This article is an editorial
This article has been published in: Ocula 18, Street Art: Iconoclasm and Istitutionalization
authors: Cinzia Bianchi (Dipartimento di Comunicazione ed Economia, UniversitÓ di Modena e Reggio Emilia (IT)) and Silvia Viti (Senior Strategic Planner presso MEC, Milano (IT); Dipartimento di Comunicazione ed Economia, UniversitÓ di Modena e Reggio Emilia (IT))
Introduction. Street Art: Iconoclasm and Institutionalization
language: englishpublication date: September 2017
abstract: On the night of May 12, 2016 the street artist Blu, armed with a roller and some grey paint, set out to paint over all the works he had done in the city of Bologna. In this intent, the following day also, he was helped by activists from the community centers, his own collaborators and ordinary citizens united in an informal community that upheld his cause. Many others gathered either to celebrate this rite of destruction or to complain in disbelief, but in any case, to watch as it happened. Attention centered particularly on #OccupyMordor, a large mural that dominated the XM24 (an occupied social community center in the Bolognina district) which had previously been a focus when citizens mobilized to protect it from new building projects that envisaged the destruction of the building (July 2013).keywords: street art, iconoclasm, blu, institutionalization, musealization
citation information: Cinzia Bianchi and Silvia Viti, Introduction. Street Art: Iconoclasm and Institutionalization, "Ocula", vol.18, n.18, pp.1-6, September 2017. DOI: 10.12977/ocula73
Ocula.it publishes articles and essays in semiotic research, with a particular eye on communication and culture; it is open to dialogue with other research fields and welcomes contributions from all the areas of the social and human sciences.