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Ocula 18 Vol. 18 | September 2017 | DOI: 10.12977/ocula81 | METADATA ➞ PDF | Booklet ➞ PDF | < >
Street Art: Iconoclasm and Istitutionalization
editors Cinzia Bianchi and Silvia Viti.
Blu’s destruction of his work in May 2016, as an extreme response to the exibition Street Art - Banksy & Co.: Art in the Urban Form, placed Bologna at the center of international attention, and again forced the academic world to reflect on street art. The subject has in fact become a topic of collective interest, involving directly private citizens, institutions and movements in Italy, and it forms the framework for the present issue 18 of Ocula. A year ago, we asked experts in the fields of semiotics, philosophy, sociology and art history to use this single case to reflect on the themes of musealization, transmission and preservation of street art. The authors have investigated the many contradictions of this phenomenon--illegality and institutional recognition, anonymity and authorship, ephemerality and conservation--, and in so doing they tried to respond to our questions: Who does street art belong to? How is it expected to evolve? Can street art and graffiti writing be preserved? And how? What is the relationship between street art and new media?
Contributors to this Issue: Cinzia Bianchi, Cristina Greco, Michele Martini, Francesco Mazzucchelli, Marco Mondino, Christian Omodeo, Mario Panico, Damiano Razzoli, Julien Thiburce, Silvia Viti,
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 |... ⇲
This article investigates the role and meaning of practices of erasure in contemporary Italian street art culture. Taking Blu’s choice of cancelling all his graffiti in the city of Bologna as a case study, I will investigate the limits and possibilities of this artistic performance |... ⇲
Moving from a perspective of semiotics of culture, the article investigates the events which accompanied Banksy and Co: Art in the Urban Form, the exhibition held in the City Museum of Bologna in May 2016, with a special attention to the reaction of the street artist Blu, who decid |... ⇲
The aim of this paper is to consider the actions of street art and urban recolouring on the monuments of communist dictatorship, which have not been demolished after the fall of the Berlin Wall in 1989. Such rewriting actions have converted these monuments in spaces of artistic dis |... ⇲
With its different forms, styles and ways of execution, Street Art is one of the visual culture languages that are now increasingly present in urban spaces. From a fleeting action that was often accomplished in an unauthorized manner, it has also established itself as an authorized |... ⇲
In this paper, we will approach the process of street art musealization with regard to its “mise en tension” and the constant reappropriation of urban discourses by public space users. Different statuses of public space will thus be highlighted, from a space of implementation to an |... ⇲
Spatial and locative media, Internet archives and on-line and interactive maps using positioning and cartographic visualization technologies allow a migration of urban art, from which often nothing remains except in the memory of the web. This migration makes the invisible in all c |... ⇲
Reggiane Urban Gallery is a virtual museum based on the abandoned industrial plant of ex-Officine Reggiane in Reggio Emilia, now in restoration. Along the years the place has become an open space for local and national street-artists. The aim of this paper is to analyze the use of |... ⇲
Ocula presents an interview with Christian Omodeo on Urban Art heritage and the possible ways for its musealisation. One year ago Silvia Viti met Omodeo in Paris and initiated a dialogue with him on the main issues wich stand at the core of this number of Ocula. One y |... ⇲
ISSN 1724-7810 | DOI: 10.12977/ocula
Since 2019 Ocula is ranked as a class A journal by ANVUR for Research Area 10/C1 and 11/C4.
Ocula adheres to the principles of Budapest Open Access Initiative (BOAI)
Ocula is indexed by Directory Open Access Journal (DOAJ) and Google Scholar
The content on this site is licensed under Creative Commons (BY-NC-ND)
Since 2019 Ocula is ranked as a class A journal by ANVUR for Research Area 10/C1 and 11/C4.
Ocula adheres to the principles of Budapest Open Access Initiative (BOAI)
Ocula is indexed by Directory Open Access Journal (DOAJ) and Google Scholar
The content on this site is licensed under Creative Commons (BY-NC-ND)