The development of graffiti into an accepted art form, street art, is a cause of concern for South African property owners. The current position in South African property law regarding the original acquisition of ownership suggests that the creation of street art on movable property belonging to another could result in the transfer of ownership. Ownership of the movable may transfer via accessio to the street artist provided that the artwork changes the nature of the movable. This would occur even if the street artist does not act in good faith because bona fides is not a requirement for the original acquisition of ownership via accessio. This anomaly requires that the South African law on accession in the case of pictura be developed such that good faith be a requirement for the transfer of ownership in this format. With the development and growing popularity of the art form the likelihood of this legal anomaly is becoming a greater possibility. Indeed, the popularity of British street artist, Banksy, has provided numerous examples of contested ownership, albeit within English law. Banksy artworks are collectable and financially valuable. Consequently, not only are they desirable but many of his street artworks are considered to be examples of British cultural heritage and as such may be worthy of protection and preservation. These cases highlight the growing need in South Africa to clearly identify who South African street artworks belong to and, to identify any South African street art that warrants cultural heritage protection. The legislation regarding the protection of South African cultural heritage resources has not yet been extended to any street artworks. Yet there are examples of street art in South Africa that meet the requirements for cultural heritage status or which have the characteristics of cultural heritage resources. The extension of cultural heritage resource status to South African street artworks that are culturally significant could assist in the protection and preservation of these resources. However, the effectiveness of the cultural heritage legislation, in particular the National Heritage Resources Act 25 of 1999, is limited. There are several problematic aspects in this Act. This is of great concern as the issues effect all South Africa’s cultural heritage resources (not just street art which may qualify for such status). However, these issues could be responded to through amendments to the legislation. Significantly, the National Heritage Resources Act seeks to deprive private owners of their property as it seeks to regulate what owners can do with cultural heritage property which they own. However, as it stands there are far too many challengeable issues in this legislation to justifiably deprive this property in terms of s25 of the Constitution of the Republic of South Africa, 1996. This renders significant portions of the National Heritage Resources Act inoperable. Consequently, the amendment of this legislation is necessary to ensure the purpose of the legislation i.e. to ensure the protection and preservation of the South Africa’s cultural heritage resources through the deprivation of property rights or indeed, if necessary, through the expropriation of property. / College of Law / LL. D.

Denna undersökning kretsar kring att lyfta offentlig konst och medborgarinflytande. Teorier och tidigare forskning som lagts fram har skapat förståelse för hur konst är ett betydelsefullt verktyg i stadsmiljön, som kan användas för att förbättra människors upplevelse av en plats. Därför är det viktigt att man inkluderar individer i framtagandet av de konstnärliga verken. Denna inkludering har undersökts i uppsatsen genom fallstudier på tre specifika konstprojekt. Två av dessa projekt valdes för att en av författarna hade deltagit i dem och kunde återberätta sin upplevelse. Dessa projekt är Street Art och Närlunda Tunneln, som utfördes av Helsingborgs stad. Det tredje projektet var den statliga satsningen Konst händer av Statens konstråd. I de kommunala projekten hittades ingen dokumentation som utförligt beskrev process och resultat. Därav utfördes intervjuer med deltagare i respektive projekt. Gällande Konst händer däremot, hittades nyanserad dokumentation som redovisade projektets process och resultat. Resultatet av studien visade att alla tre projekt inkluderat civilsamhället på olika sätt. Individerna fick vara en del av gestaltningen i både Street Art och Närlunda Tunneln. Genom intervjuerna gick det även att konstatera hur de kommunala projekten fortfarande inspirerar deltagarna än idag. Däremot är det Konst händer som har inkluderat människor i störst utsträckning, genom att låta dem påverka projektet som helhet fram tills att resultaten var nådda. Den övergripande slutsatsen som dras är att de tre projekten lyckats förhålla sig till forskningen kring offentlig konst och deltagande. Förhoppningen med studien och dess resultat är att uppmuntra till ökad medborgarinflytande i framtidens konstprojekt. / This thesis serves to elevate public art and civic influence. Theories and previous research has created an understanding of how art is a meaningful tool in the urban environment, which can be used to improve people’s experience of a place. Therefore, it is important to include people in the production of these artistic works. This inclusion has been investigated in the thesis through case studies on three specific art projects. Two of these projects were chosen as one of the authors had participated in them and was able to recount her experience. These projects are Street Art and Närlunda Tunneln, which were carried out by the municipality of Helsingborg. The third project was the state initiative Konst händer by the public art agency of Sweden. In the municipal projects, no documentation was found that described the process and results in detail. For this reason, interviews were done with participants in the respective projects. On the other hand, nuanced documentation was found that reported the process and results of Konst händer. The results of the study prove that all three projects included civil society in different ways. Individuals were a part of the design of both Street Art and Närlunda Tunneln. Through the interviews, it was further possible to ascertain how the municipal projects still inspire the participants to this today. Although, it is Konst händer that has included civic engagement to the greatest extent, by letting the people influence the project as a whole until the results were reached. The overall conclusion that is drawn is that the three projects succeeded following the research regarding public art and participation. The ambition of this study and its results is to encourage greater citizen influence in future art projects.

Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality. / African Languages / D. Litt. et Phil. (African Languages)

Main focus of this work is to compare and map the evolution of primal sources of inspiration in Czech art in the years 1980-2015. It brings the overview of the authors, who adopted the elements of visual reality, and describes the ways how they used it in their works. Highlighted are the authors whose works are influenced by some of the following topics: commerce and kitch, pornography, comic books, graffiti and street art, folklore, culture of natural nation and childs drawings. Reasons and motivation of the authors for using these extraordinary ways of expression are also clarified. The main part of the work is completed by a context of the exhibitions which took place in the defined time period and follow the topic. It is possible to imagine the evolution and the meaning of primal sources of inspiration in the context of post modern art, according to the basis of the discovered findings.

Various researches across the world have established that graffiti writing is a universal social practice. The actual occurrence or manifestation of graffiti is however far from being universal cross-culturally. It varies based on a wide array of social variables. This research therefore set out to interrogate the occurrence of graffiti writing as a unique social practice in Zimbabwean urban areas. Three Zimbabwean urban areas (Harare, Chitungwiza and Gweru) were specifically sampled for the collection of graffiti inscriptions on various surfaces which included toilet walls, durawalls as well as road signs. Graffiti data collected from the various surfaces was complemented by reader feedback contributions from The Herald and Newsday. Focus group discussions provided a third tier of data aimed at establishing participants’ multiple reactions towards the practice of graffiti. Analysis of data was done based on three significant sections of participants’ attitudes towards graffiti, urban street protest graffiti as well as educational graffiti collected from various toilet surfaces in urban areas. Participants’ attitudes towards graffiti revealed varied reactions towards the practice of graffiti. The reactions were partly influenced by the participants’ ages as well as levels of education and maturity. Age and maturity proved to be predictors of the extent to which participants were willing to be pragmatic in so far as the appreciation of graffiti writing is concerned. Older and more experienced and mature participants were thus willing to look past the ‘deviant’ nature of graffiti writing to consider the various pressures that force writers to take to the wall. Urban street protest graffiti is a term coined in this research to capture the unique type of graffiti that is written on various surfaces along streets in urban areas. This highly textual graffiti is drastically different from the post-graffiti commonly found in Western urban cities and is aptly referred to as street art. Urban street protest mainly manifested itself in Zimbabwean urban areas in two main themes of protest inscriptions directed towards the operations of Zimbabwe’s electrical energy supplier (commonly referred to by its former name of the Zimbabwe Electricity Supply Authority - ZESA) as well as through political inscriptions. Political inscriptions expose a high degree of nuances that have not been hitherto discussed in literature on political graffiti inscriptions. The research analysed how graffiti writing can be employed for both pro-hegemonic and anti-hegemonic purposes. Inscriptions in high schools and tertiary institutions highlighted a differential construction of discourse on a gendered basis. Inscriptions in female toilets indicated a tendency of graffiti writers to perpetuate dominant educational, health, traditional and religious discourses which assert male dominance. The inscriptions show a major preoccupation with restricting or policing of female sexuality by fellow students mainly through the discursive usages of social corrective Shona labels such as hure (prostitute) and gaba ([big] tin). These are labels that are virtually absent in graffiti inscriptions in male toilets which is suggestive of a situation whereby female inscriptions are conservative. A consequence of such conservatism in inscriptions in female toilets is that no new sexualities are reconstructed and negotiated through discourses in discursive spaces provided by the inherently private nature of toilets in general. Thus, cultural and religious normative expectations are regarded as still weighing heavily on female high school writers in the construction and negotiation of sexuality and gendered behaviours, attitudes, norms and values through discourses constructed through graffiti. In contrast, male inscriptions highlight a major subversion of dominant discourses on abstinence and responsible sexual behaviours and attitudes. Corrective social labels such as ngochani (gay person) are mainly employed to pressure males into indulging and engaging in heterosexual behaviours. Discourses constructed through graffiti inscriptions in male toilets also demonstrate how sexuality is constructed through debate on the appropriateness of marginalised sexualities such as masturbation and homosexuality. / African Languages / D. Litt. et Phil. (African Languages)

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-12T10:56:43Z No. of bitstreams: 1 Renata Sant_Anna Lamberti.pdf: 3504466 bytes, checksum: fcd6b074f75a4e873a008f02decf05dc (MD5) / Made available in DSpace on 2018-11-12T10:56:43Z (GMT). No. of bitstreams: 1 Renata Sant_Anna Lamberti.pdf: 3504466 bytes, checksum: fcd6b074f75a4e873a008f02decf05dc (MD5) Previous issue date: 2018-09-18 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Some scholars of the artificial environment, i.e. of the habitable urban space which after being affected by human activity corresponds to the concept of city, consider the graffiti one of the main sources of visual pollution in this type of environment. This perspective has been shared by scholars from various areas of knowledge and also by ordinary citizens. In rejection of such homogeneous perspective related to some urban interventions, mainly to the practice of graffiti tag, murals and other forms of street art in São Paulo, this dissertation aims to understand the way by which, through discourse, the taggers recognizes himself as subject, identifies himself, and translates his Other. Thus, it contributes to the practice of graffiti tag to be considered in a perspective different from others phenomena originated in urban environment. For that purpose, the object of analysis was the documentary PIXO (2009), produced by the brothers JoãoWainer and Roberto T. Oliveira. The theoretical framework used was in the enunciative and discursive perspective, as suggested by Dominique Maingueneau in his classical work Genesis of Discourses (2008a) in which the author proposes principles on the functioning of discourses. The first of them, the primacy of interdiscourse over discourse, implies a view of interdiscourse as anterior and constitutive of discourse. To this principle it is articulated that of global semantic according to which all dimensions of discursive textuality are integrated. These two principles support the author's proposal; all the others, including the intersemiotic practice, focused on non-verbal discursive production (from plastic arts, pictorial, musical etc.), are based on these foundations. Finally, as the theoretical-methodological framework on the reference corpus of this study are mobilized and some discourses that permeate graffiti tag practice are recognized, the final analysis points out something often discussed by the taggers themselves: the practice of graffiti tag has a direct relationship with the visibility claimed by a community that lies on the margins of a social organization regulated by representations built and supported in and by the city of São Paulo / Estudiosos do meio ambiente artificial, isto é, do espaço urbano habitável que afetado pela atividade humana corresponde ao conceito de cidade, consideram a pichação – com ch – uma das principais fontes de poluição visual desse tipo de ambiente. Esta visão tem sido compartilhada por estudiosos de diversas áreas do conhecimento e também por cidadãos comuns. Refutando tal visão homogênea, construída em torno de algumas intervenções urbanas, principalmente da prática da pichação, da pixação e do grafite na cidade de São Paulo, esta dissertação tem como objetivo depreender a maneira pela qual, por meio do discurso, o pixador se reconhece como sujeito, se identifica, traduz seu Outro e, com isso, contribui para que a prática da pixação seja pensada de modo diferente de outros fenômenos originados no meio urbano. Para tanto, tomou-se como objeto de análise o documentário PIXO (2009), produzido pelos irmãos João Wainer e Roberto T. Oliveira e, do ponto de vista teórico, recorreu-se à perspectiva enunciativo-discursiva, assim como feito por Dominique Maingueneau em sua obra clássica Gênese dos discursos (2008a), na qual o autor propõe princípios sobre o funcionamento dos discursos. O primeiro deles, o primado do interdiscurso sobre o discurso, implica uma visão do interdiscurso como anterior e constitutivo do discurso. A esse princípio, articula-se o da semântica global, segundo o qual todas as dimensões da textualidade discursiva estão integradas. Esses dois princípios dão sustentação à proposta do autor; os demais, entre os quais se integra a prática intersemiótica, focada na produção discursiva não verbal (das artes plásticas, pictórica, musical etc.), decorrem desses fundamentos. Por fim, mobilizado o arcabouço teórico-metodológico sobre o corpus de referência deste estudo e reconhecidos alguns dos discursos que permeiam a prática urbana da pixação, a análise final aponta para algo frequentemente colocado em discussão pelos próprios pixadores: o ato de pixar mantém relação direta com a visibilidade reivindicada por uma comunidade que se vê à margem de uma organização social regulada por representações construídas e sustentadas na e pela cidade de São Paulo

Esta dissertação apresenta como objeto de estudo a Projeção Mapeada Urbana, um formato expressivoutilizado por artistas audiovisuais que consiste na projeção de imagens, estáticas ou em movimento, sobre as estruturas construídas da cidade. Nosso objetivo geral é o de proporcionar, através da análise das visões poéticas oferecidas por alguns artistas que se valem desta técnica, um olhar crítico sobre a metrópole ocidental contemporânea. Trata-se de uma pesquisa qualitativa, de cunho interpretativo, que parte de uma pesquisa bibliográfica que delimita teoricamente o espaço urbano. O conceitode "fato urbano" desenvolvido pelo arquiteto e teórico italiano Aldo Rossi, em conjunto com a noção de "imagem da cidade" do pesquisador norteamericano Kevin Lynch, a ideia de"espaços de representação" desenvolvida pelo filósofo francês Henri Lefebvre, bem como os entendimentos sobre "cultura" e "representação" explorados por autores dos Estudos Culturais e as classificações dos"suportes"das imagensconcebidaspor Milton Sogabe, constituem nosso referencial teórico para entender a cidade enquanto suporte artístico. Na sequência, apresentamos a Projeção Mapeada Urbana enquanto uma manifestação artística específica e fenômeno cultural, atentando para certos usos dos artefatos de projeção de imagens ao longo da história ocidental. Nos propomos a articular os processos históricos e culturais que possibilitaram a consolidação da Projeção Mapeada Urbana enquanto formato expressivo, após a exposição do entendimento do termo "articulação" enquanto teoria e método. As articulações entre a Projeção Mapeada Urbana e a arte contemporânea, vista segundo as percepções de Arthur Danto e Hans Belting, e alinhadas à investigação dos fenômenos do happening, da arte site-specific, da arte urbana e do VJing, constituem a contextualização do ambiente histórico-cultural em que nosso objeto de estudo se insere. Por fim, passamos a explorar o universo poético presente em algumas obras de Projeção Mapeada Urbana no Brasil, na América Latina e nosEUA, que tomam a cidade como suporte, mapeiam suas condições físicas e simbólicas e as transformam em obras artísticascuja materialização, embora efêmera, demarca contradições, desloca significados e estabelece novos pontos de vista em relação ao território que habitamos. / In this dissertation, we defined Urban Projection Mapping as a study object. This is an expressive form through which audiovisual artists projectover city structures poetic images that represent their views in relation to the environment in which they live. We present the literature that served as our theoretical boundary of urban space, specifically the social space of contemporary Western metropolis. The concepts developed by Italian architect and theorist Aldo Rossi, together with definitions of social space and spaces of representation developed by French philosopher Henri Lefebvre, as well as Cultural Studies author understandings of culture and representation, and considerations about artistic support by Milton Sogabe constitute our theoretical framework to understand the city as an artistic medium. Following, we present the Urban Projection Mapping as a specific art form and cultural phenomenon, noting some uses we observed inthe artistic practice mediated by technological devices. We propose to articulate the historical and cultural processes that have enabled the consolidation of Urban Projection Mapping as an expressive format after exposing our understanding of the term "articulation", seen as both theory and method. The articulations between the Projection Mapping and contemporary art, according to Arthur Danto and Hans Belting perceptions, and aligned to the investigation of contemporary art's phenomena called happening, site-specific art and urban art, as well asthe VJing activity, constitute the historical context of the historic-cultural environment in which our subject belongs. Finally, we explore the poetic universe in some specific works of Urban Projection Mappingin Brazil and overseas, in wich the city is a temporary support that artists map, in terms of physical and symbolic conditions, and transform in their materialized view,making contradictions visible, displacing meanings and establishing new points of view in relation to the territory we inhabit.

Esta dissertação apresenta como objeto de estudo a Projeção Mapeada Urbana, um formato expressivoutilizado por artistas audiovisuais que consiste na projeção de imagens, estáticas ou em movimento, sobre as estruturas construídas da cidade. Nosso objetivo geral é o de proporcionar, através da análise das visões poéticas oferecidas por alguns artistas que se valem desta técnica, um olhar crítico sobre a metrópole ocidental contemporânea. Trata-se de uma pesquisa qualitativa, de cunho interpretativo, que parte de uma pesquisa bibliográfica que delimita teoricamente o espaço urbano. O conceitode "fato urbano" desenvolvido pelo arquiteto e teórico italiano Aldo Rossi, em conjunto com a noção de "imagem da cidade" do pesquisador norteamericano Kevin Lynch, a ideia de"espaços de representação" desenvolvida pelo filósofo francês Henri Lefebvre, bem como os entendimentos sobre "cultura" e "representação" explorados por autores dos Estudos Culturais e as classificações dos"suportes"das imagensconcebidaspor Milton Sogabe, constituem nosso referencial teórico para entender a cidade enquanto suporte artístico. Na sequência, apresentamos a Projeção Mapeada Urbana enquanto uma manifestação artística específica e fenômeno cultural, atentando para certos usos dos artefatos de projeção de imagens ao longo da história ocidental. Nos propomos a articular os processos históricos e culturais que possibilitaram a consolidação da Projeção Mapeada Urbana enquanto formato expressivo, após a exposição do entendimento do termo "articulação" enquanto teoria e método. As articulações entre a Projeção Mapeada Urbana e a arte contemporânea, vista segundo as percepções de Arthur Danto e Hans Belting, e alinhadas à investigação dos fenômenos do happening, da arte site-specific, da arte urbana e do VJing, constituem a contextualização do ambiente histórico-cultural em que nosso objeto de estudo se insere. Por fim, passamos a explorar o universo poético presente em algumas obras de Projeção Mapeada Urbana no Brasil, na América Latina e nosEUA, que tomam a cidade como suporte, mapeiam suas condições físicas e simbólicas e as transformam em obras artísticascuja materialização, embora efêmera, demarca contradições, desloca significados e estabelece novos pontos de vista em relação ao território que habitamos. / In this dissertation, we defined Urban Projection Mapping as a study object. This is an expressive form through which audiovisual artists projectover city structures poetic images that represent their views in relation to the environment in which they live. We present the literature that served as our theoretical boundary of urban space, specifically the social space of contemporary Western metropolis. The concepts developed by Italian architect and theorist Aldo Rossi, together with definitions of social space and spaces of representation developed by French philosopher Henri Lefebvre, as well as Cultural Studies author understandings of culture and representation, and considerations about artistic support by Milton Sogabe constitute our theoretical framework to understand the city as an artistic medium. Following, we present the Urban Projection Mapping as a specific art form and cultural phenomenon, noting some uses we observed inthe artistic practice mediated by technological devices. We propose to articulate the historical and cultural processes that have enabled the consolidation of Urban Projection Mapping as an expressive format after exposing our understanding of the term "articulation", seen as both theory and method. The articulations between the Projection Mapping and contemporary art, according to Arthur Danto and Hans Belting perceptions, and aligned to the investigation of contemporary art's phenomena called happening, site-specific art and urban art, as well asthe VJing activity, constitute the historical context of the historic-cultural environment in which our subject belongs. Finally, we explore the poetic universe in some specific works of Urban Projection Mappingin Brazil and overseas, in wich the city is a temporary support that artists map, in terms of physical and symbolic conditions, and transform in their materialized view,making contradictions visible, displacing meanings and establishing new points of view in relation to the territory we inhabit.

This study examines how social cohesion is built through exchange of urban art. Graffiti and street art are treated like dirt and washed away. Unsanctioned art is often perceived as alien to museums and private homes. Despite this, many graffiti and street artists produce art in studios that are sold in galleries as urban art. Through ethnographic tools and site visits to homes of collectors in the United States and Sweden this study explores what it means to exchange and own urban art. Guided by Émile Durkheim’s theories on social cohesion and Georg Simmel’s writings on social boundaries, sociological implications of material things are investigated. The analysis shows that exchange of urban art produces and affirms social bonds and passionate feelings about belonging to a specific art world. Artworks in private homes symbolically represent unsanctioned art; which makes collectors feel joy, purpose, and confidence. Urban art collectors dodge discursive definitions of art in favor of nondiscursive and pragmatic boundary work. In contrast to a Bourdieusian perspective this study found that art is not as much about reproduction of social hierarchies as about making social life meaningful and connected. The results suggest further research on materiality in times of digital media.

Master's thesis is devoted to the phenomenon of Secret Walls, an illustrative contest with a distinctive conception. The aim of the theoretical part is to explain the basic bases and contexts of this live art battlement event and describe the means suitable for motivating pupils and students to work on their own work, which is based on and inspired by SW. In short, linking the elements of this immediate art event with teaching art. In the didactic part, the aim is to realize the individual stages of the thematic art series, which is focused on the development of drawing in the pupils of the second grade of primary school and verifies the described motivational elements in practice. The aim of the project is to revive the public space of the town of Rakovník through the Concetre Wall event and to convey an artistic experience for local residents. To motivate them to create their own free time and to point out the relaxing aspect of art. The focus of the work lies in the realization and detailed description of the thematic series of artistic tasks and in the realization of the artistic event in Rakovník. Furthermore, the thesis focuses on the verification of motivational elements for own free work used in the school environment and in public leisure time. Last but not least, definitions and...