Search

This paper explores the unique interplay between graffiti practices, “gentle privatism,” and urban space in Block 45, a large housing estate in New Belgrade. Focusing on the informal code of conduct adhered to by local graffiti artists, the study examines how these unwritten rules shape social hierarchies and community dynamics. Through an analysis of graffiti’s territoriality and its role in place-making, the paper reveals how artists navigate the tension between public and private domains, challenging conventional neoliberal urban paradigms. By appropriating public spaces, graffiti writers transform common walls into valuable canvases that reflect the collective identity and mutual respect within the ambience of Block 45. The paper argues that this form of gentle privatism not only asserts the presence of the artists but also enriches the urban landscape and strengthens community bonds. Ultimately, the study highlights the sociocultural significance of graffiti as a medium for cultural expression and social commentary within the context of privatism., Članek raziskuje edinstveni preplet praks grafitiranja, »nežnega privatizma« in urbanega prostora v Bloku 45, večjem stanovanjskem naselju v Novem Beogradu. Študija s poudarkom na neformalnem kodeksu obnašanja, ki se ga držijo lokalni grafitarji, proučuje, kako ta nenapisana pravila oblikujejo družbene hierarhije in dinamike v skupnosti. Članek prek analize teritorialnosti grafitov in njihove vloge v ustvarjanju krajev razkrije, kako se umetniki spoprijemajo z napetostjo med javno in zasebno sfero ter pri tem predstavljajo izziv konvencionalnim neoliberalnim urbanim paradigmam. S prilastitvijo javnih prostorov grafitarji skupne zidove preobrazijo v dragocena platna, ki odslikavajo kolektivno identiteto in vzajemno spoštovanje v okolišu Bloka 45. V prispevku avtorica argumentira, da ta oblika nežnega privatizma ne le uveljavlja prisotnost umetnikov, temveč tudi bogati urbano krajino in krepi skupnostne vezi. Študija nazadnje poudari družbeno- kulturni pomen grafitov kot medija za kulturno izražanje in družbeni komentar v kontekstu privatizma.

Els equips de neteja de Barcelona dediquen 500 hores al dia a netejar els espais públics. Concretament, la neteja d'adhesius, cartells i pintades suposa una inversió de 22.000 euros diaris. Per combatre l'incivisme, s'imposen sancions de fins a 600 euros.

This paper explores the unique interplay between graffiti practices, “gentle privatism,” and urban space in Block 45, a large housing estate in New Belgrade. Focusing on the informal code of conduct adhered to by local graffiti artists, the study examines how these unwritten rules shape social hierarchies and community dynamics. Through an analysis of graffiti’s territoriality and its role in place-making, the paper reveals how artists navigate the tension between public and private domains, challenging conventional neoliberal urban paradigms. By appropriating public spaces, graffiti writers transform common walls into valuable canvases that reflect the collective identity and mutual respect within the ambience of Block 45. The paper argues that this form of gentle privatism not only asserts the presence of the artists but also enriches the urban landscape and strengthens community bonds. Ultimately, the study highlights the sociocultural significance of graffiti as a medium for cultural expression and social commentary within the context of privatism., Članek raziskuje edinstveni preplet praks grafitiranja, »nežnega privatizma« in urbanega prostora v Bloku 45, večjem stanovanjskem naselju v Novem Beogradu. Študija s poudarkom na neformalnem kodeksu obnašanja, ki se ga držijo lokalni grafitarji, proučuje, kako ta nenapisana pravila oblikujejo družbene hierarhije in dinamike v skupnosti. Članek prek analize teritorialnosti grafitov in njihove vloge v ustvarjanju krajev razkrije, kako se umetniki spoprijemajo z napetostjo med javno in zasebno sfero ter pri tem predstavljajo izziv konvencionalnim neoliberalnim urbanim paradigmam. S prilastitvijo javnih prostorov grafitarji skupne zidove preobrazijo v dragocena platna, ki odslikavajo kolektivno identiteto in vzajemno spoštovanje v okolišu Bloka 45. V prispevku avtorica argumentira, da ta oblika nežnega privatizma ne le uveljavlja prisotnost umetnikov, temveč tudi bogati urbano krajino in krepi skupnostne vezi. Študija nazadnje poudari družbeno- kulturni pomen grafitov kot medija za kulturno izražanje in družbeni komentar v kontekstu privatizma.

The culture of Hip Hop is noticeably ingrained in twenty-first century contemporary culture, influencing everything from music, dance, fashion, and art, yet is formally non-existent in the discipline of interior design. Therefore, this practicum project aims to establish the theoretical foundations of Hip Hop interior design, a novel proposal which is informed by Hip Hop and the associated Hip Hop architecture movement. The identified theory will guide the design of The Toronto Centre for Hip Hop, a community centre for adolescents living in a disenfranchised inner-city neighbourhood in Toronto, Ontario. Towards this pursuit, context is fundamental to situate Hip Hop within its distinct historical, social, and cultural emergence. The history of American racial segregation is unravelled to clarify the role architects, designers, and city planners played in the spatial and architectural marginalization of Black people. This bigoted construction was decisive in forming the inner city or ghetto, which eventually situated post-industrial New York as the incubator for Hip Hop to emerge. Hip Hop is then analyzed from its history to its various expressions, conclusively positioning it as a culture, as opposed to merely a musical genre. This allows for its connection to space and place, exploring how space is not universal or equal to all, substantiating the pursuit of Hip Hop architecture. Subsequently, theories from the developing Hip Hop architecture movement are reviewed to connect Hip Hop with built form, conclusively supporting the proposed idea of Hip Hop interior design. The ultimate goal of this practicum project is to contemplate a new approach to interior design that focuses primarily on revitalizing marginalized inner-city communities through the ideologies of Hip Hop. The undertaking reconsiders a Eurocentric imposition of space, towards a participatory design process that prioritizes the perspectives of Black, Brown, and minority people. This approach envisions

Most people don’t usually conjure the image of American policing methods in the Swedish police. The early-to-late 1990s would oversee a push to tackle what was then seen as rising crime and a battle over the subway a decade before in New York City. This style of policing, called Broken Windows would become mythicized in certain political circles about how it was able to reverse the trends of societal decline. It wasn’t soon after that Broken Windows had found itself in two Swedish law enforcement models over a span of fifteen years. By using the theory of Americanization, or how this transatlantic exchange of ideas had impacted important newspaper discourse–we can learn how once-American ideas, like Broken Windows, become new cultural concepts in Swedish journalistic discourse over time.

Graffiti have the power to transform a space within a given landscape into a meaningful place. This study undertakes an in-depth analysis of more than 4000 graffiti created by the workmen of Deir el-Medina in the Theban Mountain during the New Kingdom (c. 1550–1050 BCE), with a particular emphasis on the Valley of the Kings. Additionally, the research contributes to the existing documentation by publishing graffiti numbers 1406–1526, identified as ‘Carter Graffiti’ in the Valley of the Kings. Significantly, these graffiti have not been previously published, addressing a notable gap in scholarly knowledge.Acknowledging that the documentation of unpublished graffiti surveyed by Howard Carter from 1915 to 1918 served primarily an exploratory and documentary purpose, this study seizes the opportunity for extensive, on-site examination and analysis. The principal objective is to elucidate the evolution of graffiti-making practices and the multifaceted roles of these informal inscriptions, particularly within the Deir el-Medina community context. To achieve this aim, the research employs three case studies, undertaking the following endeavours:to employ spatial analysis related theories, including post-phenomenology, to understand the influence of the landscape on the making of graffiti. This includes investigating the spatial and environmental factors that influenced the selection of locations of graffiti and patterns of their making;to apply place-making and place-marking related theories to understand how graffiti transformed spaces into meaningful places;to employ the social network analysis theory as a lens to understand the influence of social relations among graffiti writers on the graffiti-making process. This approach aims to unravel the intricate dynamics and impact of social networks on the making of graffiti within the historical and spatial context of the Valley of the Kings;to examine and analyse the content and context of the graffiti created by the Deir el

My degree project aims to find an alternative destiny to the city glitches- the forgotten industrial buildings which are constantly being torn down. All the memories, the urban creatures that nest inside them, are considered disposable in city planning. The aim of this project is not to stop urban development but to create spaces where this endless force magically stops, a bubble of “utopia”, where the urban beings take their own time to flourish, undisturbed. I focus my project on the abandoned factory house Nitrolackfabriken in the southern part of Stockholm, a building threatened with demolition. I went through three stages in the design process: first background research, second a design proposal about turning the building into a functional culture house, and lastly landed on a design intervention where I gave up the previous culture house proposal, refused it on behave of the building itself, and gave the house back to what is already inside. I created three design interventions in this new part of the project: the garden, the pond, and the fire room. I see the building and all the small beings nesting inside as part of an intertwining relationship, a living being, a “GIANT.” I abstracted her into a human-like shape, wishing to create an emotional resonance between the GIANT and us. To remind us that we are all part of this complexity.

Most people don’t usually conjure the image of American policing methods in the Swedish police. The early-to-late 1990s would oversee a push to tackle what was then seen as rising crime and a battle over the subway a decade before in New York City. This style of policing, called Broken Windows would become mythicized in certain political circles about how it was able to reverse the trends of societal decline. It wasn’t soon after that Broken Windows had found itself in two Swedish law enforcement models over a span of fifteen years. By using the theory of Americanization, or how this transatlantic exchange of ideas had impacted important newspaper discourse–we can learn how once-American ideas, like Broken Windows, become new cultural concepts in Swedish journalistic discourse over time.

Graffiti have the power to transform a space within a given landscape into a meaningful place. This study undertakes an in-depth analysis of more than 4000 graffiti created by the workmen of Deir el-Medina in the Theban Mountain during the New Kingdom (c. 1550–1050 BCE), with a particular emphasis on the Valley of the Kings. Additionally, the research contributes to the existing documentation by publishing graffiti numbers 1406–1526, identified as ‘Carter Graffiti’ in the Valley of the Kings. Significantly, these graffiti have not been previously published, addressing a notable gap in scholarly knowledge.Acknowledging that the documentation of unpublished graffiti surveyed by Howard Carter from 1915 to 1918 served primarily an exploratory and documentary purpose, this study seizes the opportunity for extensive, on-site examination and analysis. The principal objective is to elucidate the evolution of graffiti-making practices and the multifaceted roles of these informal inscriptions, particularly within the Deir el-Medina community context. To achieve this aim, the research employs three case studies, undertaking the following endeavours:to employ spatial analysis related theories, including post-phenomenology, to understand the influence of the landscape on the making of graffiti. This includes investigating the spatial and environmental factors that influenced the selection of locations of graffiti and patterns of their making;to apply place-making and place-marking related theories to understand how graffiti transformed spaces into meaningful places;to employ the social network analysis theory as a lens to understand the influence of social relations among graffiti writers on the graffiti-making process. This approach aims to unravel the intricate dynamics and impact of social networks on the making of graffiti within the historical and spatial context of the Valley of the Kings;to examine and analyse the content and context of the graffiti created by the Deir el

Neteja de pintades i taques de pintura, eliminació de cartells i retirada de pancartes, i altres elements de la via pública com bancs, jardineres, fonts i façanes d’edificis patrimonials.

My degree project aims to find an alternative destiny to the city glitches- the forgotten industrial buildings which are constantly being torn down. All the memories, the urban creatures that nest inside them, are considered disposable in city planning. The aim of this project is not to stop urban development but to create spaces where this endless force magically stops, a bubble of “utopia”, where the urban beings take their own time to flourish, undisturbed. I focus my project on the abandoned factory house Nitrolackfabriken in the southern part of Stockholm, a building threatened with demolition. I went through three stages in the design process: first background research, second a design proposal about turning the building into a functional culture house, and lastly landed on a design intervention where I gave up the previous culture house proposal, refused it on behave of the building itself, and gave the house back to what is already inside. I created three design interventions in this new part of the project: the garden, the pond, and the fire room. I see the building and all the small beings nesting inside as part of an intertwining relationship, a living being, a “GIANT.” I abstracted her into a human-like shape, wishing to create an emotional resonance between the GIANT and us. To remind us that we are all part of this complexity.

Graffiti have the power to transform a space within a given landscape into a meaningful place. This study undertakes an in-depth analysis of more than 4000 graffiti created by the workmen of Deir el-Medina in the Theban Mountain during the New Kingdom (c. 1550–1050 BCE), with a particular emphasis on the Valley of the Kings. Additionally, the research contributes to the existing documentation by publishing graffiti numbers 1406–1526, identified as ‘Carter Graffiti’ in the Valley of the Kings. Significantly, these graffiti have not been previously published, addressing a notable gap in scholarly knowledge.Acknowledging that the documentation of unpublished graffiti surveyed by Howard Carter from 1915 to 1918 served primarily an exploratory and documentary purpose, this study seizes the opportunity for extensive, on-site examination and analysis. The principal objective is to elucidate the evolution of graffiti-making practices and the multifaceted roles of these informal inscriptions, particularly within the Deir el-Medina community context. To achieve this aim, the research employs three case studies, undertaking the following endeavours:to employ spatial analysis related theories, including post-phenomenology, to understand the influence of the landscape on the making of graffiti. This includes investigating the spatial and environmental factors that influenced the selection of locations of graffiti and patterns of their making;to apply place-making and place-marking related theories to understand how graffiti transformed spaces into meaningful places;to employ the social network analysis theory as a lens to understand the influence of social relations among graffiti writers on the graffiti-making process. This approach aims to unravel the intricate dynamics and impact of social networks on the making of graffiti within the historical and spatial context of the Valley of the Kings;to examine and analyse the content and context of the graffiti created by the Deir el

The purpose of this quantitative research was to explore the relationship between two potential risk factors, children’s type of school (e.g., public, private, charter, or magnet) and quality of neighborhood, with social vulnerability. Data were collected through an online survey from January through March 2024. Hierarchical multiple linear regression conducted in SPSS demonstrated that four out of seven quality of neighborhood attributes were significant predictors of social vulnerability (p < .05); as the neighborhood conditions of vehicular traffic, teenagers present in the street, graffiti, and vandalism increased, levels of social vulnerability also increased. Factor analysis confirmed the strong reliability and internal structure of the instrument used to collect the data. No significance was found for children’s type of school, but more studies are needed to determine if research on this variable can help inform decisions about school-choice policies. This study addressed the need for knowledge about contextual environmental factors and children’s well-being. This is imperative, as social vulnerability is an emerging psychological construct in developmental research that is correlated with all aspects of social interactions, as it negatively interferes with the process of forming social bonds with others. Building alignment between the goals of schools, government agencies, and communities is essential, so that parents have access to the support and resources needed to promote healthy development in children. Thus, the empirical findings from this study will help promote awareness of social vulnerability and help children receive the empathy, dignity, and respect that they deserve.

El servei de neteja de pintades de Barcelona està format per 36 equips que es dediquen a netejar les pintades al mobiliari urbà (bancs, fonts, jardineres, faristols, baranes, aparcabicis, plaques, etc.), així com als edificis catalogats.

Graffiti have the power to transform a space within a given landscape into a meaningful place. This study undertakes an in-depth analysis of more than 4000 graffiti created by the workmen of Deir el-Medina in the Theban Mountain during the New Kingdom (c. 1550–1050 BCE), with a particular emphasis on the Valley of the Kings. Additionally, the research contributes to the existing documentation by publishing graffiti numbers 1406–1526, identified as ‘Carter Graffiti’ in the Valley of the Kings. Significantly, these graffiti have not been previously published, addressing a notable gap in scholarly knowledge.Acknowledging that the documentation of unpublished graffiti surveyed by Howard Carter from 1915 to 1918 served primarily an exploratory and documentary purpose, this study seizes the opportunity for extensive, on-site examination and analysis. The principal objective is to elucidate the evolution of graffiti-making practices and the multifaceted roles of these informal inscriptions, particularly within the Deir el-Medina community context. To achieve this aim, the research employs three case studies, undertaking the following endeavours:to employ spatial analysis related theories, including post-phenomenology, to understand the influence of the landscape on the making of graffiti. This includes investigating the spatial and environmental factors that influenced the selection of locations of graffiti and patterns of their making;to apply place-making and place-marking related theories to understand how graffiti transformed spaces into meaningful places;to employ the social network analysis theory as a lens to understand the influence of social relations among graffiti writers on the graffiti-making process. This approach aims to unravel the intricate dynamics and impact of social networks on the making of graffiti within the historical and spatial context of the Valley of the Kings;to examine and analyse the content and context of the graffiti created by the Deir el

In this paper we introduce and describe the phenomenon of videogame street art as a specific kind of street art. We consider its materiality and significance, and conceptualize it in the light of a double manifestation of play: the playful appropriation of the city by the artist and the fact that Street art encapsulates the act of playing videogames in a visual form. Digital play spills out of our computer screens and occupies the urban space with the explicit intention of involving spectators, who are invited to play in symbolic ways that actualize nostalgic memories of gaming and can be related to a more general “play turn” in our culture., En este artículo se presenta y describe el fenómeno del street art inspirado en videojuegos como un tipo específico de street art. Se considera su materialidad e importancia, y se conceptualiza a partir de una doble manifestación del juego: la apropiación lúdica de la ciudad por parte del artista, y el hecho de que este tipo de street art encapsula el acto de jugar videojuegos de una forma visual. El juego digital sale de nuestras pantallas y ocupa el espacio urbano con la intención explícita de involucrar a los espectadores, quienes son invitados a jugar a través de formas simbólicas que actualizan recuerdos nostálgicos de los videojuegos y que responden a un “giro lúdico” de nuestra cultura., Depto. de Periodismo y Nuevos Medios, Fac. de Ciencias de la Información, TRUE, pub

Hur kan bilder synliggöra gränsområden och utmana gränser? Jag kommer visa tre exempel och det är cirka fem år mellan dessa tre projekt.1. Bilderna om muren, av muren och på muren. Den 720 km långa Israeliska barriären ringlar sig fram på palestinsk odlingsmark och började byggas 2002. Jag kommer att visa bilder som målats på muren, de fotograferade jag 2005. De delar som utgör mur av barriären blev snabbt en plats med stor attraktionskraft för Palestinska konstnärer som målar och skriver poesi som graffiti på den – kollektiva målningar och klotter-vävar växte i storlek.2. Bilderna av och om och med de tiggande. Fem år senare, 2010, kommer en osynlig mur, en gräns mellan människor på Sveriges gator orsaka en intensiv nationell diskussion. Den kommer att insistera på min uppmärksamhet och det kommer att ta mig ytterligare fyra år hur denna gräns ska kunna presenteras som ett utrymme för potentiell handling. Situationen för tiggeriet och giveriet i Sverige har orsakat en ny social koreografi på gatorna. Jag arbetar med bilder, för att gränser manifesteras inte endast på marken; på platser där vissa människor är inkluderade i den sociala strukturen och andra är utestängda av olika skäl och fortsätter leva just utanför, för att gränser manifesteras även i tänkandet: i människors bilder av varandra och i det kollektiva föreställandet. Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Våren 2014 började arbetet med att träna och iscensätta två amatörkörer som skulle sjunga i dialog. I Tiggandets kör sjöng människor som brukar tigga på gatorna och i Givandets kör sjöng människor som brukar ge till de tiggande. The recruiting is described in Parsberg 2016, ch.7.1. The film was made in 2014 when the attention and engagement around the newly arrived begging, mostly from Romania and Bulgaria, in Sweden was high, for example the number of articles in Swedish newspapers about begging and giving increased 17 times from 2011 to 2016. Om en ömsesidig h

The purpose of this essay is to examine the role of street art in modern cities. In order to explore this we’ve chosen Berlin as our case study, particularly the districts Friedrichshain, Kreuzberg and Prenzlauer Berg. Our chosen method is ethnography. The theoretical perspectives we’ve chosen that allow us to gain a deepened understanding of the role of street art in the urban landscape is representation and urban identity. These perspectives have been used to investigate what is represented in street art and how different forms of street art shape and affect the city's identity. Our results show that street art plays a role in creating urban identity and culture around a place and how different conditions of the districts have a potential role in what kind of street art is created. We have seen that street art functions as a representation for socioeconomic challenges, and that there is a culture of reproduction that is reflected by the street art. Gentrification of the city and commodification of street art have an impact on artistic expression, available space and the street art’s ability to communicate with citizens., Sammanfattning Syftet med denna studie är att undersöka gatukonstens roll i stadsmiljön. För att utföra detta har vi studerat Berlin, med särskilt fokus på stadsdelarna Friedrichshain, Kreuzberg och Prenzlauer Berg. Vår valda metod är etnografi. De teoretiska perspektiv vi använt för att skapa fördjupad förståelse för gatukonstens roll är representation och urban identitet. Teorierna har använts för att undersöka vad gatukonsten representerar samt hur olika former av gatukonst formar och påverkar stadens identitet. Vårt resultat visar att gatukonst spelar en roll i det urbana identitetsskapandet och kulturen för en plats, vilka olika förutsättningar en stadsdel har, men även en potentiell roll i vilken gatukonst som skapas. Vi har sett att gatukonst kan fungera som representation för socioekonomiska utmaningar samt att det finns en kultur av reproduktion som reflekteras genom gatukonsten. Gentrifieringen av staden och kommodifierad gatukonst har en påverkan på konstnärligt uttryck, tillgänglig yta och gatukonstnärernas förmåga att kommunicera med invånarna.

The purpose of this essay is to examine the role of street art in modern cities. In order to explore this we’ve chosen Berlin as our case study, particularly the districts Friedrichshain, Kreuzberg and Prenzlauer Berg. Our chosen method is ethnography. The theoretical perspectives we’ve chosen that allow us to gain a deepened understanding of the role of street art in the urban landscape is representation and urban identity. These perspectives have been used to investigate what is represented in street art and how different forms of street art shape and affect the city's identity. Our results show that street art plays a role in creating urban identity and culture around a place and how different conditions of the districts have a potential role in what kind of street art is created. We have seen that street art functions as a representation for socioeconomic challenges, and that there is a culture of reproduction that is reflected by the street art. Gentrification of the city and commodification of street art have an impact on artistic expression, available space and the street art’s ability to communicate with citizens., Sammanfattning Syftet med denna studie är att undersöka gatukonstens roll i stadsmiljön. För att utföra detta har vi studerat Berlin, med särskilt fokus på stadsdelarna Friedrichshain, Kreuzberg och Prenzlauer Berg. Vår valda metod är etnografi. De teoretiska perspektiv vi använt för att skapa fördjupad förståelse för gatukonstens roll är representation och urban identitet. Teorierna har använts för att undersöka vad gatukonsten representerar samt hur olika former av gatukonst formar och påverkar stadens identitet. Vårt resultat visar att gatukonst spelar en roll i det urbana identitetsskapandet och kulturen för en plats, vilka olika förutsättningar en stadsdel har, men även en potentiell roll i vilken gatukonst som skapas. Vi har sett att gatukonst kan fungera som representation för socioekonomiska utmaningar samt att det finns en kultur av reproduktion som reflekteras genom gatukonsten. Gentrifieringen av staden och kommodifierad gatukonst har en påverkan på konstnärligt uttryck, tillgänglig yta och gatukonstnärernas förmåga att kommunicera med invånarna.

Denna kvalitativa undersökning utforskar den utmaning många elever står inför inombildutbildningen: övertygelsen om att "Jag kan inte rita". Detta självbegränsande övertygelse utgör ett hinder för konstnärligt uttryck och väcker frågor om hur vår uppfattning om konst och lärande inverkar vår förmåga att uttrycka oss.Genom mina erfarenheter av att hålla graffitiworkshops i icke-traditionella lärmiljöer observerade jag en kontrasterande bild. Deltagare, inklusive de som tidigare hade uttryckt "Jag kan inte rita," visade öppenhet för konstnärlig skapelse och självuttryck. Denna klyfta mellan traditionell bildundervisnings självbegränsande övertygelser och den öppna utforskningen inom en graffitiworkshop väcker intressanta frågor om hur olika lärmiljöer formar elevers syn på lärande och konst samt deras egna förmågor. Denna uppsats syftar till att undersöka dynamiken bakom lärandet i det extramurala rummet med fokus på bildskapande graffitiaktiviteter. Genom att analysera gruppers interaktioner, deltagarnas engagemang och självuppfattning strävar jag efter att belysa hur graffiti, som ensamtida konstform, kan underlätta positivt, motiverat och självuttryckande lärande. Denna undersökning syftar till att bidra till förståelsen av hur extramuralt lärande kan vara en plats för att övervinna självbegränsande övertygelser och främja en berikande syn på konstnärligt skapande.

Konst är en kraft som kan förändra samhället. Hur kan vi som blivande bildlärare, som jobbar inom vad jag och många andra anser vara en förtryckande institution som skolan, skapa en bildundervisning, som bygger på denna idé? I denna studie försöker jag hitta svar på den frågan genom den frigörande pedagogikens teori och gatukonstens och graffitins praktiker. Studiens syfte är att hitta kopplingar och möjligheter mellan frigörande pedagogik och hur gatukonst och graffiti presenteras i de valda läromedlen, som utgör studiens empiri. Syftet är att skapa en förståelse för hur gatukonst och graffiti kan användas på ett meningsfullt sätt inom en frigörande bildundervisning; en bildundervisning som är förankrad i verkligheten och sker tillsammans med andra, på ett autentiskt sätt. Studien utgår från följande frågeställningar: Vilka kopplingar framträder mellan böckernas innehåll och Freires frigörande pedagogik? Hur kan dessa kopplingar bidra till att skapa en frigörande bildundervisning? Empirin består av två läromedel som handlar om gatukonst och graffiti och dessa analyseras med hjälp av modellen för en tematisk analys. Resultaten i studien visar att det finns flera gemensamma drag och liknande teman inom frigörande pedagogiken och hur gatukonst och graffiti presenteras i de valda läromedlen. Gatukonst och graffiti kan fungera som en del av den medvetandegörandeprocessen som är central inom frigörande pedagogik, men även utvecklas och undervisas genom den.

This article studies the landscape from a perspective that takes the semiotic category of text to understand the material, immaterial and symbolic phenomena associated with a territory. For this, a conceptual model of text is taken as a starting point that allows the understanding of the landscape as a set of meanings open to the interpretation of those who contemplate it. It is exemplified with the case of tag graffiti in Montevideo city. It is concluded that the landscape is not only a category of heritage, but also an epistemic instrument of a semiotic nature for the analysis of various phenomena related to the territory, from both a sensory and metaphorical dimension., Este artículo estudia el paisaje desde una perspectiva que toma a la categoría semiótica de texto para entender los fenómenos materiales, inmateriales y simbólicos asociados a un territorio. Para ello, se toma como punto de partida un modelo conceptual de texto que permite la comprensión del paisaje como un conjunto de significados abiertos a la interpretación de quien lo contempla. Se ejemplifica con el caso del grafiti de firma tag en la ciudad de Montevideo. Se concluye en que el paisaje no solo es una categoría de lo patrimonial, sino también un instrumento epistémico de carácter semiótico para el análisis de diversos fenómenos vinculados con el territorio, desde una dimensión tanto sensorial como metafórico.

Teknisk utveckling ger oss nya sätt att skapa möjligheter att uppleva staden på fler sätt. Graffiti och street art är omdiskuterade ämnen i relation till stadsbyggnad och urbana rum, hur kan de bidra till stadsrummet på nya sätt genom att använda dessa nya tekniker och hur skulle det kunna se ut. Denna uppsats tar upp frågan om graffitis platsskapande egenskaper i en virtuell mijö.Genom litteraturstudier och praktikbaserad forskning samlar den information och forskning för att skapa en diskussion kring detta. Resultatet tyder på att det fortfarande är en relativt kompliceradprocess och därför inte tillgänglig för alla att skapa samt att de platsskapande egenskapergraffitimålande har inte går att jämföra med att konstruera AR. Som upplevelse är dock AR jämförbart med en graffitimålning, och har kanske än mer möjlighet för platsskapande.

Teknisk utveckling ger oss nya sätt att skapa möjligheter att uppleva staden på fler sätt. Graffiti och street art är omdiskuterade ämnen i relation till stadsbyggnad och urbana rum, hur kan de bidra till stadsrummet på nya sätt genom att använda dessa nya tekniker och hur skulle det kunna se ut. Denna uppsats tar upp frågan om graffitis platsskapande egenskaper i en virtuell mijö.Genom litteraturstudier och praktikbaserad forskning samlar den information och forskning för att skapa en diskussion kring detta. Resultatet tyder på att det fortfarande är en relativt kompliceradprocess och därför inte tillgänglig för alla att skapa samt att de platsskapande egenskapergraffitimålande har inte går att jämföra med att konstruera AR. Som upplevelse är dock AR jämförbart med en graffitimålning, och har kanske än mer möjlighet för platsskapande.

Denna text diskuterar antagonistisk graffiti i Pompeji ur ett rumsligt perspektiv för att analysera spridningen av graffiti. Texten ämnar även att undersöka ifall det är vanligare att skriva förolämpande graffiti på specifika platser i staden. Ytterligare ett mål med uppsatsen är att undersöka ifall modern teoribildning kan bidra till en bättre förståelse av graffitins spridning genom disinhibitionsteorin. Antik graffiti jämförs med moderna beteenden online och kring graffiti. Graffitin verkar skrivas på platser där den är synlig av andra människor och den är vanlig på både privata och offentliga byggnader. Disinhibition kan vara en möjlig förklaringsmodell angående förolämpande graffiti orsakad av exempelvis anonymitet., This text discusses antagonistic graffiti in Pompeii from a spatial perspective to analyse the spread of graffiti. The text also aims to study whether it is more common to write offensive graffiti in certain areas of the city. Another goal with this thesis is to study whether modern sociological theory can help understand the spread of graffiti through the disinhibition theory. Ancient graffiti is compared to modern behaviours online and around graffiti. Graffiti seems to be written in places where it could be seen by other people, and it is common on both private and public buildings. Disinhibition could be a possible explanatory model when discussing offensive graffiti caused by, for example, anonymity.

Este texto, expuesto en las XIII Jornadas de Jóvenes en Investigación Arqueológica constituye una versión resumida de una investigación todavía en desarrollo que tiene por objetivo comprender cómo el graffiti actúa como un elemento fundamental en la constitución de lugares de memoria. A lo largo de las siguientes páginas, expondremos brevemente qué es el graffiti, su historia, tipos de graffiti y un proyecto de arqueología de esta expresión artística en Santiago de Compostela. Mediante una prospección por muestreo dirigido, cuantificaciones generales, categorización y registro mediante fotografía y fotogrametría, en combinación con entrevistas y el empleo de bibliografía de referencia, trataremos de comprender cómo el graffiti puede actuar a modo de dispositivo mnemotécnico, teniendo un papel activo en la generación de lugares de agregación y memoria., Researchers, constitutes a summarized version of a research, which is still in development, whose aim is understanding how graffiti acts as a key element in the constitution of places of memory. Throughout the following pages, we will explain briefly what graffiti is, its history, its types and an archaeological project focused in this graphic and artistic expression in the city of Santiago de Compostela. Through a survey by directed sampling, general quantifications, categorization and registration through photography and photogrammetry, in combination with interviews of two artists and the use of archaeology and memory studies bibliography of reference, we aim to comprehend how graffiti act as a mnemonic device, having an active role generating places of aggregation and memory sites.

It could be shown with two types of representations of gods, Meretseger as sphinx and different renderings of Amun-Ra protomes, that intericonic relationships can also be found in the corpus of the graffiti de la montagne thébaine. With a clear copy-paste case—graffito 307 made by the sculptor Amennakhte (viii), who was active during the second half of the reign of Ramses II, and copied by deputy Hay (vii) in graffito 349, who was active during the mid-20th dynasty—adaptations and variations in the later rendering could be shown. Rare motives, like Meretseger as sphinx applied on the same spot, could be identified as clearly intericonically related. In these geographically closely related cases the impact of the existing image (agency) could be identified as one of the motivations for the application/production of the copy. It is more difficult to identify the motivation for the image production in the case of the dissemination of the two different forms of Amun- Ra protomes—variants of the once, in the 19th dynasty, established image type—over the entire royal necropolis (Valley of the Kings, Valley of the Queens and adjacent valleys) during the mid-20th dynasty. But based on the identification of several persons of the Deir el-Medine elite (deputy, scribe, draftsmen), who were involved in the dissemination process and who were all closely connected and aware of the dissemination process, it can be proposed that the application of the Amun-Ra protomes on different, more or less remote, spots in the necropolis was the common goal. Further, the connectedness of the producers may explain the iconographic variants in the renderings of the common motive as markers allowing their personal distinction.

This project investigates how youth in San Salvador, El Salvador define and participate in the co-creation of safety in their neighborhoods. For many years, El Salvador topped the rankings of most dangerous countries because of street gang violence and homicides. As the homicide rates have fallen in recent years, due to mass incarceration of street gang members, trust in state authority to effectively participate in the co-creation of safety has empowered young Salvadorans to also participate in that co-creation through reclaiming space. By painting over gang graffiti, the youth are participating in discourse in a public sphere, making claims to safety in their communities. Feelings and understanding of safety are also influenced by the representation and reputation of a place, thus this project included the creation of a participatory documentary for the youth to be a part of the representation of their country and communities. The documentary shows the painting over of gang graffiti and includes participant responses to questions about safety and representation. The video along with the interview responses show that the youth’s feelings of safety are tied to their physical environment, including the presence of gang graffiti, and that they are eager for their country to overcome the historical representation of being a dangerous place.

Denna text diskuterar antagonistisk graffiti i Pompeji ur ett rumsligt perspektiv för att analysera spridningen av graffiti. Texten ämnar även att undersöka ifall det är vanligare att skriva förolämpande graffiti på specifika platser i staden. Ytterligare ett mål med uppsatsen är att undersöka ifall modern teoribildning kan bidra till en bättre förståelse av graffitins spridning genom disinhibitionsteorin. Antik graffiti jämförs med moderna beteenden online och kring graffiti. Graffitin verkar skrivas på platser där den är synlig av andra människor och den är vanlig på både privata och offentliga byggnader. Disinhibition kan vara en möjlig förklaringsmodell angående förolämpande graffiti orsakad av exempelvis anonymitet., This text discusses antagonistic graffiti in Pompeii from a spatial perspective to analyse the spread of graffiti. The text also aims to study whether it is more common to write offensive graffiti in certain areas of the city. Another goal with this thesis is to study whether modern sociological theory can help understand the spread of graffiti through the disinhibition theory. Ancient graffiti is compared to modern behaviours online and around graffiti. Graffiti seems to be written in places where it could be seen by other people, and it is common on both private and public buildings. Disinhibition could be a possible explanatory model when discussing offensive graffiti caused by, for example, anonymity.

It could be shown with two types of representations of gods, Meretseger as sphinx and different renderings of Amun-Ra protomes, that intericonic relationships can also be found in the corpus of the graffiti de la montagne thébaine. With a clear copy-paste case—graffito 307 made by the sculptor Amennakhte (viii), who was active during the second half of the reign of Ramses II, and copied by deputy Hay (vii) in graffito 349, who was active during the mid-20th dynasty—adaptations and variations in the later rendering could be shown. Rare motives, like Meretseger as sphinx applied on the same spot, could be identified as clearly intericonically related. In these geographically closely related cases the impact of the existing image (agency) could be identified as one of the motivations for the application/production of the copy. It is more difficult to identify the motivation for the image production in the case of the dissemination of the two different forms of Amun- Ra protomes—variants of the once, in the 19th dynasty, established image type—over the entire royal necropolis (Valley of the Kings, Valley of the Queens and adjacent valleys) during the mid-20th dynasty. But based on the identification of several persons of the Deir el-Medine elite (deputy, scribe, draftsmen), who were involved in the dissemination process and who were all closely connected and aware of the dissemination process, it can be proposed that the application of the Amun-Ra protomes on different, more or less remote, spots in the necropolis was the common goal. Further, the connectedness of the producers may explain the iconographic variants in the renderings of the common motive as markers allowing their personal distinction.

During the first discussion round of goINDIGO 2022, which took place on Thursday, 12 May and was called Creators vs Academics, four local graffiti creators were invited to consider a series of (potentially provocative) statements in discussion with symposium participants (joining in-person and online). The statements, compiled by Geert Verhoeven in consultation with Samuel Merrill, were: Academia CHANGES graffiti Graffiti MUST be recorded ALL graffiti are archive-worthy Decontextualisation MATTERS Graffiti NEED categorisation Digital media are ESSENTIAL The four attending graffiti creators agreed to participate following their contact and invitation via Instagram. When introducing themselves, each conveyed their own, often close, relationship to the Donaukanal as well as their different levels of experience and exposure within Vienna’s wider graffiti scene. JANER ONE (active since 2012), for instance, took hope from doing graffiti in "tough times" and identified the Donaukanal as a really big playground - "it does not have many rules, and the few rules it has, you must pick up by yourself" - and a site of graffiti history. MANUEL SKIRL (active since 2006) meanwhile recounted how the openness and inclusiveness of the Donaukanal offered the chance to begin creating and, in time, to develop a personal style in "more artistic" directions. SERT (active since 2009) highlighted moving to Vienna partly to be close to the Donaukanal after growing up in a "pretty small village" in the countryside. SNUF’s (active since 2012) first piece was at the prestigious Donaukanal, the "best art gallery of the city with almost daily changing exhibitions". Each of the four brought their personal, 'inside' perspectives to the discussion of the selected statements that is recorded in the following text. This text is not, however, a verbatim nor sequential account of that discussion. Firstly, although retaining the 'feel' of the discussion has been prioritised, the text has been edited for r, Attending graffiti creators:JANER ONE (active since 2012), MANUEL SKIRL (active since 2006), SERT (active since 2009) and SNUF (active since 2012).

El monasterio de Santa Clara de la Columna en Belalcázar (Córdoba), constituye uno de los más importantes ejemplos del gótico mudéjar de Andalucía. Su mal estado de conservación obligó a llevar a cabo una importante intervención de restauración y consolidación. Durante el desarrollo de estas obras aparecieron una serie de tablas, inéditas hasta ahora, con pinturas escondidas que han sido sometidas a un importante estudio material, arquitectónico y gráfico. Este artículo, sintetiza el trabajo de investigación pluridisciplinar que ha permitido sacar a la luz y documentar estos grafitis renacentistas así como su contextualización dentro de la lógica artística del monasterio., The monastery of Santa Clara de la Columna in Belalcázar (Cordoba) is one of the most important examples of Mudejar Gothic in Andalusia. Its poor state of conservation obliged an important intervention of restoration and consolidation to be carried out. During these works, a series of panels of the Mudejar coffered ceilings with hidden paintings, were discovered, which have been subjected to an important material, architectural and graphic study. This article summarises the multidisciplinary research work that has allowed this Renaissance graffiti to be brought to light and documented, as well as its contextualisation within the artistic logic of the monastery.

Since a whole series of investigations began to appear more than twenty years ago on the so-called scriptures on display up to the present day, especially those on popular epigraphs, studies on certain manifestations captured on walls have made it possible to define a very common practice, times enormously repetitive, as occurs with certain symbols of a religious nature embodied on civil and religious architecture. However, even though we have an important corpus at our disposal, there are not many interpretations of an anthropological nature that allow us to place in specific coordinates the intentions through which certain writings and symbols were shaped in very specific contexts. Through the study of three particular examples of the religious architecture of the community of Castilla y León (Spain), we try to address the intentionality of these manifestations and shed light on a phenomenon, very widespread in the Christian world, little studied to date., Desde que comenzaran a aparecer hace ya más de veinte años toda una serie de investigaciones sobre las denominadas escrituras expuestas hasta nuestros días, especialmente aquellas sobre las epigrafías populares, los estudios sobre ciertas manifestaciones plasmadas sobre los muros han permitido definir una práctica muy común, a veces enormemente repetitiva, como ocurre con ciertos símbolos de naturaleza religiosa que se plasman sobre la arquitectura civil y religiosa. No obstante, aun a pesar de que contamos a nuestra disposición un importante corpus, no abundan las interpretaciones de naturaleza antropológica que permitan situar en unas coordenadas específicas las intenciones por medio de las cuales se representaron ciertas escrituras y símbolos en unos contextos muy determinados. A través del estudio de tres ejemplos particulares de la arquitectura religiosa de la comunidad de Castilla y León (España), tratamos de abordar la intencionalidad de dichas manifestaciones y arrojar luz acerca de un fenómeno, muy generalizado en el orbe cristiano, poco estudiado hasta la fecha.

Over the last decade, Swedish cities like Stockholm and Gothenburg have seen a decline in cultural events due to noise complaints, unsuitable locations, and changing demographics. Malmö, facing similar issues amid urban growth, introduced a 2021 planning program for the Sofielund industrial district, featuring a "cultural sound zone" to support cultural activities. This thesis builds upon prior work aiming to foster conditions for culture within Sofielund. It shifts focus from dialogue to the conditions shaping cultural spaces in the district. Through analysis of two cultural initiatives, the aim is to outline key factors influencing their roles and conditions in manifesting culture. The first case explores the conversion of an industrial building and adjacent area (The Hangar and The Steppe) into an urban art gallery. The second case explores the NGBG association who hosts events and an annual street party. The analysis incorporates interviews, photos, auto-ethnographic reflections, and online sources. Drawing on concepts such as assemblage theory, Henri Lefebvre's space production, Michel de Certeau's tactics, and Richard Schechner's performance, the thesis reveals the organic nature of these initiatives, emerging from and adapting to their surroundings. It underscores the influential nature of spatial and material aspects such as the buildings themselves and other elements, such as paint. Both cases illustrate challenges as well as opportunities posed by human actors and diverse motivations. Amid urban neoliberal trends, these cases contribute to broadening our understanding of culture beyond consumption and branding, emphasizing its role in producing spaces through use and performance - not as an overlay but woven into and created from the fabric of material surroundings. The insights presented in this thesis should offer guidance into challenges and opportunities when developing the district with a focus on culture. Additionally, these insights could prove usef

Hur kan bilder synliggöra gränsområden och utmana gränser? Jag kommer visa tre exempel och det är cirka fem år mellan dessa tre projekt.1. Bilderna om muren, av muren och på muren. Den 720 km långa Israeliska barriären ringlar sig fram på palestinsk odlingsmark och började byggas 2002. Jag kommer att visa bilder som målats på muren, de fotograferade jag 2005. De delar som utgör mur av barriären blev snabbt en plats med stor attraktionskraft för Palestinska konstnärer som målar och skriver poesi som graffiti på den – kollektiva målningar och klotter-vävar växte i storlek.2. Bilderna av och om och med de tiggande. Fem år senare, 2010, kommer en osynlig mur, en gräns mellan människor på Sveriges gator orsaka en intensiv nationell diskussion. Den kommer att insistera på min uppmärksamhet och det kommer att ta mig ytterligare fyra år hur denna gräns ska kunna presenteras som ett utrymme för potentiell handling. Situationen för tiggeriet och giveriet i Sverige har orsakat en ny social koreografi på gatorna. Jag arbetar med bilder, för att gränser manifesteras inte endast på marken; på platser där vissa människor är inkluderade i den sociala strukturen och andra är utestängda av olika skäl och fortsätter leva just utanför, för att gränser manifesteras även i tänkandet: i människors bilder av varandra och i det kollektiva föreställandet. Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Våren 2014 började arbetet med att träna och iscensätta två amatörkörer som skulle sjunga i dialog. I Tiggandets kör sjöng människor som brukar tigga på gatorna och i Givandets kör sjöng människor som brukar ge till de tiggande. The recruiting is described in Parsberg 2016, ch.7.1. The film was made in 2014 when the attention and engagement around the newly arrived begging, mostly from Romania and Bulgaria, in Sweden was high, for example the number of articles in Swedish newspapers about begging and giving increased 17 times from 2011 to 2016. Om en ömsesidig h

El monasterio de Santa Clara de la Columna en Belalcázar (Córdoba), constituye uno de los más importantes ejemplos del gótico mudéjar de Andalucía. Su mal estado de conservación obligó a llevar a cabo una importante intervención de restauración y consolidación. Durante el desarrollo de estas obras aparecieron una serie de tablas, inéditas hasta ahora, con pinturas escondidas que han sido sometidas a un importante estudio material, arquitectónico y gráfico. Este artículo, sintetiza el trabajo de investigación pluridisciplinar que ha permitido sacar a la luz y documentar estos grafitis renacentistas así como su contextualización dentro de la lógica artística del monasterio., The monastery of Santa Clara de la Columna in Belalcázar (Cordoba) is one of the most important examples of Mudejar Gothic in Andalusia. Its poor state of conservation obliged an important intervention of restoration and consolidation to be carried out. During these works, a series of panels of the Mudejar coffered ceilings with hidden paintings, were discovered, which have been subjected to an important material, architectural and graphic study. This article summarises the multidisciplinary research work that has allowed this Renaissance graffiti to be brought to light and documented, as well as its contextualisation within the artistic logic of the monastery.

The paper sets out from several pieces of graffiti found across the cityscape of present-day Rome to show the possible ambiguity of those inscriptions. Since they invoke the she-wolf, they may also draw attention to the Roman she-wolf (lupa Romana), a symbol intrinsic to ancient Rome. An analysis of antique literary accounts demonstrates that for the ancients themselves the lupa remained an unequivocal figure., W artykule, wychodząc od treści kilku graffiti umieszczonych w przestrzeni miejskiej współczesnego Rzymu, staram się pokazać ewentualną niejednoznaczność tych napisów. Dotyczą one wilczycy rzymskiej (lupa Romana), symbolu zrośniętego z Rzymem starożytnym. Analiza antycznych przekazów literackich dowodzi, że dla samych starożytnych lupa pozostawała figurą wieloznaczną.

Hur kan bilder synliggöra gränsområden och utmana gränser? Jag kommer visa tre exempel och det är cirka fem år mellan dessa tre projekt.1. Bilderna om muren, av muren och på muren. Den 720 km långa Israeliska barriären ringlar sig fram på palestinsk odlingsmark och började byggas 2002. Jag kommer att visa bilder som målats på muren, de fotograferade jag 2005. De delar som utgör mur av barriären blev snabbt en plats med stor attraktionskraft för Palestinska konstnärer som målar och skriver poesi som graffiti på den – kollektiva målningar och klotter-vävar växte i storlek.2. Bilderna av och om och med de tiggande. Fem år senare, 2010, kommer en osynlig mur, en gräns mellan människor på Sveriges gator orsaka en intensiv nationell diskussion. Den kommer att insistera på min uppmärksamhet och det kommer att ta mig ytterligare fyra år hur denna gräns ska kunna presenteras som ett utrymme för potentiell handling. Situationen för tiggeriet och giveriet i Sverige har orsakat en ny social koreografi på gatorna. Jag arbetar med bilder, för att gränser manifesteras inte endast på marken; på platser där vissa människor är inkluderade i den sociala strukturen och andra är utestängda av olika skäl och fortsätter leva just utanför, för att gränser manifesteras även i tänkandet: i människors bilder av varandra och i det kollektiva föreställandet. Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Våren 2014 började arbetet med att träna och iscensätta två amatörkörer som skulle sjunga i dialog. I Tiggandets kör sjöng människor som brukar tigga på gatorna och i Givandets kör sjöng människor som brukar ge till de tiggande. The recruiting is described in Parsberg 2016, ch.7.1. The film was made in 2014 when the attention and engagement around the newly arrived begging, mostly from Romania and Bulgaria, in Sweden was high, for example the number of articles in Swedish newspapers about begging and giving increased 17 times from 2011 to 2016. Om en ömsesidig h

Hur kan bilder synliggöra gränsområden och utmana gränser? Jag kommer visa tre exempel och det är cirka fem år mellan dessa tre projekt.1. Bilderna om muren, av muren och på muren. Den 720 km långa Israeliska barriären ringlar sig fram på palestinsk odlingsmark och började byggas 2002. Jag kommer att visa bilder som målats på muren, de fotograferade jag 2005. De delar som utgör mur av barriären blev snabbt en plats med stor attraktionskraft för Palestinska konstnärer som målar och skriver poesi som graffiti på den – kollektiva målningar och klotter-vävar växte i storlek.2. Bilderna av och om och med de tiggande. Fem år senare, 2010, kommer en osynlig mur, en gräns mellan människor på Sveriges gator orsaka en intensiv nationell diskussion. Den kommer att insistera på min uppmärksamhet och det kommer att ta mig ytterligare fyra år hur denna gräns ska kunna presenteras som ett utrymme för potentiell handling. Situationen för tiggeriet och giveriet i Sverige har orsakat en ny social koreografi på gatorna. Jag arbetar med bilder, för att gränser manifesteras inte endast på marken; på platser där vissa människor är inkluderade i den sociala strukturen och andra är utestängda av olika skäl och fortsätter leva just utanför, för att gränser manifesteras även i tänkandet: i människors bilder av varandra och i det kollektiva föreställandet. Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Våren 2014 började arbetet med att träna och iscensätta två amatörkörer som skulle sjunga i dialog. I Tiggandets kör sjöng människor som brukar tigga på gatorna och i Givandets kör sjöng människor som brukar ge till de tiggande. The recruiting is described in Parsberg 2016, ch.7.1. The film was made in 2014 when the attention and engagement around the newly arrived begging, mostly from Romania and Bulgaria, in Sweden was high, for example the number of articles in Swedish newspapers about begging and giving increased 17 times from 2011 to 2016. Om en ömsesidig h

Hur kan bilder synliggöra gränsområden och utmana gränser? Jag kommer visa tre exempel och det är cirka fem år mellan dessa tre projekt.1. Bilderna om muren, av muren och på muren. Den 720 km långa Israeliska barriären ringlar sig fram på palestinsk odlingsmark och började byggas 2002. Jag kommer att visa bilder som målats på muren, de fotograferade jag 2005. De delar som utgör mur av barriären blev snabbt en plats med stor attraktionskraft för Palestinska konstnärer som målar och skriver poesi som graffiti på den – kollektiva målningar och klotter-vävar växte i storlek.2. Bilderna av och om och med de tiggande. Fem år senare, 2010, kommer en osynlig mur, en gräns mellan människor på Sveriges gator orsaka en intensiv nationell diskussion. Den kommer att insistera på min uppmärksamhet och det kommer att ta mig ytterligare fyra år hur denna gräns ska kunna presenteras som ett utrymme för potentiell handling. Situationen för tiggeriet och giveriet i Sverige har orsakat en ny social koreografi på gatorna. Jag arbetar med bilder, för att gränser manifesteras inte endast på marken; på platser där vissa människor är inkluderade i den sociala strukturen och andra är utestängda av olika skäl och fortsätter leva just utanför, för att gränser manifesteras även i tänkandet: i människors bilder av varandra och i det kollektiva föreställandet. Hur kan bilder i detta sammanhang aktiveras på nya sätt? Hur kan nya genereras? Våren 2014 började arbetet med att träna och iscensätta två amatörkörer som skulle sjunga i dialog. I Tiggandets kör sjöng människor som brukar tigga på gatorna och i Givandets kör sjöng människor som brukar ge till de tiggande. The recruiting is described in Parsberg 2016, ch.7.1. The film was made in 2014 when the attention and engagement around the newly arrived begging, mostly from Romania and Bulgaria, in Sweden was high, for example the number of articles in Swedish newspapers about begging and giving increased 17 times from 2011 to 2016. Om en ömsesidig h

During the first discussion round of goINDIGO 2022, which took place on Thursday, 12 May and was called Creators vs Academics, four local graffiti creators were invited to consider a series of (potentially provocative) statements in discussion with symposium participants (joining in-person and online). The statements, compiled by Geert Verhoeven in consultation with Samuel Merrill, were: Academia CHANGES graffiti Graffiti MUST be recorded ALL graffiti are archive-worthy Decontextualisation MATTERS Graffiti NEED categorisation Digital media are ESSENTIAL The four attending graffiti creators agreed to participate following their contact and invitation via Instagram. When introducing themselves, each conveyed their own, often close, relationship to the Donaukanal as well as their different levels of experience and exposure within Vienna’s wider graffiti scene. JANER ONE (active since 2012), for instance, took hope from doing graffiti in "tough times" and identified the Donaukanal as a really big playground - "it does not have many rules, and the few rules it has, you must pick up by yourself" - and a site of graffiti history. MANUEL SKIRL (active since 2006) meanwhile recounted how the openness and inclusiveness of the Donaukanal offered the chance to begin creating and, in time, to develop a personal style in "more artistic" directions. SERT (active since 2009) highlighted moving to Vienna partly to be close to the Donaukanal after growing up in a "pretty small village" in the countryside. SNUF’s (active since 2012) first piece was at the prestigious Donaukanal, the "best art gallery of the city with almost daily changing exhibitions". Each of the four brought their personal, 'inside' perspectives to the discussion of the selected statements that is recorded in the following text. This text is not, however, a verbatim nor sequential account of that discussion. Firstly, although retaining the 'feel' of the discussion has been prioritised, the text has been edited for r, Attending graffiti creators:JANER ONE (active since 2012), MANUEL SKIRL (active since 2006), SERT (active since 2009) and SNUF (active since 2012).

El monasterio de Santa Clara de la Columna en Belalcázar (Córdoba), constituye uno de los más importantes ejemplos del gótico mudéjar de Andalucía. Su mal estado de conservación obligó a llevar a cabo una importante intervención de restauración y consolidación. Durante el desarrollo de estas obras aparecieron una serie de tablas, inéditas hasta ahora, con pinturas escondidas que han sido sometidas a un importante estudio material, arquitectónico y gráfico. Este artículo, sintetiza el trabajo de investigación pluridisciplinar que ha permitido sacar a la luz y documentar estos grafitis renacentistas así como su contextualización dentro de la lógica artística del monasterio., The monastery of Santa Clara de la Columna in Belalcázar (Cordoba) is one of the most important examples of Mudejar Gothic in Andalusia. Its poor state of conservation obliged an important intervention of restoration and consolidation to be carried out. During these works, a series of panels of the Mudejar coffered ceilings with hidden paintings, were discovered, which have been subjected to an important material, architectural and graphic study. This article summarises the multidisciplinary research work that has allowed this Renaissance graffiti to be brought to light and documented, as well as its contextualisation within the artistic logic of the monastery.

It could be shown with two types of representations of gods, Meretseger as sphinx and different renderings of Amun-Ra protomes, that intericonic relationships can also be found in the corpus of the graffiti de la montagne thébaine. With a clear copy-paste case—graffito 307 made by the sculptor Amennakhte (viii), who was active during the second half of the reign of Ramses II, and copied by deputy Hay (vii) in graffito 349, who was active during the mid-20th dynasty—adaptations and variations in the later rendering could be shown. Rare motives, like Meretseger as sphinx applied on the same spot, could be identified as clearly intericonically related. In these geographically closely related cases the impact of the existing image (agency) could be identified as one of the motivations for the application/production of the copy. It is more difficult to identify the motivation for the image production in the case of the dissemination of the two different forms of Amun- Ra protomes—variants of the once, in the 19th dynasty, established image type—over the entire royal necropolis (Valley of the Kings, Valley of the Queens and adjacent valleys) during the mid-20th dynasty. But based on the identification of several persons of the Deir el-Medine elite (deputy, scribe, draftsmen), who were involved in the dissemination process and who were all closely connected and aware of the dissemination process, it can be proposed that the application of the Amun-Ra protomes on different, more or less remote, spots in the necropolis was the common goal. Further, the connectedness of the producers may explain the iconographic variants in the renderings of the common motive as markers allowing their personal distinction.

This study employs the narrator of Moby Dick, Ishmael, as a focal critic to interpret several potential examples of ominous writing on the wall, or menetekel. It concludes that the message of such writing, owing primarily to its irrevocably deictic relationship with the surface it is written on, is fundamentally apocalyptic in nature, regardless of its explicit content. The physical walls of the “kingdom” are incorporated into the grammar of the menetekel as object, so that its elemental message, “I was here,” becomes not only an admission of criminal trespass, but also a direct threat to the current order and the paradigm of private property.

Neteja de pintades al juliol del 2023.

Actualment existeixen al mercat gran varietat de productes antigraffiti de diferent naturalesa química, permanents (polixiloxans, silicats, poliuretans, polímers fluorats, nanocompostos, etc.) i no permanents (parafines, acrilats i polisacàrids), com a revestiment protector de monuments davant del fenomen del graffiti vandàlic. Tots tenen una acció hidrofugant sobre el substrat que s’apliquen però que, en el cas específic dels paraments de terra, degut a les propietats intrínseques del material argilós que el conformen i a l’alta proporció d’aquest en la seva composició (sup. 20%), pot impossibilitar l’eliminació de l’aigua retinguda al seu interior en crear-se una barrera impermeable a la superfície. D’altra banda, l’elevat caràcter higroscòpic de l’argila, amb absorció o desorció d’humitat depenent de l’HR de l’ambient, pot provocar una retracció/dilatació als diferents estrats i la conseqüent formació d’esquerdes. L’estudi realitzat -segons normes UNE- de les corbes d’absorció d’aigua per capil·laritat en provetes de tova a intervals controlats de temps, així com de desorció d’aquesta, ha permès determinar el comportament de la tova davant d’aquest fenomen quan està protegit superfície per un antigrafit dels dos grups analitzats. Així mateix, a través de la Microscòpia Electrònica de Barrido (SEM-EDX) s’han observat les modificacions que pateix l’estrat superficial degut al caràcter higroscòpic del suport. El diagnòstic final ha determinat que la protecció antigraffiti en paraments de terra resulta extremadament perillosa quan hi ha una aportació elevada d’humitat., There is currently a wide variety of anti-graffiti products of a different chemical nature on the market, permanent (xyloxanes, silicates, polyurethanes, fluorinated polymers, nanocomposites, etc.) and non-permanent (paraffins, acrylates and polysaccharides), as a protective coating for monuments against the phenomenon of vandalism graffiti. All of them have a water-repellent action on the substrate that is applied but, in the specific case of earthen walls, due to the intrinsic properties of the clayey material that makes it up and its high proportion in its composition (up to 20%), it can make it impossible to eliminate the water retained inside it by creating an impermeable barrier on the surface. On the other hand, the high hygroscopic character of the clay, with moisture absorption or desorption depending on the RH of the environment, can cause a retraction/dilation in the different strata and the consequent formation of cracks. The study carried out -according to UNE standards- of the coefficients of water absorption by capillarity in adobe samples at controlled intervals of time, as well as its desorption, has made it possible to determine the behaviour of adobe against this phenomenon when it is protected on the surface by an antigraffiti of the two analysed groups. Likewise, through Scanning Electron Microscopy (SEM-EDX) the modifications suffered by the superficial layer due to the hygroscopic nature of the support have been observed. The final diagnosis has determined that anti-graffiti protection on earthen walls is extremely dangerous when there is a high level of humidity., Actualmente existen en el mercado gran variedad de productos antigraffiti de diferente naturaleza química, permanentes (polixiloxanos, silicatos, poliuretanos, polímeros fluorados, nanocompuestos, etc.) y no permanentes (parafinas, acrilatos y polisacáridos), como revestimiento protector de monumentos frente al fenómeno del graffiti vandálico. Todos ellos poseen una acción hidrofugante sobre el sustrato que se aplican pero que, en el caso específico de los paramentos de tierra, debido a las propiedades intrínsecas del material arcilloso que lo conforman y a la alta proporción de éste en su composición (sup. 20%), puede imposibilitar la eliminación del agua retenida en su interior al crearse una barrera impermeable en superficie. Por otro lado, el elevado carácter higroscópico de la arcilla, con absorción o desorción de humedad dependiendo de la HR del ambiente, puede provocar una retracción/dilatación en los diferentes estratos y la consecuente formación de grietas. El estudio realizado -según normas UNE- de las curvas de absorción de agua por capilaridad en probetas de adobe a intervalos controlados de tiempo, así como de desorción de esta, ha permitido determinar el comportamiento del adobe frente a este fenómeno cuando se encuentra protegido en superficie por un antigraffiti de los dos grupos analizados. Así mismo, a través de la Microscopía Electrónica de Barrido (SEM-EDX) se han observado las modificaciones que sufre el estrato superficial debido al carácter higroscópico del soporte. El diagnóstico final ha determinado que la protección antigraffiti en paramentos de tierra resulta extremadamente peligrosa cuando existe un aporte elevado de humedad., Agradecemos la colaboración del proyecto con referencia PID2020-114271GB-100 (Proyecto I+D+i en el marco de los programas estatales de generación de conocimiento y fortalecimiento científico y tecnológico del sistema de I+D+i y de I+D+i orientada a los retos de la sociedad) y del Centro de Asistencia a la Investigación (CAI) de la Unidad de Técnicas Geológicas (Universidad Complutense de Madrid)., Peer Reviewed

During the first discussion round of goINDIGO 2022, which took place on Thursday, 12 May and was called Creators vs Academics, four local graffiti creators were invited to consider a series of (potentially provocative) statements in discussion with symposium participants (joining in-person and online). The statements, compiled by Geert Verhoeven in consultation with Samuel Merrill, were: Academia CHANGES graffiti Graffiti MUST be recorded ALL graffiti are archive-worthy Decontextualisation MATTERS Graffiti NEED categorisation Digital media are ESSENTIAL The four attending graffiti creators agreed to participate following their contact and invitation via Instagram. When introducing themselves, each conveyed their own, often close, relationship to the Donaukanal as well as their different levels of experience and exposure within Vienna’s wider graffiti scene. JANER ONE (active since 2012), for instance, took hope from doing graffiti in "tough times" and identified the Donaukanal as a really big playground - "it does not have many rules, and the few rules it has, you must pick up by yourself" - and a site of graffiti history. MANUEL SKIRL (active since 2006) meanwhile recounted how the openness and inclusiveness of the Donaukanal offered the chance to begin creating and, in time, to develop a personal style in "more artistic" directions. SERT (active since 2009) highlighted moving to Vienna partly to be close to the Donaukanal after growing up in a "pretty small village" in the countryside. SNUF’s (active since 2012) first piece was at the prestigious Donaukanal, the "best art gallery of the city with almost daily changing exhibitions". Each of the four brought their personal, 'inside' perspectives to the discussion of the selected statements that is recorded in the following text. This text is not, however, a verbatim nor sequential account of that discussion. Firstly, although retaining the 'feel' of the discussion has been prioritised, the text has been edited for r, Attending graffiti creators:JANER ONE (active since 2012), MANUEL SKIRL (active since 2006), SERT (active since 2009) and SNUF (active since 2012).