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This article deals with the development of environmental and ecological issues in Germany since the 1970s, and how these issues are represented in works of street art since the beginning of the development of modern graffiti, and later street art, in Germany. The purpose of this research is to identify differences in the ecological and environmental issues in works of graffiti and street art from the 1970s to present day in Germany. This has been done by examining general themes of environmental and ecological issues in graffiti and street art and by studying some of the specific examples of artwork, using research methods by visual analysis based on study "Reading Images: The Grammar of Visual Design" by Gunther Kress and Theo van Leeuwen, and visual analysis of iconography and iconology, described by Marion G. Müller in "The SAGE Handbook of Visual Research Methods" by Eric Margolis and Luc Pauwels. The first phase of the research involves an overview of the socio- political background of the ecological and environmental issues in Germany since the 1970s, as well as development of modern graffiti and street art in Germany in the context of ecology and environment, using the method of iconology. The second phase involves examining physical examples of graffiti and street art in Germany. The final phase deals with regional differences reflected in artists' work in Germany. This article will provide general insights in graffiti and street art in Germany and it will explore how German artists tackle the environmental and ecological issues in their works.

This article is concerned with exploring the politics of street art and graffiti in Egypt in the aftermath of the uprising against former President Hosni Mubarak in 2011. Rather than viewing street art and graffiti as mere by-products of the revolutionary period, the article centres them as important elements of political and social struggle. I put forward a reading of Egypt's street art and graffiti as sites of politics through both aesthetic and spatial approaches. To do so I draw on Jacques Rancière's concept of 'dissensus', a term referring to a political and aesthetic process that creates new modes of perception and novel forms of political subjectivity. In various writings, Rancière argues that part of the work of 'dissensus' is the creation of spaces where political activity can take place. As spatially bound practices, street art and graffiti can allow a visible 'dissensus' to take place. Through a semiotic analysis of several street art and graffiti works, the article makes a further contribution to scholarship on Egypt's revolutionary street art and graffiti scene. Instead of focusing on the figure of the 'rebel artist', I centre the works in relation to the history of Egyptian nationalism, and argue that we need to complicate our understanding of street art and graffiti's potential as modes of resistance.

Graffiti and street art are continuously topical for the cultural space of Latvia. Graffiti and street art are created, exist and vanish in a short period of time, questioning borders of art, its social function, as well as legality. Till now, an unexplored field of study in Latvia has been the necessity and possibilities for the conservation and restoration of graffiti and street art. Photographs taken by Aija Melbārde and Auguste Petre serve as an example of documenting and exposing signs of our time. They also raise questions for reflection – What is the significance of graffiti and street art within the scene of contemporary art? What are the functions of graffiti and street art in society, as social art? What are the aspects of legality of graffiti and street art? What are the issues for conservation and restoration of graffiti and street art? These photographs invite and challenge the audience interested in cultural and artistic expressions and general public to question the valuation and preservation of contemporary cultural heritage. Through exposing graffiti and street art as a significant segment of urban environment, this selection of photographs invites to consider the use of graffiti and street art for diverse purposes – for publicity and attracting tourism, or as a means of communication in urban culture, among other. The present selection of photographs is based on the exhibition that took place at the "Culture Crossroads 2017" scholarly conference in Riga and complemented the transdisciplinary section "Graffiti: challenges for artists, society, and conservators". For locating visual testimonies of graffiti and street art in Riga, the Street Art Map of Riga is presented as addendum to the present volume.

AbstractThe legalization of graffiti in many cities has impacted urban landscapes and the way artists and the public view graffiti, street art and the city as well. This article considers the genesis, process and consequences of legal walls programmes firstly by introducing and differentiating the key terms 'graffiti', 'street art' and 'legal walls', then by examining an empirical case, that of Singapore. Renowned as a graffiti‐averse and litter‐free city, Singapore's recent about‐turn in legalizing illicit art forms illustrates changing government perspectives on creativity and legality in the country. Why the government has effected this change, how artists and members of the public have responded to it and the resultant art forms are critically explored. The conclusion reflects on four key lessons from Singapore for cities in general.

In this article, the street is both a place of travel and a space for critical discourse. As tensions between public and private spaces play out in the streets, street artists claim visible space through multiple forms of art. Through a critical performance geography and a qualitative inquiry of the street, I photograph the movement of art across walls, doorways, windows, sidewalks, lampposts, alleyways, gutters, and dumpsters over a 7-month period in the Eastern Market neighborhood of Detroit ( N = 806). After describing street art as a fluid genre that has developed into a diverse spectrum of post-graffiti, I explore how street art contributes to a changing visual terrain through discussions of racism, decolonization, gentrification, and the role of art in spatial justice. Photographic cartography is introduced as (a) a visual method of performance geography that illustrates material-discursive "fault lines" and (b) a critical means of analyzing conversations in contested public space. Significantly, street artists simultaneously work within and against urban renewal policies in "creative cities" such as Detroit. Given that the arts are at the center of sophisticated visual discourse regarding neoliberalism, democracy, and the battle over public space, researchers might continue to examine how street artists inscribe social justice in, on, and around the streets.

Multiples transgressions. Le Street art des artistes israéliennes Cet article analyse la façon dont les Israéliennes s'adonnent aux arts de la rue. Elles transgressent non seulement l'évidence de l'appropriation capitaliste du contrôle de l'espace public, mais aussi les frontières normatives des activités interdites aux femmes. Leurs transgressions se fondent sur des stratégies historiquement définies comme féminines, mais aussi en détournant l'ordre masculine dominant.

In line with cognitive semiotics, this paper suggests a synthetic account of the important but controversial notion of narrative (in street art, and more generally): one that distinguishes between three levels: (a) narration, (b) underlying story, and (c) frame-setting. The narrative potential of street art has not yet been considerably studied in order to offer insights into how underlying stories may be reconstructed from the audience and how different semiotic systems contribute to this. The analysis is mainly based on three contemporary street artworks and two political cartoons from the 1940s, visualizing the same frame-setting, which may be labeled as "Greece vs. Powerful Enemy." The study is built on fieldwork research that was carried out during several periods in central Athens since 2014, including photo documentation and go-along interviews with street artists. The qualitative analyses with the help of insights from phenomenology show that single static images do not narrate stories themselves (i.e. primary narrativity), but rather presuppose such stories, which they can prompt or trigger. Notably, the significance of sedimented socio-cultural experience, collective memory and contextual knowledge that the audience must recruit in order to reconstruct the narrative potential through the process of secondary narrativity is stressed.

In March 2022, Alexandra Arkhipova asked the subscribers to her Telegram channel, "(Non)entertaining anthropology," to send examples of anonymous anti-war street art, on the condition that they had personally seen the pictured object. This request spread widely, and people sent photos from across Russia. The photos have now been compiled into an online exhibition available at www.nowobble.net that features 471 exhibits from more than 50 Russian cities. This contribution provides an overview of the context of ideology, censorship, and repression in Russia and describes the types of messages presented by the pieces included in the exhibition.

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.