Esta dissertação aborda o desenvolvimento do projeto Arte/Cidade na cidade de São Paulo entre os anos de 1994 e 2002, a partir de um questionamento sobre as relações entre cidade, política e estética e sobre os potenciais e problemas atuais que a arte urbana teria para se configurar como instância crítica. Arte/Cidade foi e é uma iniciativa cultural de grandes eventos de intervenção artística em espaços urbanos, que realizou quatro exposições em São Paulo, e exibiu várias mudanças em seu desenrolar: surgido em uma instituição pública como empreendimento artístico, passou a ser organizado por uma associação não-governamental e a se envolver também em debates urbanísticos, arquitetônicos e políticos sobre a metrópole contemporânea. Por outro lado, o projeto também ocorreu em meio a um momento de crescente vinculação entre empreendimentos culturais e marketing urbano, no bojo de uma progressiva espetacularização, privatização e mercadorização da cidade e da cultura. Propõe-se aqui identificar e analisar as principais mudanças nos discursos, estratégias e práticas de Arte/Cidade, com o objetivo de refletir sobre sua inserção nesse panorama e sobre as implicações e potenciais políticos de um mega-evento artístico em espaço urbano na São Paulo da década de noventa. / This dissertation discourses about the development of Arte/Cidade project in the city of São Paulo between 1994 and 2002, based on concerns about the relations between city, politics and aesthetics and about the present potentials and problems that urban art would have to configure itself as critical instance. Arte/Cidade was and is a cultural initiative of great events comprehending artistic interventions in urban spaces, which accomplished four expositions in São Paulo and showed many changes in its development: initiated in a public institution as an artistic enterprise, it was later organized by of a non-governmental association and also involved itself in urbanistic, architectonical and political debates about the contemporary metropolis. On the other hand, the project happened in a moment of increasing binding between cultural enterprises and urban marketing, in a context of progressive spectacularization, privatization and merchandising of the city and of the culture. This work intends to identify and to analyze the main changes in Arte/Cidade speeches, strategies and practices, with the objective of reflecting on its insertion in that scope and on the political implications and potentials of an artistic mega-event in the urban space of São Paulo in the ninety’s.

Este trabalho de pesquisa disserta sobre os aspectos constitutivos da prática e do discurso das formas da ação artística contemporânea no espaço aberto e urbano brasileiro. A partir das décadas mais recentes, posteriores aos anos 1960, são analisados projetos, textos, trabalhos artísticos, bem como contextos urbanos e culturais importantes para a verificação das relações travadas pelos agentes do circuito artístico na atualidade. Busca-se, dessa maneira, aprofundar as discussões pertinentes à espacialização do objeto artístico contemporâneo tais como: os elementos constitutivos de sua pertença ao meio urbano; o novo sentido público admitido para esse trabalho na atualidade, além da mobilidade dos papéis exercidos por seus proponentes que, por meio desse conjunto, colaboram para a configuração dessa vertente estética e artística. Das experimentações ambientais de Hélio Oiticica, Artur Barrio, dentre outros, aos múltiplos formatos de intervenção pública e urbana, propiciados pelo encontro com a megalópole, tal qual nos apresentam José Resende, Mônica Nador e Ricardo Basbaum; cada capítulo procura analisar as estratégias que levam a Arte a um estado possível de ser compreendido como Extramuros. / This research argues about the constituent aspects of the praxis and discursive forms in contemporary artistic action enrolled in opened and urban Brazilian space. Considering recent decades, post to 1960, projects, texts, works of art has been analyzed, as well as cultural and urban important contexts to reach the verification of the relationship among the actual circuit agents. The intention is to refine the aptness of the contemporary art object to the space studying these points: its specific urban elements; the new public senses due to this kind of work in our time and the mobility of its characters roles that, in this set, collaborate to the construction of these aesthetic and artistic boundaries. Beginning with ambient experiences by Hélio Oiticia, Artur Barrio, beside others, to get to multiple forms of public and urban art, caused by their encounter with the megalopolis, as presented by José Resende, Mônica Nador, Ricardo Basbaum, each chapter analyses the strategies that take Art to an Extramuros state.

Orientador: Lucia Helena Reily / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:48:58Z (GMT). No. of bitstreams: 1 Lorenzino_ArianadeAbreu_M.pdf: 9170082 bytes, checksum: a78f54026e94f2ab346d7b6e17a946e6 (MD5) Previous issue date: 2009 / Resumo: O Profeta Gentileza é conhecido na cidade do Rio de Janeiro por ter executado um trabalho de intervenção visual plástico de grande dimensão no espaço urbano. Profetizando entre os carros, nas avenidas e na barca que liga o Rio a Niterói, tornou-se uma lenda urbana a partir da década de sessenta até os dias atuais. O trabalho realizado por Gentileza nas pilastras, paredes e viadutos da cidade foi taxado de "pichação" pela companhia de limpeza e Prefeitura do Rio de Janeiro, a COMLURB, e seu trabalho, como "pregação" religiosa de um cidadão tido como louco e desvinculado do universo artístico. Esta atitude gerou um movimento público que exigiu o restauro depois que os escritos foram apagados. Um dos objetivos centrais deste projeto foi entender a dinâmica dos movimentos pelo reconhecimento do valor cultural de Gentileza, um artista das bordas, assim como os argumentos utilizados para determinar o que é ou não é arte quando a produção plástica acontece fora dos circuitos consagrados do meio. Foi realizada uma pesquisa de campo para conhecer o arquivo de Gentileza guardado pela família, bem como para coletar imagens dos esboços de Gentileza, fotografar as grafias nas pilastras e realizar levantamento de produtos que se apropriam da fonte gráfica de Gentileza e de seu discurso como slogan turístico e de marketing. A pesquisa permitiu desvendar os processos de constituição da poética de Gentileza no percurso de suas andanças a partir da análise plástica realizada sobre a obra e linguagem artística enquanto manifestação/intervenção visual no cenário urbano. / Abstract: The Prophet Gentileza is known in the city of Rio de Janeiro, Brazil, for having produced visual arts interventions of huge dimensions on the cityscape. He walked among automobiles along the city's avenues and on the ferry that crosses from Rio to Niterói, prophesizing, and so he became an urban legend from the nineteensixties to the present day. The work that Gentileza produced on viaduct pillars, walls and crossings of Rio de Janeiro was considered to be dirty scrawlings by the Rio de Janeiro urban cleaning company (Comlurb), and he was considered insane because of his religious ramblings, living outside mainstream society. When his writings were covered over with whitewash by the city cleaners, a civic movement was set in motion, demanding that his messages be restored. One of the main objectives of this project was to understand the dynamics of the movement for recognizing the cultural value of Gentileza as an outsider artist, as well as the arguments used to determine what is or is not art, when visual production occurs outside consecrated art circuits. Field research was conducted so as to study the archives Gentileza's family kept, and also to collect images of his sketches and jottings, photograph the graphic work on the viaduct pillars as well as to research products that have been designed based on the appropriation of Gentileza's unique graphic font, as well as of his discourse used as marketing and turned into slogans with tourism intent. Through visual analysis of his works and artistic language, we were able to uncover the constitution of his processes of visual manifestation/intervention on the carioca cityscape engendered in the course of his wanderings. / Mestrado / Artes / Mestre em Artes

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.

El Arte Urbano es una manifestación artística que tiene como escenario las calles, sin embargo, los artistas urbanos necesitan de un espacio que les provea de facilidades, formación y recursos para desarrollar su arte a un nuevo nivel, generar nuevas tendencias y vías de difusión. Mediante el presente proyecto de tesis se busca diseñar un Centro de Producción de Arte Urbano donde se dote de recursos e infraestructura necesaria para ser el soporte para la investigación, experimentación y creación de este arte. La propuesta nace a partir de un estudio que incluye la presentación de la problemática, los objetivos a cumplir, la definición de la tipología a desarrollar mediante el análisis de proyectos referenciales, la forma de implantar el proyecto en un entorno histórico como lo es el Centro de Lima, la propuesta del programa arquitectónico y criterios a considerar para el diseño / Urban Art is an artistic manifestation that takes place on the streets, however urban artists need a space that provides them facilities, training and resources to improve their art to a new level, generate new trends and ways of diffusion. The objective of this thesis project is to create an Urban Art Production Center where resources and infrastructure would be given to the artists in order to be the support for research, experimentation and creation of this art. The proposal was born from a study that includes the presentation of the problem, the objectives to accomplish, the definition of the architectural typology through the analysis of referential projects, the way of implementing the project in a historical environment such as the Center of Lima and also the proposal of the architectural program and design criteria to consider. / Tesis

La presente investigación titulada “Centro Cultural de reintegración juvenil en el distrito de Chorrillos” establece dentro de su objetivo principal, determinar cómo influiría incorporar un equipamiento público considerando que el distrito tuvo un carácter histórico, y en la actualidad carece de espacios recreativos y culturales, además se buscan estrategias que ayuden entender como este equipamiento devolverá la identidad a través de la cultura y el arte. El método de estudio usado en la presente investigación es de carácter mixto; es decir es cualitativa y cuantitativa, además posee un diseño de tipo no experimental; el tema que se desarrolló fue de manera descriptiva por lo que la recopilación de datos fue de tipo documental y según la finalidad es aplicada ya que, mejora la calidad de vida de los usuarios a través de actividades recreativas y culturales. Durante el desarrollo de la investigación ya mencionada se llegó a la conclusión final siguiente: El distrito de Chorrillos presenta múltiples problemas sociales que afecta a los habitantes, frente a ello el Centro Cultural Comunitario se dirige a la población menos favorecida de tal manera que se genera un aporte a su crecimiento mediante la cultura, y una recreación educativa, además se incorpora el arte urbano como concepto del proyecto para que este sea más humano y sirva de elemento identitario de la zona a trabajar. / The present investigation entitled “Cultural Center for youth reintegration in the district of Chorrillos” establishes, within its main objective, to determine how to influence the incorporation of a specific public facility that the district had a historical character, and currently lacks recreational and cultural spaces, in addition to look for strategies that help understand how this equipment will return identity through culture and art. The study method used in the present investigation is of a mixed nature; that is, it is qualitative and quantitative, and it also has a non-experimental type design; The theme that was needed was descriptively, so the data collection was documentary and, according to the determination, it is applied since it improves the quality of life of users through recreational and cultural activities. During the development of the aforementioned research, the following final conclusion was reached: The district of Chorrillos presents multiple social problems that affect the inhabitants. In front of it, the Community Cultural Center addresses the least favored population in such a way that it generates a contribution to its growth through culture, and an educational recreation, urban art is also incorporated as a concept of the project for this more humane sea and serves as an identity element of the area to work. / Trabajo de investigación

In recent times, the popularity and acceptance of urban art has gradually increased among residents of the community. Graffiti festivals are being arranged and large murals are beginning to be seen more and more in our cities. Graffiti has for many years been seen as a major societal problem and it has often been associated with crime. Today, graffiti is not associated to the same extent with crime among residents and it is easier to include graffiti as an art form in the public space. Graffiti can also be described as an effort to show up and express oneself in the city. Even though graffiti is more accepted today, there is still a policy in Stockholm, regarding painting and graffiti without a permit should be cleaned up within 24 hours, a so-called "zero tolerance for graffiti". Graffiti is usually illegal, although there are places where it is allowed to paint. It can be in the form of places or on so-called open or legal walls. One of the most popular places to practice graffiti in Sweden is Snösätragränd in Stockholm, which from being an old industrial area has developed into a graffiti area. In August 2020, the municipality of Stockholm began demolition of parts of the graffiti area, which has brought to the discussions about urban art as a de-prioritized art form in urban planning. There is thus a growing demand for the art form in society, but also signs of fear that it may lead to for example crime and littering. The purpose of this study is to create a deeper understanding of urban art and how urban art can be included in urban planning. It is thus important first to examine how public art is included and then understand what conditions the actors of urban art have for expressing their art in the public space. The knowledge about art in public spaces and about urban art is based on literature and research. Furthermore, the graffiti area Snösätragränd, which is currently facing demolition, has been chosen as a case study area to create a deeper understanding of the subject. The case study together with site visits, interviews and e-mail communications further contributes with a current and in-depth picture of the studied phenomenon in its context. The study concludes that there is both a need and a desire to view and express urban art in our cities. Furthermore, the study shows that the financial means for public art that exist today are insufficient to enable practitioners of urban art to perform and display their art in the public space. On the one hand, municipalities want to limit urban art with the motivation to avoid crime, on the other hand, there are also efforts to make room for artists to promote this art form. Finally, it is clear that there are different views on urban art and whether it should be included in the public space or not. The study is therefore important for understanding graffiti as an art form or a breeding ground for criminal activity. / Under senare tid har populariteten samt acceptansen för urban konst successivt ökat hos invånare i samhället. Det arrangeras bland annat olika graffitifestivaler och stora muralmålningar börjar synas mer och mer i våra städer. Graffiti har under många år setts som ett stort samhällsproblem och den har ofta associerats med kriminalitet. Idag associeras graffitti inte i lika stor utsträckning med kriminalitet bland invånarna och det är enklare att inkludera graffitti som en konstform i det offentliga rummet. Graffiti kan också beskrivas som en strävan att visa sig och yttra sig i staden. Även om graffiti idag är mer accepterat finns det fortfarande policy bland annat i Stockholm, gällande att målande och klottrande utan tillstånd ska saneras inom 24h, en så kallad ”nolltolerans för klottring”. Graffiti är oftast olagligt fast det finns ställen som det är tillåtet att måla på. Det kan vara i form av platser eller på så kallade öppna eller lagliga väggar. Ett av de mest populära ställen för att utöva graffiti i Sverige är Snösätragränd i Stockholm som från att vara ett gammalt industriområde utvecklats till ett graffitiområde. Augusti år 2020 påbörjade Stockholm stad rivningen i delarna av graffitiområdet, vilket har aktualiserat diskussionerna kring urban konst som en bortprioriterad konstform i stadsplaneringen. Det finns alltså en växande efterfrågan på konstformen inom samhället men också tecken på rädsla att det kan leda till bland annat brottslighet och nedskräpning. Syftet med denna studie är att skapa djupare förståelse för urban konst och hur urban konst kan inkluderas i stadsplaneringen. Det är således viktigt att undersöka hur offentlig konst inkluderas för att sedan förstå vilka förutsättningar den urbana konstens aktörer har för att uttrycka sin konst i det offentliga rummet. Med bakgrund av litteratur och forskning lyfts kunskap fram kring konst i offentliga rum och urban konst. Vidare har graffitiområdet Snösätragränd som idag står inför rivning, valts som fallstudieområde för att skapa djupare förståelse för ämnet. Fallstudien tillsammans med platsbesök, intervjuer och mejlkommunikation bidrar vidare med en aktuell och fördjupande bild av det studerade fenomenet i sitt sammanhang. Studiens slutsats är att det finns såväl ett behov som en önskan att beskåda och uttrycka urban konst i våra städer. Vidare visar studien på att de ekonomiska medlen för offentlig konst som finns idag är otillräckliga för att möjliggöra för utövare att uppföra och visa sin konst i det offentliga rummet. Å ena sidan vill kommuner begränsa urban konst med motivationen att undvika brottslighet, å andra sidan finns också insatser för att ge plats till konstnärer för att främja denna konstform. Det är slutligen tydligt att det finns olika åsikter om urban konst och om det bör inkluderas i det offentliga rummet. Studien är således viktig för att förstå graffiti som en konstform eller en grogrund för brottslig verksamhet.

Under senare tid har populariteten samt acceptansen för urban konst successivt ökat hos invånare i samhället. Det arrangeras bland annat olika graffitifestivaler och stora muralmålningar börjar synas mer och mer i våra städer. Graffiti har under många år setts som ett stort samhällsproblem och den har ofta associerats med kriminalitet. Idag associeras graffitti inte i lika stor utsträckning med kriminalitet bland invånarna och det är enklare att inkludera graffitti som en konstform i det offentliga rummet. Graffiti kan också beskrivas som en strävan att visa sig och yttra sig i staden. Även om graffiti idag är mer accepterat finns det fortfarande policy bland annat i Stockholm, gällande att målande och klottrande utan tillstånd ska saneras inom 24h, en så kallad ”nolltolerans för klottring”. Graffiti är oftast olagligt fast det finns ställen som det är tillåtet att måla på. Det kan vara i form av platser eller på så kallade öppna eller lagliga väggar. Ett av de mest populära ställen för att utöva graffiti i Sverige är Snösätragränd i Stockholm som från att vara ett gammalt industriområde utvecklats till ett graffitiområde. Augusti år 2020 påbörjade Stockholm stad rivningen i delarna av graffitiområdet, vilket har aktualiserat diskussionerna kring urban konst som en bortprioriterad konstform i stadsplaneringen. Det finns alltså en växande efterfrågan på konstformen inom samhället men också tecken på rädsla att det kan leda till bland annat brottslighet och nedskräpning. Syftet med denna studie är att skapa djupare förståelse för urban konst och hur urban konst kan inkluderas i stadsplaneringen. Det är således viktigt att undersöka hur offentlig konst inkluderas för att sedan förstå vilka förutsättningar den urbana konstens aktörer har för att uttrycka sin konst i det offentliga rummet. Med bakgrund av litteratur och forskning lyfts kunskap fram kring konst i offentliga rum och urban konst. Vidare har graffitiområdet Snösätragränd som idag står inför rivning, valts som fallstudieområde för att skapa djupare förståelse för ämnet. Fallstudien tillsammans med platsbesök, intervjuer och mejlkommunikation bidrar vidare med en aktuell och fördjupande bild av det studerade fenomenet i sitt sammanhang. Studiens slutsats är att det finns såväl ett behov som en önskan att beskåda och uttrycka urban konst i våra städer. Vidare visar studien på att de ekonomiska medlen för offentlig konst som finns idag är otillräckliga för att möjliggöra för utövare att uppföra och visa sin konst i det offentliga rummet. Å ena sidan vill kommuner begränsa urban konst med motivationen att undvika brottslighet, å andra sidan finns också insatser för att ge plats till konstnärer för att främja denna konstform. Det är slutligen tydligt att det finns olika åsikter om urban konst och om det bör inkluderas i det offentliga rummet. Studien är således viktig för att förstå graffiti som en konstform eller en grogrund för brottslig verksamhet. / In recent times, the popularity and acceptance of urban art has gradually increased among residents of the community. Graffiti festivals are being arranged and large murals are beginning to be seen more and more in our cities. Graffiti has for many years been seen as a major societal problem and it has often been associated with crime. Today, graffiti is not associated to the same extent with crime among residents and it is easier to include graffiti as an art form in the public space. Graffiti can also be described as an effort to show up and express oneself in the city. Even though graffiti is more accepted today, there is still a policy in Stockholm, regarding painting and graffiti without a permit should be cleaned up within 24 hours, a so-called "zero tolerance for graffiti". Graffiti is usually illegal, although there are places where it is allowed to paint. It can be in the form of places or on so-called open or legal walls. One of the most popular places to practice graffiti in Sweden is Snösätragränd in Stockholm, which from being an old industrial area has developed into a graffiti area. In August 2020, the municipality of Stockholm began demolition of parts of the graffiti area, which has brought to the discussions about urban art as a de-prioritized art form in urban planning. There is thus a growing demand for the art form in society, but also signs of fear that it may lead to for example crime and littering. The purpose of this study is to create a deeper understanding of urban art and how urban art can be included in urban planning. It is thus important first to examine how public art is included and then understand what conditions the actors of urban art have for expressing their art in the public space. The knowledge about art in public spaces and about urban art is based on literature and research. Furthermore, the graffiti area Snösätragränd, which is currently facing demolition, has been chosen as a case study area to create a deeper understanding of the subject. The case study together with site visits, interviews and e-mail communications further contributes with a current and in-depth picture of the studied phenomenon in its context. The study concludes that there is both a need and a desire to view and express urban art in our cities. Furthermore, the study shows that the financial means for public art that exist today are insufficient to enable practitioners of urban art to perform and display their art in the public space. On the one hand, municipalities want to limit urban art with the motivation to avoid crime, on the other hand, there are also efforts to make room for artists to promote this art form. Finally, it is clear that there are different views on urban art and whether it should be included in the public space or not. The study is therefore important for understanding graffiti as an art form or a breeding ground for criminal activity.

Firstly, this research is a collaboration with Granny’s Dancing on the Table, a transmedia film project in which the public has the chance to affect a film script through different social media channels. Before the actual film release there will be different game-episodes released in connection to the film. I have mainly been in contact with the game company Ozma, a part of the ‘Granny team’ working on cross-media games for the project. This thesis is a side-project with the aim of exploring a more “hidden universe”, which can later be applied to the design process.Secondly, the research provides a broad picture of the dilemmas faced when applying cryptic design strategies in an urban environment. I explore a few design qualities, how they can enhance user experience and make the user curious about hidden artefacts found on the street or in a public environment. I approached the problem by placing experiments linked to one of Granny’s Dancing on the Tables’ social media channels, in the streets and institutions of the Möllan neighbourhood in Malmö, Sweden. I collected information from both field studies and the interaction design world, regarding the application of design qualities to an artefact. Moreover, I based the research on street art, human behaviour, the psychology of curiosity and visual perception within the field of (transmedia) experience design. Based on my findings from these experiments and interviews I have come up with a set of guidelines to use when applying “hiddenness” to an artefact or design concept.

Le graffiti est depuis longtemps associé au vandalisme dans les métropoles où il prolifère. Il s’intègre au paysage urbain à un point tel que, même s’il procède d’une logique de visibilité et de promotion, nous parvenons à ne plus le remarquer. Pourtant, sa présence suscite toujours la colère des citoyens propriétaires de murs vandalisés et des autorités municipales qui, chaque année, dépensent de grosses sommes d’argent pour l’effacer. Malgré les restrictions et les amendes, le graffiti est néanmoins devenu un véritable phénomène d’art urbain : des artistes graffiteurs ont atteint la notoriété en dehors de leur sous-culture et ont pu exposer légalement leur travail, du fait d’un intérêt croissant du milieu officiel de l’art. Celui-ci contribue à faire grandir l’engouement et l’enthousiasme pour une pratique d’art urbaine. Le graffiti illustre l’expression d’une identité qui s’approprie et subvertit les surfaces urbaines de la ville, au moyen d’un nom propre fictif qui n’a aucune légitimation juridique et légale. De plus, l’application et la diffusion de la signature graffitique communiquent des valeurs qui guident et définissent toute la sous-culture du graffiti. Ces valeurs sont culturellement considérées comme masculines : le risque, le défi et la dissidence. La figure de l’artiste graffiteur apparaît ainsi comme une figure marginale et rebelle. Un tel portrait laisse alors entrevoir une culture fortement machiste, d’autant plus que les garçons qui exercent le graffiti sont beaucoup plus nombreux. Or, si les femmes artistes de la communauté graffitique représentent une minorité, c’est notamment parce que leur attrait pour une pratique illicite, nocturne et dangereuse est moindre. À partir d’une approche qui touche aux gender studies et à certains concepts traditionnels de l’histoire de l’art, nous cherchons à expliquer l’intérêt généralement plus faible des femmes pour le graffiti. Nous désirons également démontrer comment l’exercice des artistes féminines du graffiti se distingue de celui de leurs homologues masculins. De quelle manière se détermine leur expérience? Leur iconographie sert-elle à les définir? Quelles sont leurs opinions et leurs perceptions sur leur propre culture? Finalement, comment caractérisent-elles leur statut de femme artiste au sein d’une communauté "machiste"? / Graffiti has long been associated with vandalism in the city where it has proliferated. In the same logic of visibility and promotion found in all cities, it has become so integrated into the urban environment that we do not even notice it. Nevertheless, its presence constantly arouses the anger of property owners, citizens, and the municipal authorities who spend large sums of money every year in removal costs. In spite of this, graffiti has become an urban art phenomenon. Graffiti artists have attained fame outside of the subculture and are able to exhibit their work legally, in part, because of an increased interest from the art world. Art institutions and the art market have contributed to the increased craze and enthusiasm for this urban art practice. Graffiti is the expression of an illegitimate identity that appropriates urban surfaces in the city using a fictitious name. Writing and spreading that name as much as possible are core values in the graffiti subculture. Risk taking, challenging authority, and dissidence are values generally understood as being masculine. As well, the archetypal graffiti artist is marginal and rebellious. Understood in this manner, it can be seen that this highly populated subculture is powerfully chauvinistic. Female artists in the graffiti community are a minority, in particular because the appeal for an illicit, dangerous, night time practice is less popular. Using an approach grounded in art history and gender studies, this paper will explore why there is a generally low level of interest for women to practice graffiti. It will also be demonstrated that in practice female graffiti artists distinguish themselves from their male counterparts. How do they qualify their experiences? What kind of iconography do they choose to define themselves? What are their opinions of, and how do they perceive, their own subculture? Finally, how they do characterize their artistic feminine status within a male chauvinist community?