“Anybody Can Do It”: Aesthetic Empowerment, Urban Citizenship, and the Naturalization of Indonesian Graffiti and Street Art

Lee, Doreen

doi:10.1111/ciso.12024

Cited by 21 publications

(12 citation statements)

References 19 publications

(12 reference statements)

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“…In Jakarta, Jakarta Arts Institute students joined protests and drew comics or painted paintings that disseminated the iconography of protest (Lee 2011). The past two decades of Indonesian politics have been disrupted, shaped, and branded by popular mobilizations across the political spectrum.…”

Section: Reformasi Branding Of Activist Artmentioning

confidence: 99%

“…I had encountered young artists in Jakarta who expressed boundless enthusiasm for transforming their local urban landscape with the global style of graffiti and street art, and who participated in a digital economy of video uploads and influences (see Lee 2013), but Jogja represented a more massive scale of integrated artistic intervention and government support. Yogyakarta is affectionately known by its abbreviated name Jogja, a name that evokes a more intimate and local sense of place.…”

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confidence: 99%

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A Troubled Vernacular: Legibility and Presence in Indonesian Activist Art

Lee¹

2015

J of Asian Stud

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Activist art and political resistance became popular aesthetics in the work of Indonesian artists after the fall of the New Order in 1998. In subsequent years, more art alternatives have emerged in cities and small towns across Indonesia, including diverse and vernacular modes of artistry such as street art and community-based international festivals. Where artists formerly focused their energies on critiquing the state, present art initiatives have become far more diffuse, counter-establishment, and localized in their approach. Local artists started the Jogja mural movement to rebrand Yogyakarta as a city of murals, while Jatiwangi Art Factory, an arts collective founded in a semiindustrialized village in West Java, has become a haven for performance arts and community-based projects for Indonesians and foreign artists in residence. This article looks at such experiments of legibility and presence as a new means of redefining publics and broadening the domain of political participation in Indonesia.

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Section: Reformasi Branding Of Activist Artmentioning

confidence: 99%

mentioning

confidence: 99%

A Troubled Vernacular: Legibility and Presence in Indonesian Activist Art

Lee¹

2015

J of Asian Stud

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“…This imagined community, much like the one discussed by Lee (2013) in her analysis of Indonesian graffiti, is a temporarily engaged citizenry that is negotiating its relationship to the state. Once spray painted by hand on walls in the middle of the night, now the slogans are replicated digitally on commercial billboards across Aoun's areas of support.…”

Section: Introductionmentioning

confidence: 99%

“…In juxtaposition to the notion of the political public sphere that is anchored in the anonymity of print media, graffiti is a more ephemeral text than a standardized bureaucratic document. This imagined community, much like the one discussed by Lee (2013) in her analysis of Indonesian graffiti, is a temporarily engaged citizenry that is negotiating its relationship to the state. As Lee argues, "street art is both the cultural mouthpiece and mediatic surface for a counterpublic that is naturally situated in an urban context" (2013,307).…”

Section: Introductionmentioning

confidence: 99%

Graphic Identity in the Scriptorial Landscape of Lebanon

Riskedahl

2017

City & Society

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The relationship between space, language, and the active construction of political identity in Lebanon is explored through a diachronic look at the outdoor display of political rhetoric of the Lebanese political leader, General Michel Aoun, and his evolving party, the Free Patriotic Movement (FPM), in the public landscape of Beirut. Specifically, I will focus on graffiti of the FPM in 2005 and discuss its resonances with the earlier political rhetoric of Aoun during the civil war and his Paris exile, at a time when he was in a conflicted relationship with the state. I will then look at his later political advertising campaigns from 2008-2009 to see how some semiotic elements from Aoun's time in exile and his return in 2005 have been extended into the more recently professionally polished party image. Through the examination of linguistic strategies, such as the use of reported speech and graffiti font, I argue that these textual artifacts contain the residue of contested ideologies of populism, nationhood, and belonging, which gain particular meaning when placed in specific geo-semiotic zones within the political landscape of the city. These ideologies formed the basis for constructing a graphic identity for Aoun in subsequent advertising campaigns. The publicly placed written word, then, provides a medium through which political identity is formed, negotiated, and revised. [political discourse, Lebanon, arabic, advertising, graffiti]

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“…According to Barliana, et al in [4], people living in big cities in Indonesia are currently experiencing various symptoms of social disorder that have become chronic problems, including vandalism. Graffiti has been a symbol of social problem in Indonesia because those streaks are seen as polluting the beauty of the city, as if the people no longer care about the cleanliness and beauty of the surroundings [5][6][7][8]. There is such thing as -vandalism‖ because many city corners in Indonesia filled with graffiti either containing a particular meaning or something meaningless [9][10][11][12].…”

Section: Introductionmentioning

confidence: 99%