Introducing the Street Art of Resistance

Awad, Sarah H.; Wagoner, Brady

doi:10.1007/978-3-319-63330-5_1

Cited by 7 publications

(15 citation statements)

References 6 publications

(4 reference statements)

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Street art practices have undeniably opened new ways of understanding and experiencing the urban fabric of everyday life, considering the economic and socio-political circumstances within which they are placed. So called "street art of resistance" (Awad and Wagoner, 2017), the socio-cultural practice of street art as a new form of activism and political struggle, has the unique ability to trace political and cultural tensions mediating historical and socio-political underlying stories into the surface of the city towards new "spaces of hope" (Harvey, 2000;Novy and Colomp, 2013). In short, street art may be understood as an open, unsanctioned, ephemeral, creative and contemporary socio-cultural medium in urban space, that typically incorporates two interacting semiotic systems (language and depiction), and thus, polysemiotic (Stampoulidis et al, 2019;Zlatev, 2019), often addressing, but not limited to, socio-political issues.…”

Section: Street Art In Focusmentioning

confidence: 99%

Stories of resistance in Greek street Art: A cognitive-semiotic approach

Stampoulidis

2019

PJOS

View full text Add to dashboard Cite

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, involving 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. The qualitative analyses with the help of insights from phenomenology show that single static images do not narrate stories themselves (primary narrativity), but rather presuppose such stories, which they can prompt or trigger (secondary narrativity). 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. Author BiographyGeorgios Stampoulidis, Centre for Language and Literature, Division for Cognitive Semiotics, Lund University, Sweden Georgios Stampoulidis is a PhD candidate at the Division for Cognitive Semiotics at Lund University. His research interests are in the fields of polysemiotic communication and multimodality, narrative and metaphor, and urban creativity. His work focuses on street art as a cross-cultural medium of meaning-making, cultural production and political intervention in urban space, and thus, he has previously conducted fieldwork in Athens, Greece. His most recent publications are “A Cognitive Semiotic Exploration of Metaphors in Greek Street Art” (Cognitive Semiotics, 2019) and “Urban Creativity in Abandoned Places. Xenia Hotels Project, Greece” (Nuart Journal, 2019). Currently, he is research fellow at Urban Creativity Lund and Scandinavian Metaphor networks.

show abstract

Section: Street Art In Focusmentioning

confidence: 99%

Stories of resistance in Greek street Art: A cognitive-semiotic approach

Stampoulidis

2019

PJOS

View full text Add to dashboard Cite

show abstract

“…(Banksy, 2005: 9) Názory na to, zda je mezi graffiti a street artem zásadní rozdíl, se různí. Někteří autoři a autorky je od sebe důrazně odlišují (Bacharach, 2015), zatímco jiní považují kategorie za limitující klasifikaci, která zjednodušuje a omezuje pohled na konkrétní formu (Awad, Wagoner, 2017). Shoda panuje v tom, že graffiti a street art není jednoduché definovat, kategorizovat ani interpretovat.…”

Section: T R E St N Ou č I N N O St í D O Au Kč N í Sí N ěunclassified

“…) VZTAHovu tvorbu lze vnímat jako jistou formu kreativního aktivismu, který je někdy zkráceně označován za tzv. artivismus (Glăveanu, 2017). Jak vysvětuje Vlad Petre Glăveanu v práci zabývající se vztahem umění a sociální změny, právě užití umění v aktivismu otvírá "prostor možného, prostor imaginace a kreativity jak pro aktivisty, tak i pro jejich publikum" (2017: 20).…”

Section: T Rva N L I Vo S T V E R Su S P Om í J I Vo Stunclassified

“…Dnes je tak jedním z nejčastěji skloňovaných aspektů street art tvorby schopnost vyjadřovat politický názor, anebo dávat hlas marginalizovaným či přímo zneviditelňovaným vrstvám obyvatel měst. V rámci výzkumu tohoto fenoménu je akcentován zejména street art jako kreativní aktivismus a jeho potenciál pro společenskou změnu (Glăveanu, 2017), a to v souvislosti s politickým obsahem (Nielsen, 2017), uměním resistence (Awad, Wagoner, 2017) a oblastí lidských práv (Walsh, Tsilimpounidi, 2010). Současní autoři však zároveň tvrdí, že názor, který graffiti a street art oslavuje jako nástroj rezistence proti "zlým autoritám", je nepřesný (Iveson, 2017: 89).…”

Section: Z áV ě Runclassified

See 1 more Smart Citation

Street Art and Graffiti in the Context of a City

Wiesner

2019

Slovenský Národopis / Slovak Ethnology

View full text Add to dashboard Cite

The paper presents data from interviews conducted in 2006–2007 with four representatives of the Prague street art and graffiti scene who worked in the Czech capital city at the beginning of the 2000s. Part of the article deals with creative activities in the Prague subway where most of the interviewed authors created their works. The author thus offers the perspective of the authors of the Prague street art and graffiti scenes and presents their view of the (il)legal works of art from around ten years ago in the context of the current discourse in social sciences. Over the last twenty years, this discourse has evolved to such an extent that it now enables to see the phenomenon of urban public works of art as a phenomenon full of paradoxes. Graffiti and street art therefore cannot be interpreted only from the point of view of legality or the art of resistance. Their definition must remain sufficiently open, since certain ambivalence, contradiction and ghostliness are characteristic of it equally as of life in a modern global city that is inherently tied to it.

show abstract

“…Visual aesthetics play a role in political discourse and public formation, that is, the discursive constructions of publics are visual as well as material and linguistic. The surge in street art in the early days of the Egyptian uprising clearly shows the practice’s political potential (Awad, 2017; Awad and Wagoner, 2017; Gröndahl, 2012; Kraidy, 2016b; Shehab, 2016). This article traces the intersecting and interstitial spaces of political aesthetics in street art featuring two key activists of the Egyptian uprising of 2011–13 and the following struggle.…”

mentioning

confidence: 99%

On political street art as expressions of citizen media in revolutionary Egypt

Blaagaard¹,

Mollerup

2020

International Journal of Cultural Studies

View full text Add to dashboard Cite

This article traces the intersecting and interstitial spaces of political aesthetics in political street art featuring key activists of the Egyptian uprising of 2011–13 as well as the following struggle. We argue that the complex political expressions displayed in the images as recontextualized and embodied afford the images different roles in citizens’ political and social struggles. We develop three modalities of political street art – emplacement, travelling and conversation – that allow different works different roles in the political formation of subjectivity. In order to understand street art’s role in political subjectivity formation, this article applies visual discursive analyses to two expressions of political street art: first, the stencil of a blue bra, referring to sitt al-banat, a woman who was stripped naked in public as she was beaten unconscious by Egyptian military soldiers; second, the mural of then jailed activist Sanaa Seif in the Copenhagen borough of Christiania.

show abstract

Introducing the Street Art of Resistance

Abstract: The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

Cited by 7 publications

References 6 publications

Stories of resistance in Greek street Art: A cognitive-semiotic approach

Stories of resistance in Greek street Art: A cognitive-semiotic approach

Street Art and Graffiti in the Context of a City

On political street art as expressions of citizen media in revolutionary Egypt

Contact Info

Product

Resources

About