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Governments have long used public art and monuments to characterize and legitimize their regimes. The production of visual space has profound implications on the psychology of the nation state and the way its citizens relate to their histories. It is curious then, to ask what happens when citizens take control of the visual content of their environment, particularly as it relates to memorializing those who have been killed at the hands of political authority or hegemony. This paper will examine different visual forms of memorialization on Mohammed Mahmoud Street,1 with a particular focus on the memorial portraiture of Ammar Abo Bakr, El Zeft, and Ganzeer, and the pharaonic murals of Alaa Awad. It will then examine how such street memorials not only commemorate the martyrs2 of the revolution, but also criticize the state, take ownership of public space and the memorialization process, and contribute to the formation of a strong, pan-Egyptian identity. It will also show why, as much of this art has now been covered up by other art or whitewashed by the sate, this art remains relevant as the government begins to create its own memorials and utilize Egyptian frustrations with the ongoing violence to tarnish the collective memory of the revolution. [1] Not intended to reflect the work of Mona Abaza in her article Mona Abaza, "Mourning, Narratives and Interactions with the Martyrs through Cairo's Graffiti," E-International Relations, October 7, 2013, http://www.e-ir.info/2013/10/07/mourning-narratives-and-interactions-with-the-martyrs-through-cairos-graffiti/. [2] "The word martyr [Shaheed] signifies a person who has died for a greater cause, either religious or political. In islamic thought, martyrdom (shahada is the highest honor and martyrs attain the greatest level in paradise, correlating to the Christian notion of sainthood." (Basma Hamdy and Stone, Karl Don, Walls of Freedom: Street Art of the Egyptian Revolution. ([S.l.]: From Here To Fame, 2014). 56) "Martyr" is often the term used to describe those who have been killed by security forces and the military since January 25th and before. I am not making a judgement on the use of the term, but am adopting the term to reference those who have die over the course of the past three years, as well as to avoid confusion when people use the term martyrs to describe such people in their interviews.

Today we are witnessing significant cultural changes. The new model of culture can no longer be hierar-chical and base on binary structures. The tree model is changing to the rhizome model. Rizome offers a high level of freedom in making new connections that generate cultural reality. Big narrative as a norma-tive instance is being replaced by separate discourses that dictate norms only within themselves. In this article, we explore how the specificity of different discourses (legislative discourse, discourses of the art world and public opinion) affects the representation in them of such cultural phenomena as graffiti and street art works. From a legal point of view, graffiti and illegal street art are acts of vandalism and deserve punishment. The legislative branch operates in the field of two concepts — «permitted»/«prohibited». The semantic space of the legislative discourse has retained a binary structure and hierarchical organiza-tion. The discourse generated by the institutions of the art world is very mobile, the binary structure and hierarchical organization of its semantic space have disappeared. There obviously takes place the rhizome principle of organizing the normative space of the art world and the increasing role of the individual prin-ciple in the formation of a discursive statement. These features of the discourse created an opportunity for street artists to enter the world of art. The study of the discourse of public opinion was carried out through sociological research. Most young people not only distinguish graffiti from vandalism but are also ready to see it as a form of contemporary art. We explain the clear correlation in the responses of young people in different cities by a single media space. The results of the study confirm the disintegration of a single normative space and its replacement by local (specific) discourses.

AbstractCognitive linguistic and semiotic accounts of metaphor have addressed similar issues such as universality, conventionality, context-sensitivity, cross-cultural variation, creativity, and "multimodality." However, cognitive linguistics and semiotics have been poor bedfellows and interactions between them have often resulted in cross-talk. This paper, which focuses on metaphors in Greek street art, aims to improve this situation by using concepts and methods from cognitive semiotics, notably the conceptual-empirical loop and methodological triangulation.In line with the cognitive semiotics paradigm, we illustrate the significance of the terminological and conceptual distinction between semiotic systems (language, gesture, and depiction) and sensory modalities (sight, hearing, touch, smell, and taste). Thus, we restrict the term multimodality to the synergy of two or more different sensory modalities and introduce the notion of polysemiotic communication in the sense of the intertwined use of two or more semiotic systems.In our synthetic approach, we employ the Motivation and Sedimentation Model (MSM), which distinguishes between three interacting levels of meaning making: the embodied, the sedimented, and the situated. Consistent with this, we suggest a definition of metaphor, leading to the assertion that metaphor is a process of experiencing one thing in terms of another, giving rise to both tension and iconicity between the two "things" (meanings, experiences, concepts). By reviewing an empirical study on unisemiotic and polysemiotic metaphors in Greek street art, we show that the actual metaphorical interpretation is ultimately a matter of situated and socio-culturally-sensitive sign use and hence a dynamic and creative process in a real-life context.

This research shows that Street Art as a visual expression is a way of ordering territory that goes beyond institutional perspectives and that presents a vision of the world built from the collective and the common, from a society that appropriates its environment to provide it with an identity and a social voice. The fundamental axis of the research is participation and it is shown transversally in three connected spaces that can form an idea of a region, which are; Soacha, Chía and Bogotá. These alternative management bets are quite feasible, this has been demonstrated through the work done with actors and spaces of each of these places, seeing the relationships and ways of interconnecting that have arisen and resignified the common spaces of the different groups social. This project initiated its investigative process through the central approach of the problem that showed the need to change the way Street Art is understood, which led to a review of concepts that help demarcate the scope and limits of the project, This allowed an analysis of the legislation in force within the framework of the validation of graphic art as a constructive element in the processes of territorial organization of the different social groups at the level of nation, district and municipality. All of the above allowed to base the theoretical construct that composes my project, starting from the direct experiences of the community, its anecdotes and its staging in the different murals, which shows that there are alternative ways of organizing the territory starting from the urban artistic creations that give a number of values added to the spaces that make up the environment of the society of Bogotá, Chia and Soacha. ; Esta investigación demuestra que el Street Art como expresión visual es una forma de ordenar el territorio que va más allá de las perspectivas institucionales y que presenta una visión de mundo edificada desde lo colectivo y lo común, de una sociedad que se apropia de su entorno para dotarlo de identidad y de una voz social. El eje fundamental de la investigación es la participación y esta transversalmente mostrada en tres espacios conexos que pueden conformar una idea de región, los cuales son; Soacha, Chía y Bogotá. Estas apuestas alternativas de ordenación son bastante factibles, esto se ha demostrado a través del trabajo realizado con actores y espacios de cada uno de estos lugares, al ver las relaciones y las maneras de interconectarse que han surgido y resignificado los espacios comunes de los distintos grupos sociales. Este proyecto inició su proceso investigativo mediante el planteamiento central del problema que puso de manifiesto la necesidad por cambiar la forma como se comprende el Street Art, lo que dio paso a una revisión de conceptos que ayudan a demarcar los alcances y los límites del proyecto, esto permitió hacer un análisis de la legislación vigente en el marco de la validación del arte gráfico como elemento constructivo en los procesos de ordenamiento territorial de los diferentes grupos sociales a nivel de nación, distrito y municipio. Todo lo anterior permitió fundamentar el constructo teórico que compone mi proyecto, partiendo de las experiencias directas de la comunidad, de sus anécdotas y de su puesta en escena en los distintos murales, lo que demuestra que existen maneras alternativas de organizar el territorio partiendo de las creaciones urbanas artísticas que le dan un sinnúmero de valores agregados a los espacios que conforman el entorno de la sociedad de Bogotá, Chía y Soacha. ; Magíster en Ordenamiento Urbano Regional. ; Maestría

The proposed article questions how a group of women (age 15–20 years) from different ethnic backgrounds in working-class settlement in New Delhi, who individually and collectively tries to reclaim and create their own spaces through wall painting on the street. This is to respond and to adapt to the pressures of the constantly changing urban ecology, within the larger contemporary discourses and experiences of risk and vulnerability negotiated by them in public space. Thus the article foregrounds the 'relational' approach and collaborative ethic with the trajectory of 'dialogue' as key method within the socially engaged art project. The idea of reclaiming spaces to negotiate the changes of local ecology, which accommodates the change of perception of men regarding women in public, has been initiated through creating wall painting in the streets. A wall painting initiative evolved through series of discussion sessions with a group of young women in Khirki and Hauz Rani, an urban village in New Delhi. The idea was to paint a series of ordinary women doing daily activities and engaging in work that is customarily done by men in the locality. The intent was to draw men on the street into a dialogue about the gender equality in terms of the acceptance of women in male-associated professions, as well as a dialogue about the visibility of women in public spaces.

This article argues that Beat poet Allen Ginsberg and unauthorized street artists perform a common function in regard to urban intervention. In the first place, they respond to a shared historical context, namely the ruthless shaping of the American urban landscape to obey the logic of capitalism. They also use similar artistic methods to critique this violent process, as I show through a comparative analysis of Ginsberg's Moloch and the Obey figure designed by street artist Shepard Fairey. In both cases, a monstrous figure is placed within the city to show the urban landscape for what it really is. At the same time, the work of poets such as Ginsberg and various street artists suggests that the city can be redeemed from its fallen state, by representing it as a space where a vast number of potentially liberating behaviours are possible. Furthermore, I will argue that the common function performed by Ginsberg and unauthorized street artists can help explain the mutual reverence that exists between them.

Street-Art ist mehr als das illegale Anbringen von Motiven an Häuserwände. Längst hat auch der Kunstmarkt diese vermeintlich subversive Kunstform für sich entdeckt. Doch welche Position nimmt Street-Art im Kunstfeld ein? Der folgende Beitrag versucht, Street-Art anhand der Kunstfeldtheorie von Pierre Bourdieu zu analysieren und dabei besonders ihre Eigenheiten herauszuarbeiten....

This paper addresses the current co-optation of street art into an uncritical aesthetic supplement to the process of neoliberal urbanisation, by focusing on its unresolved relation with its own site. This is done in three steps. First, via a perambulating immersion into the complexity of a specific site. Second, via a critical engagement with the form and politics of contemporary street art. Third, via a strategic speculation on the relation between the notions of art, urban and site. Street art's current impasse, I argue, paradoxically depends on its incapacity to become properly urban. A urban-specific street art, I contend, is not a decorative veneer nor an enchanting disruption to dramatic processes of urbanisation: it is a force-field in which these processes are made visible, experienceable, and thus called into question. The 'Olympic' works of JR and Kobra in Rio de Janeiro, and the iconoclastic performance by Blu in Berlin, are used to illustrate and complement the argument. ; info:eu-repo/semantics/publishedVersion