Suchergebnisse

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

Si le « Street art » constitue aujourd'hui un élément indissociable du paysage urbain, et si sa reconnaissance du point de vue artistique ne fait aucun doute, son appréhension et son traitement par le droit demeure problématique et soulève de nombreux questionnements. Dès lors que cette forme d'expression répond aux critères du droit d'auteur, l'œuvre est protégée et bénéficie des mêmes droits et prérogatives que d'autres œuvres plus classiques dirons-nous, telles que des peintures de Maîtres, des œuvres littéraires des plus belles plumes de ce monde… Toutefois, lorsque leur créateur décide de mettre en scène son art sans considération pour le propriétaire du support sur lequel il s'inscrit, cette protection même si légitime est remise en cause. Le droit pénal ou encore le droit des biens par exemple se hissent face au droit d'auteur, et des compromis doivent être trouvés pour apaiser les tensions découlant d'une telle pratique. Propriétaire ou auteur, doit-on forcément n'en favoriser qu'un ? ; Although « Street art » is today an inseparable part of the urban landscape, and its artistic recognition is beyond doubt, its apprehension and treatment by law remains problematic and raises many questions. As long as this form of expression meets the criteria of copyright, the work is protected and enjoys the same rights and prerogatives as other more classical works, we shall say, such as paintings of Masters, literary works of the most beautiful feathers of this world. However, when their creator decides to stage his art without consideration for the owner of the medium on which he fits, this protection even if legitimate is called into question. Criminal law and property law, for example, rise up to copyright, and compromises must be found to ease tensions arising from such a practice. Owner or author, do we necessarily have to favour only one?

Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art. nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.

In the last decade, the city of Delhi has witnessed a surge in urban artistic practice – particularly street art – that draws its conceptual and art-historical 'virtue' from being in the public sphere. The changing socio-economic, infrastructural and aesthetic set-up of the city bears many similarities to what has been called the cultural regeneration of cities across the globe. Interpreting it as symptomatic of the neo-liberalization of the Indian city, this article examines the spatial implications of the burgeoning contemporary street art movement in Delhi. It contextualizes the art movement within place-making initiatives in Indian cities that have been attempting to attract the middle-class to city spaces to cater to their consumption patterns. The article suggests that there are two ways in which commissioned street art in neoliberal Delhi closely ties up with the neoliberal agenda of uneven redevelopment and regeneration in the city: (a) by instrumentalizing its form to revitalize decrepit areas that need capital investment in order to garner cultural tourism and trigger capital investment; and (b) by invoking a narrative of beautification and cleanliness that has been seen to emerge from a dominantly middle-class perspective in Indian cities. Looking at the unique ways in which urban space in Delhi interacts with local-political situations and responds to such place-making initiatives, the article attempts to interrogate what art-led gentrification implies in the economic and sociopolitical context of cities of the global South.

Comment se rencontrent le jeu et l'art au sein des œuvres qui s'inscrivent dans l'espace public de la ville ? A l'heure de «l'Etat esthétique», le jeu est-il une ressource pour que les œuvres puissent permettre aux individus d'être des citoyens et de regagner une force de pensée et d'action politique, ou bien permet-il à l'Etat ou au pouvoir économique d'affirmer leurs dominations ? Les œuvres de street art Dispatchwork et Space Invaders feront l'objet d'une analyse sociocritique afin de tenter de comprendre à qui profite le jeu.

Internationalization of doctoral study means more doctoral writers working across language and cultural borderlands. How can their access to a self-reliant understanding of English language be enabled? How can they acquire the confidence to find their textual voice? How can academics supporting these writers help them to adapt to western cultures of thinking, learning, and communicating? Behind this article sits an extensive investigation into how to support international doctoral candidates to make such crossings pleasurably: eight doctoral candidates from across disciplines at the University of Auckland, Aotearoa New Zealand, collectively close-read literary items, and Banksy's street art. The purpose was to deepen understanding of argumentation, critical analysis, rhetoric that persuades, voice and creative positioning. Two interactive classroom sessions used Banksy's street art to promote creative thinking about powerful communication. Here, we explain how Banksy's graffiti gave a good foundation for the development of analytical skill, socio-political confidence, and cultural learning—and doctoral participants found the courage to be more creative thinkers and thesis writers.