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STREET ART (3) answer(s).
 
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ID:   140509


Negotiating spatial politics: site-responsive urban art images in mainland China / Valjakka, Minna   Article
Valjakka, Minna Article
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Summary/Abstract Since the mid-1990s, growing urbanization has led to the rise of new forms, needs and sites for visual self-expression in urban public space in mainland China. Drawing on periods of intensive fieldwork in Beijing, Shanghai, Shenzhen and Hong Kong since 2006, this article suggests a new approach for examining the spatial politics of urban art images in China based on the concept of ‘site responsiveness’. Inspired by discussions on site-specific and site-oriented art and street art, this article aims to clarify the importance of both aesthetic analysis and comparative contextualization of urban art images in relation to (1) the reciprocal relationship between the urban art images and the site, and (2) international developments in the discourses on ‘graffiti’ and ‘street art’. This dual approach provides a starting point for a comprehensive sociospatial interpretation of the visual phenomenon in China while challenging the unproblematized use of the concept of graffiti in existing studies and offering two umbrella concepts – urban art images and creator of urban art images – to facilitate more nuanced research. By examining actions of visual self-expression at the grass-roots level, this article brings attention to an often neglected but crucial perspective to discussions of the city as a living organism and to the interrelations between art and urbanization.
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2
ID:   175531


Reading socio-political and spatial dynamics through graffiti in conflict-affected societies / Vogel, Birte; Arthur, Catherine; Lepp, Eric; O'Driscoll, Dylan   Journal Article
Vogel, Birte Journal Article
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Summary/Abstract This paper argues that graffiti can provide a form of socio-political commentary at the local level, and is a valuable, yet often overlooked, resource for scholars and policymakers in conflict-affected societies. Graffiti, in its many forms, can provide rich insight into societies, cultures, social issues, trends, political discourse, and spatial and territorial identities and claims. Thus, this, paper suggests that graffiti is a valuable source of knowledge in societies undergoing social and political transformation, to hear the voices of those often left out from the official discourses. Despite advances in the field of arts and international relations and the focus on the local and the everyday, peace and conflict scholarship and policy still lack systematic engagement with arts-based contributions and how to read them. The paper attempts to address this gap by outlining four core dimensions to consider when attempting to interpret and decode graffiti: the spatial, temporal, political economic and representative dimensions. This can also be viewed as an inquiry into the where, when, who and what. These four elements make up an analytical guide and enable scholars to better understand graffiti, and its political meaning and messaging.
Key Words Conflict  Peace  Space  Everyday  Graffiti  Street Art 
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3
ID:   166890


Street art as everyday counterterrorism? the Norwegian art community’s reaction to the 22 July 2011 attacks / Tellidis, Ioannis   Journal Article
Tellidis, Ioannis Journal Article
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Summary/Abstract This article looks at a project involving nine internationally acclaimed street artists who agreed to make murals in Oslo, following the 22 July 2011 attacks. Resting on the art project’s aims (‘to promote universal human rights and to counter the intolerance and xenophobia that can give rise to violence and justify terrorism’) and the art community’s reaction, the article argues that street art’s visibility and agency offer alternative ways of thinking about, and approaching, international relations (IR). The article examines the streets as the space where artists express and engage the ‘everyday’; and as the medium that allows artists to bring art to the public (as opposed to galleries or exhibitions the public chooses to visit). We argue that the incorporation of street art’s spatiality and aesthetics into ‘everyday IR’ supports more critical frameworks that (a) expose the exceptional logic(s) of illiberal governance; (b) enable the visibility of marginalised and/or dissenting voices in society; and (c) explore experimental, eclectic and creative approaches of doing/thinking everyday security, community and peace.
Key Words Counterterrorism  Norway  Space  Aesthetics  Street Art  Critical Peace Research 
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