Denna studie menar att det i arkitekturens mellanrum, där vardagslivet tar plats, sker intressanta handlingar som sätter sin prägel på staden och dess invånare. Med ett fokus på urban konst och främst konstfestivaler i det urbana rummet undersöks den offentliga konstens olika ingrepp på platsen och de sociala gemenskaperna i målet att skapa en socialt hållbar stad. Offentlig konst kan i många fall ses som ett estetiskt och vackert inslag i områden. Denna uppsats hävdar dock att den offentliga konsten kan tillskrivas ytterligare ett värde, nämligen det instrumentella.  Urbana konstfestivaler är ett återkommande fenomen och används ofta som ett verktyg i främjandet av en socialt hållbar stad. Ur ett stadsbyggnads- och socialt investeringsperspektiv ska konsten, vare sig det är muralmålningar, skulpturer eller mosaikplattor, göra staden mer sammanlänkad, öka gemenskapen mellan invånare och förhöja känslan av tillhörighet. Den konst som fyller de urbana rummen tillskrivs därför både ett socialt och instrumentellt värde. Genom att studera konstfestivalen Hammarkullen Urban Art 2017 undersöks just denna relation mellan det samhälleliga målet om en socialt hållbar stadsutveckling och de urbana konstverken. Studien menar att det i denna förbindelse uppstår en rad dilemman rörande platsidentitet, platsskapande och platsautenticitet. Frågan som ställs är om urban konst är ett verktyg som är väl lämpat för att nå en sammanlänkad och socialt hållbar stad med högt deltagande? Studien är byggd på empiriskt material insamlat genom en fallstudie av Hammarkullen Urban Art 2017. Genom kvalitativa forskningsintervjuer har personer direkt länkade till konstfestivalen blivit hörda. Då festivalen ägde rum under 2017 har dessa intervjuer i kombination med dokumentanalyser och fältanalyser gett oss en förståelse att urbana konstfestivaler kan bidra med stärkt social hållbarhet. Dock kan nyttjandet av konsten i detta avseende bära med sig dilemman rörande platsers säregna kvalitéer. Avslutningsvis visar studien att urbana konstfestivaler har en inneboende motstridighet. Trots att den urbana konsten tenderar att vara ett demokratiserande verktyg för att öppna upp staden rum, syns även spår av marknadens intrång. Den offentliga konsten har blivit ett verktyg för städer och områden att profilera sig på. Detta går även att se i studiens fokusområde Hammarkullen. I och med inkorporerandet av Hammarkullen Urban Art 2017:s konstverk i stadsbilden förstärks bilden av området som kulturellt nav. / With a focus on urban art, and especially street art festivals, this study examines the various impacts public art can have on urban spaces and the social communities. This study suggests that, in the interspaces of urban architecture, interesting phenomena connected to urban art makes its mark on the city and its inhabitants. Public art can in many cases be seen as an aesthetic and beautiful element. However, the authors behind this work claim that public art can be attributed another value, namely the instrumental. From an urban planning perspective, art should make the city more interlinked, increase fellowship between residents and increase the sense of belonging. Moreover, it also increases welfare, profit and health. The question asked is whether urban art and street art festivals are a tool that is well suited to reach an interconnected and socially sustainable city?  The study is based on empirical material collected through a case study of Hammar- kullen Urban Art 2017. Through qualitative research interviews, the voices of people with a connection to the street art festival have been collected through interviews. As the festival took place in 2017, these interviews in combination with analyses of documents and field studies gave the study a reliable result on how urban art festivals can contribute to strengthening social sustainability. However, with the use of art in this aspect, dilemmas can follow concerning the peculiar qualities of places. Street art festivals are often used as a tool in the promotion of a socially sustainable city. By studying the street art festival Hammarkullen Urban Art 2017 the relationship between the societal goal of a socially sustainable city and the urban works of art is examined. Public art has become a tool for cities and areas to profile themselves in a different way from their previous image. The study claims that a number of dilemmas arise in the context between the societal goal and the urban art regarding place identity, placemaking and authenticity.  The study concludes that street art festivals have an inherent contradiction and are rather a tool for cities to promote themselves to fulfil the dominant culture’s desire for authenticity than a means to beautify the urban spaces. This position can also be seen in the Hammarkullen area as the incorporation of Hammarkullen Urban Art 2017’s artwork strengthens its identity as a cultural hub.

Les images dans toute leur diversité, installées dans l'espace urbain composent notre objet d'étude. Ainsi, à partir de l'analyse d'un vaste corpus composé de photographies et de cartes, collectés durant un long période dans le centre-ville de Santiago, l'enjeu est de saisir l'objet image-contexte qui d'après une description cas-à-cas, nous permettra l'analyse de l'image en situation. Dont le but est l'observation du rôle des images dans la construction de l'espace urbain et en tant que composant fondamental de notre environnement quotidien. De ce fait, divers aspects apparaissent peu à peu le long du travail telles que ; la distribution des images en relation au rapport des forces des pouvoirs quelles représentent et dans l'ensemble révèlent les pratiques spatiales du groupe social, de voir comment l'image transforme l'espace et l'espace redéfinit l'image, la relation entre image et architecture, entre la dynamique des images et les dynamiques urbaines et l'irruption des nouvelles technologies dans l'espace urbain. En somme, tout au long de notre travail de recherche nous poursuivons la constitution progressive de l'image en situation en tant qu'objet de terrain et élément essentiel qui façonnera le paysage visuel des villes dans le XXIe siècle / Images, in all their diversity, present in the urban environment, form the subject of our study. Thus, with the starting point a vast cache of photographs and cards, collected over a long period in Santiago city-center, the issue involves comprehending the image/context as a whole, a task that, after a case-by-case examination, will allow us to analyze the image as an integral part of its location. The goal, therefore, is the observation of the role of images in the construction of the urban environment and as fundamental components of our everyday surroundings. In this way, various aspects come to the fore throughout the process: the distribution of images relative to the power of the forces they represent reveals, in the whole, the spatial activities of the social group; the way in which the image transforms the space and the space in turn redefines the image; the relationship between image and architecture; between the dynamics of the image and the urban dynamics; and, lastly, the impact of new technologies on the urban landscape. In summation, throughout our research we have followed the progressive existence of location-specific imagery as an object in its own right and an essential element that will shape the visual landscape of cities in the 21st century

Since the 1970s, when neoliberal policies and changing consumer patterns began remaking cities, scholars have conducted research about gentrification. In New Orleans, these studies have helped explain the demographic and economic shifts in some neighborhoods. However, there has been limited focus on the built environment aspects of gentrification in New Orleans, specifically the interpretation of the external aesthetic shifts in streetscapes as part of the gentrification process. This thesis examines the relationship between these aesthetics, primarily graffiti and street art, and the gentrification process, as perceived by various stakeholders in two New Orleans neighborhoods: St. Roch and Bywater. Using empirical, qualitative evidence, this thesis argues that graffiti and street art signify a culture and aestheticization of gentrification. Research methods for this thesis include participant observation, semi-structured interviews and discourse analysis. Keywords: Gentrification, New Orleans, Bywater, St. Roch, graffiti, street art, neighborhood change, blight, disinvestment, revitalization, creative class, neoliberalism, race, authenticity

A multiplicidade das pinturas e escrituras murais na cidade de São Paulo desde os anos 1970 até os dias de hoje não evidencia uma ordem ou hierarquias que permitam separar uma assinatura rabiscada com um giz de cera em um muro de uma pintura de várias cores com tinta spray, pichação enquanto mero vandalismo do graffiti enquanto pintura mural elaborada. O que o presente trabalho busca mostrar é que cada um dos grandes grupos que compõe as diversas vertentes de pintura e escritura mural praticadas na cidade de São Paulo tem suas próprias matrizes, exemplos e muitas vezes regras estritas de procedimento e valoração interna. A busca por uma separação entre grandes grupos se dá na primeira parte da dissertação, ao sugerir uma história em ordem cronológica dos maiores grupos que se estabeleceram durante o final da década de 1970 e toda a década de 1980, traçando referências e pontos de contato desses grupos com outras práticas análogas no resto do mundo. A segunda parte do trabalho busca estabelecer alguns conceitos que podem ajudar a entender o desenvolvimento de alguns desses grupos e indivíduos. Em seguida o trabalho de alguns praticantes será analisado a fim de propor uma quebra com a linhagem formadora inicial desses mesmos. / The multiplicity of mural paintings and writings practiced in the city of São Paulo, starting in the 1970s until today, could elude a certain order or hierarchies that could allow the distinction between a scribble made with crayon on a wall or a painting made with various spray paint colors, between tagging (often called pichação in Brazil) and graffiti (usually the name given to more elaborate mural paintings). What this work tries to achieve is to show that every major group that forms the different strands of mural painting and writing practiced in the city of São Paulo has its own roots, visual examples, and oftentimes strict rules of proceeding and internal valuation. The search for the separation of these groups will be presented in the first part of the dissertation, which suggests a chronological story of the main groups that were established during the end of the 1970s and throughout the 1980s in São Paulo, tracing the main references and points of contact between these groups and its analogue practices around the world. The second part is concerned with presenting certain concepts that try to help and understand the development of some of those groups and individuals. Following, the work of certain particular individuals will be analysed in order to propose a certain break from the formative lineage of these practitioners.

A partir da fundamentação da documentação e dos recursos de história oral esta pesquisa apresenta uma proposta de método documentário para artes performáticas de rua. Cinco artistas atuantes na cidade de São Paulo foram selecionados para documentarem suas memórias sobre o tema de artes de rua, e tiveram sua execução artística gravada no formato audiovisual. O método consiste em três etapas qualitativas de captação e tratamento documentário utilizando-se das tecnologias digitais, a saber, a pré-entrevista gravada em áudio, o registro da atuação in loco dos artistas na rua e finalmente uma entrevista roteirizada pelas etapas anteriores gravada em vídeo em um estúdio. O referencial teórico baseia-se nos estudos de memória de Ecléa Bosi e no conceito de Hibridização Cultural de Nestor Garcia Canclini. Concluímos a importância da memória dos artistas para a história das cidades, como também constatamos os desafios conceituais e práticos enfrentados ao se pensar a documentação de artistas de rua na contemporaneidade. / From the basis of documentation and oral history resources this research proposes a documentary method for performing arts street. Five artists working in the city of São Paulo were selected to document their memories about street art theme, and had their artistic performance recorded in audiovisual format. The method consists of three qualitative steps capture and documentary treatment using digital technology, namely the recorded pre-audio interview, the record of action in place of artists in the street and finally an interview scripted by the previous steps recorded in video in a studio. The theoretical framework is based on Ecléa Bosi memory studies and the concept of Cultural Hybridization Néstor García Canclini. We conclude the importance of memory of artists to the history of cities, but also found the conceptual challenges and faced practical when considering the documentation of street performers in contemporary times.

A multiplicidade das pinturas e escrituras murais na cidade de São Paulo desde os anos 1970 até os dias de hoje não evidencia uma ordem ou hierarquias que permitam separar uma assinatura rabiscada com um giz de cera em um muro de uma pintura de várias cores com tinta spray, pichação enquanto mero vandalismo do graffiti enquanto pintura mural elaborada. O que o presente trabalho busca mostrar é que cada um dos grandes grupos que compõe as diversas vertentes de pintura e escritura mural praticadas na cidade de São Paulo tem suas próprias matrizes, exemplos e muitas vezes regras estritas de procedimento e valoração interna. A busca por uma separação entre grandes grupos se dá na primeira parte da dissertação, ao sugerir uma história em ordem cronológica dos maiores grupos que se estabeleceram durante o final da década de 1970 e toda a década de 1980, traçando referências e pontos de contato desses grupos com outras práticas análogas no resto do mundo. A segunda parte do trabalho busca estabelecer alguns conceitos que podem ajudar a entender o desenvolvimento de alguns desses grupos e indivíduos. Em seguida o trabalho de alguns praticantes será analisado a fim de propor uma quebra com a linhagem formadora inicial desses mesmos. / The multiplicity of mural paintings and writings practiced in the city of São Paulo, starting in the 1970s until today, could elude a certain order or hierarchies that could allow the distinction between a scribble made with crayon on a wall or a painting made with various spray paint colors, between tagging (often called pichação in Brazil) and graffiti (usually the name given to more elaborate mural paintings). What this work tries to achieve is to show that every major group that forms the different strands of mural painting and writing practiced in the city of São Paulo has its own roots, visual examples, and oftentimes strict rules of proceeding and internal valuation. The search for the separation of these groups will be presented in the first part of the dissertation, which suggests a chronological story of the main groups that were established during the end of the 1970s and throughout the 1980s in São Paulo, tracing the main references and points of contact between these groups and its analogue practices around the world. The second part is concerned with presenting certain concepts that try to help and understand the development of some of those groups and individuals. Following, the work of certain particular individuals will be analysed in order to propose a certain break from the formative lineage of these practitioners.

Uppsatsens ämne berör transformation av bilder i påverkan av olika mekanismer och kontext. Fokus ligger på verket Girl and Balloon (2004), ett gatukonstverk av Banksy. Uppsatsen undersöker verkets omvandling från gatumålning till en perfomanceakt och dess rest Love is in the Bin (2018). Det empiriska materialet består av fotografier samt filmupptagningar, till största del från konstnären själv. Syftet är att försöka tolka underliggande betydelser i de tre verken samt eventuella betydelseförskutningar i transformationen. Det teoretiska perspektivet bygger på Anna Dahlgrens teori om bilders rörelser och presenteras som en social bildbiografi uppbyggd med stöd av en ikonografisk analys enligt Erwin Panofskys metod. Dispositionen består av bakgrundsbeskrivning av konstnären samt analyser av de tre verken. Resultatet visar på att de estetiska förändringar som föregår Love is in the Bin (2018) är process från urban väggmålning, till målning på inramad canvas, till målning och ram som  självförstörande installation samt en genom film och fotografi dokumenterad performanceakt. Mekanismer som påverkar transformationen är den institutionella konstvärlden och den kommersiella konstmarknaden och verken tolkas som en reaktion mot detta. Trots estetiska förändringar kvarstår den urbana väggmålningen Girl and Balloons (2004) övergripande betydelse, det vill säga kritik mot institution och bolagskontroll över konst och kultur, samt ställningstagande mot kommersialism och kapitalism.  I de olika verken bär inte motivet den kritiserande betydelsen utan ram, plats och hantering av material är meningsbärare.

A partir da fundamentação da documentação e dos recursos de história oral esta pesquisa apresenta uma proposta de método documentário para artes performáticas de rua. Cinco artistas atuantes na cidade de São Paulo foram selecionados para documentarem suas memórias sobre o tema de artes de rua, e tiveram sua execução artística gravada no formato audiovisual. O método consiste em três etapas qualitativas de captação e tratamento documentário utilizando-se das tecnologias digitais, a saber, a pré-entrevista gravada em áudio, o registro da atuação in loco dos artistas na rua e finalmente uma entrevista roteirizada pelas etapas anteriores gravada em vídeo em um estúdio. O referencial teórico baseia-se nos estudos de memória de Ecléa Bosi e no conceito de Hibridização Cultural de Nestor Garcia Canclini. Concluímos a importância da memória dos artistas para a história das cidades, como também constatamos os desafios conceituais e práticos enfrentados ao se pensar a documentação de artistas de rua na contemporaneidade. / From the basis of documentation and oral history resources this research proposes a documentary method for performing arts street. Five artists working in the city of São Paulo were selected to document their memories about street art theme, and had their artistic performance recorded in audiovisual format. The method consists of three qualitative steps capture and documentary treatment using digital technology, namely the recorded pre-audio interview, the record of action in place of artists in the street and finally an interview scripted by the previous steps recorded in video in a studio. The theoretical framework is based on Ecléa Bosi memory studies and the concept of Cultural Hybridization Néstor García Canclini. We conclude the importance of memory of artists to the history of cities, but also found the conceptual challenges and faced practical when considering the documentation of street performers in contemporary times.

This thesis examines the projects outlined by the Situationist philosophers and their impact on revolutionizing consciousness. Alongside of this examination this thesis demonstrates how the appropriate rhetorical means in conjunction with street art—specifically the work of Banksy—may lead to the successful implementation and execution of the Situationist's projects. This thesis examines the concept of the spectacle as developed by the Situationists as its object of critique and the concepts of culture, unitary urbanism, psychogeography, détournement and dérive as the framework in which the spectacle can be successfully critiqued in order to foster a more critical consciousness. In addition to this framework my claim is that the aforementioned elements are accomplished by the work of Banksy and his ability to alter the material conditions of our reality through his rhetorical construction of material enactments by creating appropriate and kairotic works which provide life to the Situationist's projects and affords the potentiality of revolutionizing consciousness. In Figure 1. Banksy critiques the idea of spectacularization. There is a fear that technology will distract individuals’ from living and experiencing their lives to the fullest, that their desire to record moments will get in the way with actually living through experiences. In fact the concept of recording events, for many people, is bringing more life to those events than the event itself. We’re currently living in a society where the record of the thing itself is greater than the thing itself. Of course, whenever something is recorded it can be spectacularized--elevated to a greater degree of importance--and shared with many. At the same time, urban architectural achievements have become idols unto themselves. People visit the Eiffel Tower for the purposes of visiting the Eiffel Tower. Even in the act of being a tourist or a spectator we are being placed in positions of passivity. The goal is to absorb whatever man made phenomena has been constructed for the purposes of enjoying it intrinsically without understanding why. In their article "Rhetoric and Materiality in the Museum Park at the North Carolina Museum of Art" Kenneth Zagacki and Victoria Gallagher rhetorically analyze the complex and interwoven spaces of the North Carolina Museum of Art. Their research claims that "the move from symbolicity to materiality involves a shift from examining representations (what does a text mean/what are the persuader's goals) to examining enactments (what does a text or artifact do/what are the consequences beyond that of the persuader's goals) and, as Carole Blair suggests, to considering the significance a particular artifact or text's material existence: What does it do with or against other artifacts? And how does it act on persons?" (Zagacki and Gallagher 172). This move from the purely symbolic importance of a text or artifact to its materiality is exceptionally important when discussing how potential Situationist projects can be materialized into and implemented effectively in the real world. The Situationists were essentially radical realists—their critiques need to exist in the most material form possible in order to generate the conscious liberation that they desired. That being said Margaret LaWare and Victoria Gallagher "...suggest that material rhetorics contribute to discourses of public identity by inviting visitors to see and experience landscape (or physical context) around them in new, and very much embodied ways" (as cited in Zagacki and Gallagher 172). The recursive nature of material rhetorics allows us to analyze exactly how environment's are affecting individual's subjectivities and how they too can go about affecting their world in new ways. I turn to this article specifically for the methodology that Zagacki and Gallagher construct in order to discuss in a more concrete fashion the rhetorical complexity of these spaces and their potential affect on visitors: we argue, through two material enactments of the human/nature interface that we characterize as ‘‘inside/outside’’ and ‘‘regenerative/transformative.’’ By ‘‘inside/outside,’’ we refer to the experience of moving (1) between constructed spaces, such as a museum space or an urban landscape, to less constructed, more organic spaces such as the outdoor park or the rural landscape; and (2) between what we refer to as natural history and human history. By ‘‘regenerative/transformative,’’ we mean moving (1) from natural states to human-constructed states and back again to nature, and (2) from one state of understanding to another. The capacity to create spaces of attention that call forth particular experiences reveals the potential rhetorical impact and reach of the Museum Park’s material forms. (173) The framework established here is specifically most affective when discussing these specific spaces—not every material space will have an inside/outside which would lend itself to phenomenological observation. However, for the purposes of this project, I find it important to reflect on how the "static/dynamic" enactments produced by the space harboring Banksy's work functions as a method to produce the "concrete/utopia" enactment by détourning expectations of space via messages whose kairotic nature—its location in time and place—and content create a specific psychogeography which can revolutionize our expectations and engagement with the world.

My dissertation analyzes the work of the artist group 3Nós3 (the name is a pun in Portuguese meaning "three knots/ we three"), who performed artistic actions in public space that they referred to as "urban interventions" on the streets of São Paulo from 1979 to 1982. These ranged from placing garbage bags over the heads of monumental sculptures to taping Xs across the doorways of art galleries along with signs reading "What is inside remains the same; what is outside expands." Within the context of the military regime that had ruled Brazil since 1964, the urban interventions targeted symbols of authority ranging from public sculpture to the art world establishment. My research focuses on one of the most noteworthy traits of the group's activities: their almost complete absence from the history of Brazilian art. In spite of the recent popularity on the international artistic circuit of contemporary Brazilian art with a performative edge (the artists Hélio Oiticica and Lygia Clark being the best examples of this type of work) the work of 3Nós3 has remained obscure, even within Brazil. The explanations for this lack of attention to 3Nós3 include the transitional political nature of the abertura period during which the interventions took place, the artists' own denial of traditional artistic circuits and involvement in youth subcultures, the ephemeral nature of the interventions themselves, and a lack of understanding of the reasons why the artists chose to work in public space, particularly in regard to the interventions' relationship with their audience. The goal of my dissertation is to argue for the inclusion of the interventions into the history of art without relying on arguments related to their quality, i.e. whether or not they constitute "good art." Rather, it is only through a detailed consideration of the specific cultural and political contexts in which the works occurred that they start to make sense. I conclude by examining the present-day conditions that could make the inclusion of 3Nós3 into larger international artistic movements such as street art and "the interventionists" (including Eduardo Srur and the Grupo Contra Filé, among others) possible. / text