Urban Graffiti Research Papers

Abstract Shaped in the shadow of colonialism and post-colonialism, visual arts in Hong Kong have wrestled with issues of identity, locality, and international recognition. The lengthy process of the transfer of sovereignty, initiated in... more

Abstract
Shaped in the shadow of colonialism and post-colonialism, visual arts in Hong Kong have wrestled with issues of identity, locality, and international recognition. The lengthy process of the transfer of sovereignty, initiated in 1984 by the signing of the Joint Declaration, inspired contemporary artists in Hong Kong to assert their locality. In the 1990s in particular, since the trauma of the Tian’anmen Incident in 1989, ‘[a] psychic decolonization occurred which marked out a distance from both of these larger contexts [Western and Chinese art] without simply denying either’ (Clarke 2001: 8; also pp. 38‒69). The ideological struggles were visible in architecture and official public art too, which celebrated the reunion both during and after the Handover in 1997. It can also be argued that official public art in Hong Kong to a certain extent marks an ongoing cultural mainlandization of the urban space by the People’s Republic of China (PRC). But how do urban art images, such as street art and contemporary graffiti, survive the discourses of post-colonialism in its specific forms of de/recolonization and mainlandization, and debates of cultural heritage and indigenous identities? How do they engage with the complex situation?
I seek to explore these questions by modifying Henri Lefebvre’s (1991) definition of space as a continuous process in which the physical, mental, and social aspects of the space are intertwined. In this process of creating the space of urban art images, we need to consider the agency of the creators of urban art images as constructors of the space and its norms, the nationality/ethnicity of the creators, as well as the contextualized formal analysis of the images and the site-responsiveness. Based on intensive periods of fieldwork research in Hong Kong since 2012, extensive photographic documentation, and frequent meetings and in-depth interviews with more than sixty local and non-local creators of urban art images, my aim is to provide a different perspective to the usage and understanding of urban public space at the grassroots level. As I have come to understand, while following the creators throughout the alleys, streets, canals, rooftops, and abandoned buildings, the urban public space appears very different in the eyes of the creators of urban art images.

Keywords: urban art images, contemporary graffiti, street art, mainlandization, urban public space

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- by Minna Valjakka
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- 7
  Chinese Art, Chinese Language and Culture, Street Art, Urban Graffiti

This essay analyzes discourses and narratives of men who frequent the washrooms at public venues in Havana. The graffiti on toilet room walls works as an articulator of micro markets of sexual communication and gender/sexual relations. In... more

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- by Abel Sierra Madero
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- 28
  Discourse Analysis, Queer Studies, Communication, Cruising Sex

Slightly earlier version of chapter 7, 'Political graffiti', of my 'Expressing identities in the Basque arena', Oxford: James Currey, 2006, pp.151-61

Міжнародна науково-практична конференція студентів і аспірантів «Молода наука Волині: пріоритети та перспективи досліджень» 2016

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- by Арсен Гребенюк
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- 2
  Mythology, Urban Graffiti

Mit dem Ziel, ein prototypisches, webbasiertes Werkverzeichnis in Form einer allgemein zugänglichen Datenbank für einen Street-Artist zu erstellen, stehen Bildwissenschaftler vor einer Reihe von Herausforderungen. Einige davon möchte ich... more

Mit dem Ziel, ein prototypisches, webbasiertes Werkverzeichnis in Form einer allgemein zugänglichen Datenbank für einen Street-Artist zu erstellen, stehen Bildwissenschaftler vor einer Reihe von Herausforderungen. Einige davon möchte ich anhand des „bekanntesten Street-Art-Künstlers Banksy“ (F.A.Z.) vorstellen.
Mit dem Durchbruch des Internets um 2000 erfolgt der von Street Art, beides hängt zusammen. Street Art wird mehrheitlich online betrachtet, durch digitale Fotos und Videos. Zuerst nahm die Qualität und Quantität der Fotos zu, bis die durchschnittliche Rechner- und Internetkapazität auch Videos in akzeptabler bis gestochen scharfer Version zeigen konnte. Neuere Bilder sind teils vom Künstler, teils von anderen bereits geogetagged. Diese in Bild/Videodateien schon vorhandenen Daten sollen für ein digitalen catalogue raisonné mit zusätzlichen Daten an der „fertigen“ Datenbank durch Laien und Wissenschaftler ergänzt werden können. Zu Einsatz kommen dabei neueste Methoden des automatischen Bildverstehens und verschiedene Ansätze der Computer Vision zum Analysieren und Vergleichen von Kunstwerken, etwa Anwendungen zur Segmentierung und Verschlagwortung großer (Bild-)Datensätze.
Da Street Artists illegal arbeiten, sind sie teils nicht kooperationsbereit, d.h. Datensätze können oft kaum „klassisch“ mit Hilfe des Künstlers, seines Nachlasses oder seiner Galerie erstellt werden. An die Stelle von Institutionen und dem Umfeld des Künstlers treten verschlagwortete Web-Bilddateien als Hauptquelle. Digitale Provenienzforschung ist mit Hilfe der Webseite des Street Artists und mit der von ihm herausgegebenen Bildbänden / Künstlerbüchern möglich. Dies bildet nur den Anfang, da z.B. Banksy oft nur die beste Version veröffentlicht, es also mehrere „Originale“ gibt, oder weil die Webseite aktualisiert wurde (wodurch frühere Informationen oft verloren gehen). Da die Bilder oft von anderen gespeichert werden und dank Internet-Archiven auch Rekonstruktionen von Webseiten möglich sind, lässt sich ein Street Artist-Oeuvre rekonstruieren.
Da „Street“ Art oft ortspezifisch ist, ist mit Google Street View ab 2007 eine Verlinkung der Werkabbildung mit dem Original-Kontext möglich. Bei älteren Werken gilt es, den Anbringungsort z.B. anhand von digitaler Verschlagwortung zu eruieren, oder durch das Analysieren von Fan-, Presse-Fotografien und solchen des Künstlers Hinweise suchen, die den Ort erschließen lassen. Es folgen zudem Fragen der Material- und Maße-Bestimmung bei Street Art sowie nach deren Betitelung. Für Street-Art-Werkkomplexe, die oft seriell und mit oeuvre-immanenten Verweisen operieren ist eine link-basierte, netzartige Datenbank folgerichtiger als ein Buch, das fortschreitend eine Geschichte erzählt.
Diese und weitere Methoden und Fragestellungen - anhand eines Street-Artist-Werkverzeichnisses entwickelt - könnten für heute zeitgenössische Künstler angewendet werden, deren Werk die Schwelle zum Digitalen überschritten hat und für die „klassische“ Werkverzeichnisse nicht mehr greifen.

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- by Ulrich Blanché
- •
- 7
  Street Art, Urban Graffiti, Banksy, Graffiti, Street Art and Writing

We first revisit, resituate, and extend the notion of rhetorical velocity and discuss its relationship to delivery and circulation through the lens of cultural mobility studies. Next we introduce a specific case study we can read through... more

This article is based on ethnographic work with two ‘‘crews’’ of young graffiti artists in southern Mexico City. The crews share certain characteristics with gangs or urban tribes, but more with ‘‘communities of practice’’: they live in... more

Landmarks are developed with a specific name, form, thematic references and concept. Public discourses negotiate the references of each landmark. In the process, the landmark is represented in various media, including merchandise and... more

En la defensa del graffiti surgen múltiples aristas generales: ¿quién define qué es arte? En el siguiente texto se utiliza el graffiti como pretexto para esbozar un tema mucho más amplio, la noción misma del arte en el siglo XXI.

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- by Daniel Sánchez Ostaszewski and +1
  Natalia Rivero Borrell
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- 8
  Urban Graffiti, Contemporary Graffiti, Graffiti, Contemporany Graffiti

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- by Luca Ciancabilla
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- 19
  Dante Studies, Street Art, Urban Graffiti, Dante Alighieri

Im öffentlichen Raum sind Mitteilungen an allen möglichen und unmöglichen Orten zu finden, nicht zuletzt auf den Hosenböden mancher Passanten. Aber auch an gebauter Infrastruktur finden sich Mitteilungen: Bilder, Texte und Mischungen aus... more

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- by Jakob F . Dittmar
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- 6
  Urban Graffiti, Graffiti, Tagging, Graffiti, Street Art and Writing

This panel set out to explore the popular and scholarly literature on graffiti and street art, to assess what has been accomplished in these fields, and where scholarly research in the fields of criminology, criminal justice and allied... more

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- by Peter Bengtsen
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- 111
  Critical Theory, History, Cultural History, Sociology

This paper develops a pragmatist definition of street art acknowledging its essential subversiveness, while drawing implications at the level of street art’s political and social function. By developing an insight from Irvine (2012), the... more

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- by Andrea L . Baldini
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- 23
  Urban Geography, Aesthetics, Visual Studies, Space and Place

BOOK AVAILABLE HERE: https://streetartworld.bigcartel.com/

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- by Peter Bengtsen
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- 229
  Critical Theory, History, Cultural History, Sociology

RESUMO: A diligente marca grafiteira Banksy, que circunscreve os muros do globo desde meados da década passada, está na lanterna da diáspora artística de sua geração: exposições com residência nas potencialidades, exposições com... more

RESUMO: A diligente marca grafiteira Banksy, que circunscreve os muros do globo desde meados da década passada, está na lanterna da diáspora artística de sua geração: exposições com residência nas potencialidades, exposições com residência na volta ao mundo – em ambos os sentidos. No paradoxo, esse heterônimo retém e preserva anonimamente a autoria (individual ou coletiva) e alcança repercussão mundial e aprovação popular novidadeiras para a arte urbana. Alcança também inserção: ainda maior ineditismo encontra-se na proposta coextensiva que Banksy hoje melhor representa entre os espaços expositivos intramuros e extramuros, tradicionalmente avessos entre si. Uma pendularidade para a qual os artistas de rua se apresentam cada vez mais aptos e eticamente harmonizados, selando a reorientação do contracultural mesmo dentro da contemporaneidade, e selando ainda mais a decantação da cizânia, da segregação mútua entre o institucional e o periférico: relevam-se contrariedades aparentemente terminais e revelam-se acessos de uns para os outros.

ABSTRACT: The diligent graffiti tag Banksy, which bounds globe walls since the middles of last decade, is in the flashlight of its generation’s artistic Diaspora: exhibitions dwelling in the potentialities, exhibitions dwelling in the run around the world – in both meanings. In the paradox, that pen name anonymously retains and preserves the authorship (individual or collective) and reaches world repercussion and popular approval faddist for the urban art. It also reaches insertion: even larger novelty is in the coextensive proposal which Banksy today best represents between the intramurally and extramurally expositive spaces, traditionally conversed between each other. An oscillation on which street artists present themselves more and more capable and ethically harmonized, sealing the contra-cultural reorientation even inside contemporaneity itself, and even more the decantation of the darnel, the mutual segregation between the institutional and the peripheral: annoyances seemingly terminal are exempted and accesses are revealed to one another.

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- by Julia Tulke
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- 12
  Tourism Studies, Gentrification, Urban Graffiti, Contemporary Graffiti

This chapter looks at street art and its relationship to peace efforts. Specifically, it examines how street art is used as a medium to express the concerns, needs and wants of societal groups whose everyday lives are affected by... more

“En una economía basada en el consumo, la idea de darlo todo a cambio de nada y burlarse de las seductoras maquinaciones que nos obligan a identificarnos en exceso con los bienes de consumo, tal vez sea el delito más ofensivo que se está... more

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- by Gabriela Ferrada Acuña
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- 2
  Urban Graffiti, Gestión Cultural

Keynote presentation based on my most recent book, "Street Art and the Environment".

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- by Peter Bengtsen
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- 165
  History, Cultural History, Sociology, Political Sociology

Graffiti in the public realms are commonly described as destruction of public and/or private property, and offensive to public taste. But does this dictum also apply to the removal of the same graffiti? Could this not be regarded as... more

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- by Jacob Kimvall
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- 4
  Street Art, Urban Graffiti, Graffiti, Graffiti, Street Art and Writing

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- by Olivier Dabène
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- 5
  Street Art, Democracy, Urban Graffiti, Bogota

Talk about street art's democratic impact and ability to encourage people to explore their everyday environments. Given in connection with the opening of Danish photographer Søren Solkær's exhibition "Surface" at Øksnehallen in Copenhagen... more

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- by Peter Bengtsen
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- 42
  Sociology, Cultural Studies, Sociology of Culture, Visual Sociology

Resumen: Murales Conciencia es un proyecto concebido para aportar valor estético, patrimonial, cultural y turístico a la localidad de Bailén, a través de la realización de una serie de intervenciones de arte urbano y de temática... more

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- by Diego Ortega-Alonso
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- 10
  Urban Graffiti, Graffiti, Comunicación científica, Museos

In this chapter, I propose that indigenous graffiti and street art are interconnected with the political mobilization of indigenous groups who actively oppose the structural and systemic histories of violence suffered by indigenous people... more

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- by Matthew Ryan Smith
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- 19
  Art History, Art Theory, Canadian art, Aboriginal Art

Illegal graffiti is disconnected from standard modes of visual production in fine art and design. The primary purpose of illegal graffiti for the graffiti writer is not the visual product, but “getting up.” Getting up involves writing or... more

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- by Russell Jones
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- 3
  Art History, Urban Graffiti, Graffiti

Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular... more

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- by Rafael Schacter
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- 6
  Material Culture Studies, Street Art, Urban Graffiti, Graffiti

Presentation about the difficulties involved when attempting to represent graffiti and street art in an institutional context. The presentation was given at the workshop "From City Streets to Museum Galleries: Discussing Street Art and... more

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- by Peter Bengtsen
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- 38
  History, Cultural History, Sociology, Cultural Studies

Review of Peter Bengtsen's book The Street Art World (2014) on the blog of the independent quarterly art magazine VNA (Very Nearly Almost).

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- by Peter Bengtsen
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- 22
  Sociology, Art History, Humanities, Art

In this anthology chapter, I relate Miwon Kwon's different definitions of sites and site specificity to the field of street art. The case being studied is a photograph of two stencil works by the British artist Banksy and the artist... more

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- by Peter Bengtsen
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- 98
  Critical Theory, History, Cultural History, Sociology

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- by Ronald Kramer
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- 16
  Cultural Geography, Urban Geography, Ethnography, Subcultures

There is little doubt that the majority of the works in graffiti and street art has been produced outside of the institutional art system with its galleries and museums, curators and art critics, collectors and dealers. But considering... more

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- by Jacob Kimvall
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- 12
  Art History, Historiography, History of Art, Street Art

Cedar Lewisohn, curator of the Street Art show at Tate Modern (2008), blustered in an international street art conference in Lisbon (2014) about Street Artacademics being rather fans than critical academics and most Street Art to be... more

Cedar Lewisohn, curator of the Street Art show at Tate Modern (2008), blustered in an international street art conference in Lisbon (2014) about Street Artacademics being rather fans than critical academics and most Street Art to be pathetic and kitschy. The latter might be right. Or it is a truism that is true for any art, maybe both. The first thing Lewisohn said, is, in my opinion, just a problem of communication, i.e. what’s not available in English simply might not exist in the minds of some researchers.“What is Street Art?” This the first question in a call for Paper for a Street Art conference in New York in March this year as well as in our conference today.
Since about 2005 a range of academic authors already tried to answer that question. A lot of them don’t write in English. My paper is a short introduction and discussion of the term Street Art and related terms from the position of a visual culture researcher. I quote first and foremost German researchers that are not translated into English but in my opinion should be part of the international academic discussion.

Lewisohn is not completely wrong in what he said. Most research about Street Art is not written without critical distance, but most of the papers given at Street Art conferences are ratherdescriptive. They can be summarized as “there is this Street Art project in such-and-such, I give you more details about that”– and that’s it. Although there is some recent critical research in English done for instance by Jacob Kimvall (The G Word, 2014), Peter Bengsen (Street Art World, 2014) and Rafael Schacter (Ornament and Order, 2014).
As a researcher in visual culture (Bildwissenschaftler) in academic Street Art researchI often miss a debate and an examination of what we see. This is the second point of my paper based on the discussion of the term. A lot of researchers just deal with the frame-set of Street Art, i.e. with Street Artists, the scene, combined with background information about shows. Some researchers show a lot of examples of Street Art, pictures, and leave the viewer alone with that - as if those pictures would speak for themselves. Well, they do, but with everyone differently. A lot of researchers spoke with Street Artists, graffiti writers, and new media practitioners but not with Street Art itself. Interviews for instancemight not always be the solution for everything. To come back to Lewisohn’s claim - most Street Art would be kitsch, “middlebrow”, “illustration” but not (street) art. But who is to judge if it is Street Art or not? And who if it is good? Most Street Artists, who say their art is great might be wrong as well if they say the opposite.“Anything-goes” might be fruitful for Street Art but not for Street Art research, some debatable categories might be helpful. I plead for more Street Art research and less research about Street Artistsalthough one cannot be without the other.

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- by Ulrich Blanché
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- 9
  Urbanism, Street Art, Urban Graffiti, Graffiti

This paper applied an ecocritical perspective on street art to expand on the notion that street art can have an impact on how we relate to urban public space. In doing so, it argued that street art is particularly well positioned to... more

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- by Peter Bengtsen
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- 113
  Critical Theory, History, Sociology, Cultural Studies

Graffiti may or may not be art, and that may or may not matter. To those ends I discuss a half dozen or so pieces in different styles, show that, whatever his particular style, Ceaze’s letterforms do not overlap, identify X-form and... more

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- by Bill Benzon
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- 7
  Popular Culture, Contemporary Art, Street Art, Urban Graffiti

URBAN ART: CREATING THE URBAN WITH ART 14-16 July 2016 – Humboldt University Berlin Keynote: Prof. Dr. Frank Eckardt (Bauhaus-Universität Weimar) The conference deals with Urban Art, a new form of art and activism, that occurs in urban... more

URBAN ART: CREATING THE URBAN WITH ART
14-16 July 2016 – Humboldt University Berlin
Keynote: Prof. Dr. Frank Eckardt (Bauhaus-Universität Weimar)

The conference deals with Urban Art, a new form of art and activism, that occurs in urban areas worldwide. First known under the label of "Street Art", the term has expanded to include diverse artistic and visual interventions in the exterior space. In contrast to the traditional term ‘public art’ Urban Art is very inclusive. Thus, it is both part of and reflective of current processes of global urbanization.
The extremely heterogeneous manifestations of Urban Art range from large-scale wall paintings to tiny stickers, performative interventions to alternative forms of urban planning; they accompany multiple forms of urban and global criticism and try to encourage participation through low artistic techniques.They are seen in passing, often by chance, on the street or by the discovery of images and locations online and in social media. Finally, the ambivalent areas of upvaluation and reinterpretation of urban spaces (gentrification), advertising and city marketing (commoditization) and attacks on private property (vandalism) are topics of Urban Art.

Works of Urban Art tend not to emerge from the art establishment, but come from anonymous players who make use of simple techniques and materials. Therefore, Urban Art is a phenomenon of the 'Low', which indeed evolved from a subculture, but clearly has features of mass culture: it is easily accessible to a wide audience on the street and online, works of Urban Art are often produced in series and at a low price.Urban Art messages are striking, comparable to advertising, and serve as entertainment or express site-specific criticism of urban surroundings. At the same time, the implicit notion of the urban provides the opportunity to reflect on the present development of the city and its medialization or aestheticism. This includes processes of virtualization, which participants test in a playful artistic environment or also concerning the monitoring in public space.

Topics of interest for submission may include, but are not limited to:

• Urban or Public Art?
• New Media (Internet and social media in the production and reception of urbanity)
• Performativity (Action and reception by moving in the urban space)
• Politics (Processes of participation and gentrification)
• Tourism and Vandalism (Strategies of production and denial of urbanity)
• Global-Local (Site-specific significance - global expansion)
• Architecture and City Planning (Medialization of architecture and alternative forms of urban design/city planning)
• Urban Art Research (Terminology, history of the core concepts)
• Historicizing and Conservation of Urban Art
• The Urban Pedestrian
• Discussion of the concept of work (Werkbegriff) at Urban Art (What is the work of art in Urban Art?)
• Urban Planning and Philosophy
• Applied Ethics and the City
• Race in Urban Affairs
• Aesthetics and Urbanity
• Humans, Animals, and Environment and the City
• Feminism and the City
• The City in the History of Philosophy
• Urbanity and Justice
• Urban Technology: Architecture, Engineering and Smart Cities

Abstracts of no more than 1500 characters (including spaces) are invited for papers, panels and workshop presentations and should be suitable for presentations of approximately 30 minutes.

Conference language is English.

Proposals should include name, contact information (address, phone number, e-mail), title of the paper, short CV in English (max. 200 words). In the case of an unconventional presentation, please inquire.

Please send submissions and questions to Ilaria Hoppe, ilaria.hoppe@culture.hu-berlin.de and Ulrich Blanché, u.blanche@zegk.uni-heidelberg.de.
All submissions should be prepared for anonymous review. Notice of application results will be given by 1st May, 2016.

Deadline: April 1, 2016.

Partial reimbursement for travel expenses may be available for participants.

Contact
Prof. Dr. Ilaria Hoppe
Institut für Kunst- und Bildgeschichte
Humboldt-Universität zu Berlin
Georgenstr. 47
10117 Berlin, Germany
Tel.: +4930-2093-66235

Dr. Ulrich Blanché
ZEGK - Institut für Europäische Kunstgeschichte
Universität Heidelberg
Seminarstraße 4
69117 Heidelberg
Tel.: +496221-54-3544

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- by Ulrich Blanché and +1
  Ilaria Hoppe
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- 32
  Urban Politics, Public Art, Urban History, Urban Anthropology

This paper focuses on the urban graffiti painted with a political message by different movements of the Italian political radicalism in the cities of Rome, Florence, Massa, Carrara, Verona and Udine. For the purpose of this article,... more

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- by Nicola Guerra
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- 349
  Creative Writing, Critical Theory, Discourse Analysis, Semiotics

Stickers form a category of street art that is becoming increasingly popular in modern, industrial urban environments. By exploiting the material properties of stickers, street artists are able to spread their work over large areas with... more

Highway är en graffitimålning i Rågsved i Stockholm. Den är målad 1989 av SHOF, Still Heavens Only Force. SHOF var ett graffiticrew som verkade längs tunnelbanans linje 19, främst i Rågsved och Hagsätra. Verket domineras av tex- ten... more

Highway är en graffitimålning i Rågsved i Stockholm. Den är målad 1989 av SHOF, Still Heavens Only Force. SHOF var ett graffiticrew som verkade längs tunnelbanans linje 19, främst i Rågsved och Hagsätra. Verket domineras av tex- ten Highway men består även bland annat av texten Rågsvedsgården och flertalet figurer. Den täcker en av gavlarna i Rågsveds centrum i anslutning till fritidsgården. HIghway målades på uppdrag av dåvarande fastighetsägaren Stock- holmshem AB i samarbete med fritidsgården efter det att initiativ tagits av SHOF själva.

Highway är unik i det att den är en av mycket få, kanske troligtvis den enda, graffitimålningen i Sverige och interna- tionellt av sådan hög ålder som finns bevarad i sin ursprungliga offentliga miljö. Ett fåtal större graffitiverk från 1980-talet finns kvar men det är ingen som på samma sätt som Highway förenar sådant konstnärligt uttryck och konsthistorisk betydelse med en lika bred samhälls- arkitektur och socialhistoria.
Highway och graffitin kan beskrivas som ungdomarnas svar på det moderna samhället. Den starka kopplingen mellan centrumbyggnaden och graffitimålningen gör att Highwyay och Rågsveds centrum tillsammans har höga arkitektur- historiska-, socialhistoriska- och samhällshistoriska värden. De utgör tillsammans en representation av det svenska folkhemmets bildningsideal och hur det påverkat såväl arkitekturens och stadsplaneringens form och innehåll, inte minst tydligt avläsbart i den ungdomsgård som planerades in i Rågsveds centrum från början och som haft stor bety- delse i svensk kulturliv.

Highway har ett tydligt samhälls- och socialhistoriskt värde i det att verket är en tydlig symbol för subkulturella motståndshandlingar mot en vuxenvärld och ett majoritetssamhälle. Traditionen av att med konst, musik och kultur ge ungdomar möjlighet till egenmakt går som en röd tråd genom Rågsveds historia, där punken, graffitin och Hiphop- kulturen är tydliga nedslag.
Då Highway är en del av den tradition av muralmåleri som finns i Rågsved har målningen även ett kontinuitetsvärde som tillsammans med verkets symbol- och identitetsvärden representerar det liv som levts i svenska förorter byggda under de så kallade rekordåren. Slutligen har Highway ett högt konsthistoriskt värde då den varit mycket viktig för graffitins tidiga utveckling i Sverige och därmed också den svenska samtidskonsten och svenska konsthistorien.

Utifrån de egenskaper och värden Highway har bedöms målningen vara särskilt värdefull från historisk, kultur- historisk, miljömässig eller konstnärlig synpunkt och därmed uppfylla kriterierna i Plan- och bygglagen 8 kap 13 §. Tillsammans med centrumanläggningen bedöms Highway därtill ha ett synnerligen högt kulturhistoriskt värde och sådana egenskaper att den bedöms uppfylla kriterierna för byggnadsminne enligt Kulturmiljölagens 3 kap.

Konservatorer med expertis på muralmåleri bedömer att det finns goda förutsättningar att restaurera Highway och ta bort den blå färg som målats över målningen 2019 förutsatt att bindemedlen i de olika färglagren är olika. Bedömning- en är även att det finns goda möjligheter att restaurera målningen och konsolidera originalfärgen som börjat flagna. En första konserveringsåtgärd bör vara att göra en förundersökning där specifika åtgärdsförslag kan arbetas fram.

Utredningen bör läsas tillsammans med konservator Elin Lundmarks PM (Lundmark 2020) och Jacob Kimvalls konst- historiska undersökning av Highway som görs parallellt med denna antikvariska undersökning.

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- by Tomas Örn
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- 8
  Art History, Visual Culture, Heritage Conservation, Urban Graffiti

Since the early 1980s, in addition to the increase in graffiti and street art in many urban contexts, a number of movies have been made that have either examined this phenomenon and the people who engage in this activity, or used graffiti... more

Autorinnen wie Virginia Woolf, Marlen Haushofer, Ingeborg Bachmann und Elfriede Jelinek sowie Künstlerinnen wie Birgit Jürgenssen, Francesca Woodman, Monica Bonvicini, Veruschka von Lehndorff, Orshi Drozdik und Gabriele Stötzer haben sich... more

Autorinnen wie Virginia Woolf, Marlen Haushofer, Ingeborg Bachmann und Elfriede Jelinek sowie Künstlerinnen wie Birgit Jürgenssen, Francesca Woodman, Monica Bonvicini, Veruschka von Lehndorff, Orshi Drozdik und Gabriele Stötzer haben sich in ihren Texten, Fotografien und (Video-)Installationen auffallend häufig mit dem vieldeutigen Motiv der Wand auseinandergesetzt, indem sie ihr eigenes Verschwinden in Szene gesetzt, sich an Wänden abgearbeitet oder sie zu Projektions- oder Schreibflächen erklärt haben. Geschickt verknüpfen sie dabei geschlechterkritische mit ästhetischen Fragestellungen.

Die Wand steht einerseits für das Subjekt einschränkende Begrenzungen, andererseits für einen Schutzraum, der vor Störungen der Außenwelt abschirmt und sich zu einem schöpferischen Ort weitet. In den künstlerischen und literarischen Arbeiten fungiert die Wand mal als Leinwand, leeres Blatt oder ‚vierte (Theater-)Wand‘, dann wieder als unsichtbare Barriere, Gefängnis, Verlies oder Sargdeckel. Vor allem ist sie der Schauplatz eines Vermächtnisses, der die weiblichen Figuren in sich aufnehmend umso deutlicher hervortreten lässt. Gerade in ihren Rissen wird die Wand zu einer sprechenden Größe, die mehr offenbart als verbirgt. Sie ist dabei weniger ein reales als vielmehr ein imaginäres Objekt, das paradoxerweise den Zugang zur Außenwelt verschließt, zugleich aber Durch- und Ausblicke erlaubt.

Einen Raum einzunehmen, sich in ihm zu positionieren, einen Ort für sich zu finden, ist für die hier vorgestellten Künstlerinnen und Autorinnen keineswegs selbstverständlich. Die subversive Strategie, sich zu vermauern, um sich dadurch erst einen Freiraum und einen freien Blick zu erobern, haben erstaunlich viele von ihnen parallel verfolgt, ohne voneinander zu wissen. Der Band versammelt Beiträge von Wissenschaftler*innen aus den Literatur-, Kultur-, Kunst- und Performancewissenschaften, die sich mit unterschiedlichen Ausformungen des schöpferischen Gegen-die-Wand-Angehens auseinandersetzen.

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- by Astrid Hackel
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- 11
  Gender Studies, Photography, Literature, Contemporary Art

This anthology chapter examines the removal of and trade in street artworks.

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- by Peter Bengtsen
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- 104
  Critical Theory, History, Cultural History, Sociology

David Scott’s attempts at redefining popular culture of dancehall within post-coloniality as problem space is productive for interdisciplinarity and for a critique of graffiti’s theorization of its practices, where the body is central.... more

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- by Terance Nzuza
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- 3
  Power Electronics, Urban Graffiti, Visual Arts

Urban Graffiti

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