, sino en el propio paisaje urbano; aun cobra un sentido más crudo en la Ciudad Histórica, donde la ingente cantidad de Patrimonio eclipsa cualquier otra manifestación. Este trabajo abre una nueva línea de investigación en Córdoba, partiendo de un análisis de la sociedad en que se origina y de aquello que significa; documentando sus representaciones más significativas sobre una base cartográfica; aplicando la experiencia estética como fundamento de nuestra reflexión; y, con base en lo anterior, realizando algunas propuestas de interpretación. Todo ello, con posibilidades de ser extrapolado a otras ciudades españolas.

Street Art is an artistic phenomenon that, although present in our everyday lives, has been condemned to a certain ostracism. On the one hand, the Academic Community is –in this field– oblivious to what happens in real world; on the other hand, the vast majority of our society is immersed in very different concerns. Both of them have avoided its inevitable existence not only in art panorama, but also in the urban landscape. The problem takes a harder perspective within the Historical City, where the variety of the Heritage outshines any other manifestation. This study opens a new research line in Córdoba, starting with an analysis of the society from which Street Art is created and what it means, documenting its most significant features on a cartographic map, applying the aesthetic experience as the foundation of our own thinking, and, based on this, making some proposals for interpretation. All of these conclusions have the potential to be applied to other Spanish cities.

PLACE MADE was the Fifth Australian Print Symposium held at the National Gallery of Australia, Canberra in April 2004. This paper focussed on street art and stencilling, an area with little academic research at the time, as an artistic and historical context to build a framework around the collection of Australian street artists. Presented in a panel with Andy Mac (Citylights/Until Never) and James Dodd. This panel helped build momentum for the national Space Invaders collection and exhibition of Australian street artists, launched at the NGA in 2010.

English:
The book is written in a language readable by any person in the world: photography. It is also supported by English text when there are texts in photographs or pages of instructions in Italian text. Rome is an open air museum and in this book the most beautiful works of art, painted on the walls, are reproduced photographically and interpreted. The murals are identified by area or district, when their consistency in the area is significant, in other cases they are grouped in the miscellaneous section. Each area provides a road map that contents a largest number of murals and informations to reach the place via public transport or private.
Free preview link: https://www.amazon.it/dp/B0197X9OA2/

Italiano:
Il libro è scritto nel linguaggio leggibile da qualsiasi persona nel mondo: la fotografia. Inoltre è supportato da testo in inglese qualora nelle fotografie ci siano testi o nelle pagine delle indicazioni in lingua italiana. Roma è un museo a cielo aperto e in questo libro sono riprodotte e fotograficamente interpretate le più belle opere d'arte dipinte sui muri. I murales sono suddivisi per area o quartiere quando la loro consistenza nella zona è rilevante, in altri casi sono raggruppati nella sezione di miscellanea. Ad ogni area sono allegate, una carta stradale dove c'è la maggiore presenza di murales e le informazioni per raggiungere il luogo con i mezzi pubblici o privati.
Link anteprima gratuita: https://www.amazon.it/dp/B0197X9OA2/

This paper intends to discuss the ways Street Art has been promoting new affective inscriptions in the urban landscape of São Paulo city. This practice is verified through works promoting “sensible shocks”, which occur using signs that sensibilize the passerby’s look. The discussion
starts addressing local cultural art movements in order to show how Brazilian Street Art is linked to other forms of politicization in the cities. Then, it is shown how the articulation of structures of feeling can be observed in the city in events involving disagreements between graffiti artistis and the municipal government. Finally, it is argued that the affective inscriptions reveal the social structures of the city and contribute to highlight imbalances between expectation and reality.

Imagi(ni)ng ‘Crisis’: Materialities of Seeing and Representing in the Greek Critical Conjuncture

British School at Athens,Upper House
16th-17th December 2013

Abstract: This paper will focus on the relationship between graffiti/street art and public space in (within the walls) Nicosia - the liminal historic centre of the divided capital of Cyprus. This area is not only affected by the current economic crisis, but is also marked and defined by the previous Cypriot ‘crises’. As has been noted in other cities in crisis, graffiti emerge as a central feature of changing landscapes, producing vivid visual expressions of dissatisfaction and dissent. The spatial and visual intervention of contemporary graffiti and street art thus emerge as a practice corresponding to the socio-political changes occurring in cities. Street art affects the ways in
which people understand and relate to the urban landscape. It also forms part of a trans-local cultural production. Concentrating on stencil graffiti –an iconic genre of street art– my analysis will focus on stencil visuality in an attempt to decipher the relationships between stencil pieces and people as well as the ways in which stencil graffiti represent and visualize ideas and attitudes towards the city-in-crisis.

June 6, 2014
Onassis Cultural Centre-Athens
(DIS)RESPECTFUL CREATIVITY: THE IMPACT OF GRAFFITI & STREET ART ON CONTEMPORARY SOCIETY & URBAN SPACES

Drawing on ethnographic research in Athens, before and during the «crisis», this presentation discusses the ways in which different works of street art, graffiti and other visual interventions in public space, act upon people within the changing urban everyday environment, and they fuel the development of the artistic, the social and the political imaginary. Focusing on stencils, which are considered a big part of the street art presence in contemporary cities, I will refer to their iconic character in order to discuss the global dissemination of the practice and the strong connection with the contemporary works of socio-political protest. Moreover, following official discourses about the works on the walls of Athens during the «Greek crisis», I examine the processes of providing legitimacy to some works found on the public walls in relation with the processes of urban regeneration and gentrification.


Keywords: street art, stencils, political imaginary, urban public space, gentrification, Athens, crisis.

Graffiti und Street Art sind Begriffe, die in der öffentlichen Diskussion meist mit Vandalismus und Sachbeschädigung in Millionenhöhe in Verbindung gebracht werden. Ob es die eigene Hauswand trifft oder die Wagen der S-Bahn, vor allem illegal angebrachte Graffiti führen – durchaus nachvollziehbar – zu Verärgerung und Strafverfolgung. Damit einher geht allerdings oft auch die pauschale Verurteilung einer Kultur, die geprägt ist von klar abgegrenzten Genres und Techniken, strengen Regeln, auch politischen Inhalten und einer großen ästhetischen Bandbreite. Einer Kultur zudem, deren bekannte Künstler auf den Straßen der Welt diskutiert und gefeiert werden, deren Werke sich mittlerweile in zahlreichen Galerien wiederfinden und deren Sprache Einzug in Design, Marketing und Werbung hält.
Was wir bei unserer Tagung genauer untersuchen wollen: das Spannungsverhältnis, dem Graffiti und Street Art – zwischen Kunst und Kommerz, Vandalismus und Aktivismus, Lifestyle und öffentlicher Protestkultur – ausgesetzt sind. Gemeinsam mit Wissenschaftlern, Praktikern und Künstlern unternehmen wir einen Streifzug von den ersten Höhlenzeichnungen über die politischen, juristischen und ästhetischen Dimensionen des Themas hin zum Selbstversuch der Teilnehmenden mit Sprühdose und Schablone.

""The creative team makes use of a photographic collection of ornate furniture, which are found abandoned in street trash.
These findings, mainly large furniture, reflect the uncertainty, the violent separation and intense changes in the housing issue, referring to the displacement of the vulnerable bankrupt middle class society.
The design of the stencils (stenciling) of these discarded furniture, wishes to become a poetic gesture of rescuing them, in a zero budget era. 
These stencils are offered as an open source (DIY) inventive postproduction of new abstract objects, of cheap multipurpose home equipment constructed from low cost materials, such as cardboard packaging boxes.
The - subjective- assembling of entire parts or components of such furniture in stencils via participatory workshops, produce new physical and cultural relationships and limits with them, at the same time mapping an emerging self-consciousness about the self and identity, that could lead to the construction of new subjectivities.

""