Carelessness or curatorial chutzpah? On controversies surrounding street art in the museum

Bengtsen, Peter

doi:10.1080/00233609.2015.1095797

Cited by 9 publications

(4 citation statements)

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“…As Henke's comments above highlight it was the preservation of the city's art-scene that partly motivated the decision to buff the murals. At the same time, the removal of street art can be framed -as per Herr's comments -as theft from the public (Bengsten 2015;Hansen 2016). Ironically, the buffing of the murals, without the permission of the plot's owner and those of the adjoining buildings, was potentially more illegal than their creation.…”

Section: From Blu To Blackmentioning

confidence: 99%

“…The erasure of the Cuvrybrache murals suggests a turning point in Blu's view of buffing. In late 2010 Blu considered the whitewashing of his controversial contribution to the Los Angeles Museum of Contemporary Art's Art in the Street exhibition an act of censorship and refused to paint a replacement (Bengsten 2015). Following the buffing of his Cuvrybrache murals, Blu again endorsed the erasure of his work in his home city of Bologna in March 2016.…”

Section: Digital Preservation Buffing and Bufferingmentioning

confidence: 99%

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Buffing and buffering Blu: the societal performance of street art, heritage erasure and digital preservation in Berlin

Merrill

2020

International Journal of Heritage Studies

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In December 2014 two of Berlin's most famous street art murals were painted black. Fans of the murals responded by using social media to blame the owner of the 'Cuvrybrache'-the vacant plot in Friedrichshain-Kreuzberg that the murals overlooked. Many assumed that a campaign to heritage-list the murals in response to the Cuvrybrache's planned redevelopment had led the plot's owners to take matters into their own hands. In fact, as this article details, it was more surprising who was responsible for the mural's erasure: their creator, the street artist known as Blu. As some street art fans mourned their loss, the murals continued to be encountered by others, just as they always had, online. This article uses the case of the Cuvrybrache murals-replete with forces of ruination, processes of gentrification, and acts of iconoclasm-to explore the complexities of street art and heritage's relationship with erasure and the manner by which this relationship is increasingly refracted through digital technologies and media. Drawing parallels between buffed urban walls and buffering digital screens, it argues that the pervasive digital preservation of street art encourages it and heritage in general to be further conceptualised as a societal performance.

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Section: From Blu To Blackmentioning

confidence: 99%

Section: Digital Preservation Buffing and Bufferingmentioning

confidence: 99%

Buffing and buffering Blu: the societal performance of street art, heritage erasure and digital preservation in Berlin

Merrill

2020

International Journal of Heritage Studies

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“…Ainda que o movimento de "institucionalização" da arte urbana não seja de agora, como provam os casos de Keith Haring e Jean-Michel Basquiat no establishment artístico nova-iorquino no início da década de 80, os últimos 15 anos trouxeram mudanças extremamente significativas. Exposições como Spank the Monkey no BALTIC Centre for Contemporary Art (Newcastle upon Tyne, 2006), Graffiti no Brooklyn Museum (Nova Iorque, 2006), Street Art na Tate Modern (Londres, 2008) ou Art in the Streets no Museum of Contemporary Art (Los Angeles, 2011) trouxeram visibilidade e legibilidade à expressão artística "da rua", criando pontes entre uma produção frequentemente vista como crime, vandalismo ou atentado à propriedade privada e algo que podia ser considerado arte contemporânea (Bengtsen, 2015) e, portanto, passível de comunicar com as suas estruturas hegemónicas, os seus gatekeepers legítimos: a galeria, o curador, o museu, a casa de leilões. No entanto, o processo de legitimação não se reduz à absorção da arte urbana dentro destas estruturas, mas encontra-se igualmente na transferência da sua eficácia simbólica para o espaço público, como o demonstra a percepção alargada de qualquer conjunto de intervenções num bairro ou no âmbito de um evento como um "museu ao ar livre" ou "galeria a céu aberto".…”

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O terceiro lado do muro. A arte e as suas cidades

Pussetti¹,

Barros²

2019

sociologico

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Este ensaio pretende, a partir da observação etnográfica de expressões de arte urbana embemáticas na cidade de Lisboa e de uma reflexão comparativa entre distinctive cities (Markusen, 2004), criar uma narrativa que percorra os principais vectores da transformação do universo da arte urbana na última década. Tentando reproduzir o estilo ensaístico e as modalidades narrativas que estiveram na origem desta reflexão, traçaremos um percurso através dos debates principais sobre arte urbana, mostrando no seu conjunto a heterogeneidade dos processos e das forças que condicionam a presença artística no espaço urbano e delineando futuras hipóteses de pesquisa. O objetivo desta reflexão será conduzir o leitor a a) observar os efeitos da progressiva influência da gramática do empreendedorismo; b) inquirir os dispositivos regulatórios criados -novos agentes, instituições e legislação, seja para punir ou fomentar a sua produção; c) analisar a relação material e sensorial da arte urbana com a própria cidade -da sua normativização estética à reificação da propriedade ou à consolidação da "cidade legislada"; d) integrar a arte urbana no processo mais alargado de divisão estrutural da cultura que, por um lado, é absorvida pela narrativa hegemónica das indústrias criativas e, por outro, permeia o tecido social, promovendo a participação ou a coesão social; e) examinar estas transformações da arte urbana no quadro da construção da cidade contemporânea e, em particular, do seu espaço público. AbstractBased on a ethnographic observation of empirical urban art expressions in the city of Lisbon and on a comparative reflection between "distinctive cities" (Markusen, 2004), this essay aims to create a narrative that covers the main vectors of the transformation of the urban art universe in the last decade. Trying to reproduce the essayistic style and narrative modalities that were the origin of this reflection, we will trace a path through the main debates about urban art, showing together the heterogeneity of the processes and forces that condition the artistic presence in the urban space and outlining future hypotheses of research. The purpose of this reflection will be to lead the reader to a) observe the effects of the progressive influence of the grammar of entrepreneurship; b) inquire into the regulatory dispositifs created -new agents, institutions and legislation either to punish or encourage its production; c) analyze the material and sensorial relationship of urban art with the city itself -from its aesthetic normativization, to the reification of property or the consolidation of the "legislated city"; d) integrate urban art into the broader process of structural division of culture, which, on the one hand, is absorbed by the hegemonic narrative of the creative industries and, on the other, permeates the social fabric, promoting social participation or cohesion; e) examine these transformations of urban art in the context of the construction of the contemporary city and, in particular, of its public space.

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“…Nombreux sont ceux qui en conviennent : le street art existe et se développe en opposition avec les institutions artistiques officielles (Bengtsen 2015 ;Riggle 2010 . Toutefois, il a tort lorsqu'il prétend que ce changement de sens et de statut résulte uniquement du retrait de l'oeuvre de son contexte original.…”

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Quand les murs de béton muets se transforment en un carnaval de couleur

Baldini¹

2016

narratologie

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Carelessness or curatorial chutzpah? On controversies surrounding street art in the museum

Cited by 9 publications

References 0 publications

Buffing and buffering Blu: the societal performance of street art, heritage erasure and digital preservation in Berlin

Buffing and buffering Blu: the societal performance of street art, heritage erasure and digital preservation in Berlin

O terceiro lado do muro. A arte e as suas cidades

Quand les murs de béton muets se transforment en un carnaval de couleur

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