Writing on the Wall: Street Art in Graffiti‐free Singapore

Chang, T.C.

doi:10.1111/1468-2427.12653

Cited by 18 publications

(10 citation statements)

References 21 publications

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“…Investigations of graffiti and contested uses of public space in contemporary China (Pan, 2015), Hong Kong (Valjakka, 2010), and Singapore (Chang, 2018) complement these findings by highlighting important citizen-state dynamics. Pan (2015) finds a less confrontational attitude towards graffiti in China than in the West.…”

Section: Asiamentioning

confidence: 87%

“People want good graffiti”: Tensions, contradictions, and everyday politics surrounding graffiti in Hanoi, Vietnam

Kee

Turner

Labbé

2021

Area

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The sun beats down on the bustling streets of Hanoi's Old Quarter, a touristic neighbourhood lined with traditional shophouses. A roll-up door covered in a collection of tags serves as the backdrop for a discussion between a street vendor and customer over the price of fresh pineapple. From observations around Hanoi, it is clear that graffiti, in the shape of tags, throws, and pieces, has become an omnipresent feature. This would be unsurprising in many other cities around the world, but our interest was piqued by the fact that this is a socialist state where the central regime is known to closely monitor public space use, while relentlessly pushing a "civilised city" discourse (Coe, 2015). "Tags" -often executed quickly in mono-colour with spray paint or paint marker -are the most prevalent and fundamental form of graffiti in Hanoi (and worldwide), a stylised signature that engraves a writer's chosen name on the urban landscape (Brewer & Miller, 1990). Larger "throws" are slightly more time-consuming outlines of a writer's name in bubble-style letters, often using two contrasting colours for outline and fill, while "pieces" involve intricate designs including cartoon-like characters, three-dimensional effects, and colour transitions and can take several hours to complete (Macdonald, 2001). These

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Section: Asiamentioning

confidence: 87%

“People want good graffiti”: Tensions, contradictions, and everyday politics surrounding graffiti in Hanoi, Vietnam

Kee

Turner

Labbé

2021

Area

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“…Aside from the glasshouses, the Gardens complex is free to enter, offers generous open space and provides advances in understanding plant science. However, the ability to provide a socially balanced, resource-sustainable urban policy is based on a dynamic of competitive superiority in relation to other cities, and Gardens by the Bay clearly operates within the extreme detail the state employs in its engineering of urban space (see also Tay, 1989;K-W. Lee, 2014;Chang, 2019).…”

Section: Discussionmentioning

confidence: 99%

BOTANIC URBANISM: The Technopolitics of Controlled Environments in Singapore's Gardens by the Bay

McNeill¹

2021

Int J Urban Regional Res

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This article examines the development of Singapore's Gardens by the Bay, a parkland and botanical gardens complex on a reclaimed land platform which opened in 2012. It provides three readings of the development based on different types of technopolitical governance. First, it discusses the significance of the location of the Gardens on one of Singapore's reclaimed land platforms, part of the ‘terraforming’ strategies of the government's land development process. Second, it situates the project within the state's complex botanical relationship with colonial and postcolonial knowledge circuits, and suggests that this is part of the governance challenge of ‘acclimatizing’ to the tropical climate. Third, it suggests that the Gardens are part of an ‘exhibitionary complex’ based on engaging publics with the state's ability to harness science to provide a controlled, ordered polity. To illustrate this, the article brings together the political discourse of two Singaporean prime ministers with a discussion of the architectural design and environmental engineering of the project, and the curatorial practices of the state's National Parks Board. The article demonstrates the complex interplay of environmental, architectural and botanical engineering with state strategies of both citizen engagement and tourist attraction, and the importance of the practice of exhibition within urban megaprojects.

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“…Проте, на відміну від графіті, стріт арт передбачає творче використання трафаретів, наклейок, плакатів, в'язаних виробів, настінних малюнків, а головне -він передбачає публічність. Тобто, якщо графіті -це про авторів і для закритої спільноти, то стріт арт -це для громадськості [5]. Стріт арт зрозумілий перехожим і часто передає явні повідомлення, іноді з вираженим політичним характером; інформує глядача про передбачуваний сенс, використовуючи візуальні сигнали, а іноді і текст [28].…”

Section: сприйняття об'єктів вуличного мистецтваunclassified

“…Трансформація міст від індустріальних до постіндустріальних супроводжується розвитком креативного класу [3], який здатний продукувати нові творчі ідеї, нові послуги, технології облаштування публічних просторів тощо. І з розвитком креативних міст графіті та стріт арт переоцінюються як креативні практики, а одна з ключових ознак креативних міст -толерантність -стимулює поширення вуличного мистецтва, виникнення феномену «законних стін» («legal walls») для графіті та стріт арту, цілих мистецьких вулиць та артшляхів [4,5].…”

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Street art in urban space: location and perception in Ukrainian cities

Provotar

Olishevska

Mezentsev

et al. 2021

Visnyk of V.N. Karazin Kharkiv National University, Series Geology. Geography. Ecology

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Purpose. The purpose of this research was to analyze the thematic orientation, drivers, location and perception by residents of street art in Ukrainian cities. Accordingly, the research questions are as follows: where and which street art pieces are located in cities? what are the main triggers of their spread in urban space? how city residents percept street art? what dwellers think about impact of street art on socio-cultural space and should street art be regulated in cities? Research methods. The study is based on an analysis of media reports on street art, the results of in-depth semi-structured interviews with Kyiv residents, and the authors’ observations on the streets of several Ukrainian cities. Twelve semi-structured in-depth interviews were conducted with Kyiv residents in April-May 2021, which included blocks of questions on the perception of street art, its subject matter, location and the need to control and regulate their creation and distribution. The authors conducted observations on the streets during 2017-2021 in the cities of Kyiv, Dnipro, Kharkiv, Odesa, Poltava, Kamyanets-Podilskyi, and Kramatorsk. Main findings. Based on the previous research, the main forms of street art and their place in urban space are analyzed. The analysis of street art pieces in Ukraine showed that in general there are tendencies of decentralization of their location in the urban space and regionalization. In other words, street art is spreading from the city center to the periphery, and along with the capital city and the main regional centers, street art pieces are becoming common elements of the urban space of other cities and towns. The vision of the residents testifies to their demand for the conformity of new street art pieces to the socio-cultural environment, the appropriateness of placement, and “embeddedness” into the urban space. It was revealed that key drivers of street art booming in Ukraine are urban art festivals, mega events, socio-political events and social troubles, developers` initiatives, as well as participatory budgeting programs. At the same time, the methods of implementation, thematic orientation and location of street art can cause conflicts and protests from individual residents, social movements, and municipalities as well. An analysis of the attitude to the thematic orientation of street art showed that the topics of nature, images of prominent people with an unblemished reputation, representatives of the most important professions, national, patriotic and social topics that encourage reflection, as well as texts of famous poems and quotations are most welcoming for Kyiv residents. The attitude to political issues accompanied by various appeals is distinctly negative. It has been confirmed that the local context of street art objects is considered as more important. It is shown that with the generally positive perception of street art, city dwellers are interested in the need to control and regulate the location of new murals and other street art pieces taking into account the public participation principles. In a relatively short period, street art have become a common practice of renewal, "beatification" and "Europeanization" of the urban space of many Ukrainian cities. Scientific novelty and practical value. The article develops the understanding of the place of street art in the urban space revealing the main peculiarities of the location, distribution and perception of street art in Ukrainian cities. The practical value of the study lies in the focus on identifying prospects for the implementation of the principles of participatory urban planning in the context of the creation of new street art pieces as a mean of improving public spaces.

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Writing on the Wall: Street Art in Graffiti‐free Singapore

Cited by 18 publications

References 21 publications

“People want good graffiti”: Tensions, contradictions, and everyday politics surrounding graffiti in Hanoi, Vietnam

“People want good graffiti”: Tensions, contradictions, and everyday politics surrounding graffiti in Hanoi, Vietnam

BOTANIC URBANISM: The Technopolitics of Controlled Environments in Singapore's Gardens by the Bay

Street art in urban space: location and perception in Ukrainian cities

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