Within curatorial practice, graffiti has come to little attention. On the occasion of the street art hype during the 2000s, graffiti appeared only as a minor component. Considering, that graffiti remains an undefined and mostly illegal and uninstitutionalized practice, the fact that it is not a common exhibition topic seems self-evident. However, graffiti is a globally and publicly present form of visual output and communication which upon closer look reveals conceptual depth and complexity. Therefore, this thesis investigates illegal graffiti in urban space and the possibility of curatorial approaches. Using the theoretical framework of Henri Lefebvre’s writings on the city, graffiti in urban space is conceptualized and analyzed. Possible readings and understandings of graffiti are highlighted. On the basis of such, past curatorial practices with and research on graffiti are outlined and discussed. Finally, the thesis aims to establish an understanding of graffiti as an institution of its own. For a productive curatorial approach to graffiti, an awareness of that division is considered crucial.

Presented diploma thesis is based on seven-months fieldwork in the Danish commune of Christiania. It sustains a heritage of utopian ideas of a contraculture of the 60s on which it has been created. The thesis examines which aspects of utopia are presented here and asks about the character of these utopian visions. It focuses on the question how the dream, that locals wanted to implement, is still presented in their minds, and how they perceive its realization. I used examples of street art, that is plentifully presented here, as a mediator of ideological background of this community. Its symbolism allowed me to approach values, ideas and world-views of people who already have been living in this area for almost forty years. I used the principles of visual anthropology to reveal meanings contained in visual manifestations in a public space. My research is focused only on people who moved to Christiania in 70s that means those who were present here in the times of forming this community, and who were a part of revolting atmosphere of the 60s and of its ideals. Methods used during my fieldwork are a nonparticipant observation, informal, semi-structural and photographic interviews

The last seven years have been a transformation point for graffiti and street art in Jordan. Due to the constant inequality that women face in Jordan, graffiti and street artists grabbed the first opportunity presented to them in order to address these issues, when the Baladk Street Art Festival took place in the capital of Jordan, Amman. They used this festival as an opportunity to spread awareness and tell stories related to inequality as well as claim their rights. Resistance from conservative groups in the society towards these murals resulted in more restrictions from the municipality about the content of them. However, artists did not back up and fought their way to keep their art on the city’s walls, but they had to work harder in order to disguise the messages they wished to send to the public. Social change was used as the main concept to follow in this thesis in order to arrive at a conclusion that shows the change that had taken place in Jordan due to graffiti and street art, especially social change regarding ideas and social movements as well as political processes. In order to get the people’s, the municipality’s and artists’ perspectives, qualitative methods were used such as interviews and a survey. Results showed that the municipality's position on the effects of graffiti and street on the society as well as the strict regulations are partially the same. In the meantime, interviews with artists and the survey showed the struggle the artists go through when painting and also the change in the people’s behavior that occurred in the last seven years, from the start of the project until now. The survey’s results showed that most of the people understood the exact meaning of the murals and some respondents interpreted the messages according to their experiences. Therefore, it was concluded that graffiti and street art can serve as a prospective tool to drive social change in the Jordanian society, yet not solitarily. Different aspects, such as people’s behavior, shifting norms as well as a change in laws and policies need to work hand in hand in order to achieve the desired change and cause a social and cultural evolution.

This paper discusses culture jamming as the countercultural tool of our current mass media society and argues for a more holistic understanding of the concept in order to open up its subversive potential. Part of this holisitic approach involves emphasizing the role of remediation inherent in the concept. Thus, the aim of this paper is twofold: to elaborate the diverse techniques involved in culture jamming (as opposed to the common reductionist approaches to the concept) and, more importantly, to highlight the remediation elements imbedded in culture jamming practices. To accomplish this, the works of street artist Banksy are taken as a case study and analyzed to answer the following questions: In what ways do the works of street artist Banksy subvert or “jam” culture? And how does remediation come into play in these jamming practices?

This thesis analyzes the ways in which Banksy’s street art installations are used to critique sociopolitical injustices. The street has long existed as a platform for social and political movements. In particular, street art offers unique opportunities for voicing criticisms in pioneering ways that have been proven successful in upsetting normative power structures. Anne Theresa Demo’s analysis on the Guerilla Girls’ comic politics of subversion offers an appropriate conceptual lens to analyze Banksy’s employment of perspectives by incongruity as strategies for subversion. Therefore, this thesis analyzes how Banksy’s subversive satire is rhetorical by examining three techniques that have successfully exposed hegemonic institutions: mimicry, revision, and juxtaposition. Further, I argue that Banksy’s street art gallery, Better Out Than In, utilized these techniques in a global, revolutionary manner to bolster access and widen audience participation. Banksy’s street art both spotlights contemporary injustices and provides a frame to interpret the artist’s critical perspectives. By analyzing the ways in which Banksy uses satire as subversion, this thesis illustrates how visual rhetoric can offer liberation for victims of sociopolitical injustice.

The dissertation studies the features and modes adopted by the street art in urban cultural space. The text presents an analysis of history and contemporary forms of street art in Russia. Through the works of major artists, themes and festivals, the author elucidates characteristic features of Ekaterinburg street art, explores the work of “Sweater” street art gallery and the experience of the All-Russian Street Art Festival “Stenograffia”. Sociological research conducted by the author helps to understand the attitudes of Ekaterinburg’s younger population towards specific street art objects and street art in general. / Диссертация посвящена изучению особенностей и форм проявления street art в культурном пространстве города на примере г. Екатеринбурга. Анализируется история и современные формы street art в России. Через работы значимых художников, темы и фестивали выявляются особенности стрит-арта в Екатеринбурге, исследуется деятельность галереи уличного искусства «Свитер» и опыт проведения Всероссийского фестиваля уличного искусства «Стенограффия». На основе проведенного социологического опроса выявляется отношение молодежи г. Екатеринбурга к отдельным объектам уличного искусства и стрит-арту в целом.

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This project focuses on graffiti art as not an unconstructive form of artwork as society might assume, but a way of coping and establishing an identity for youth mostly males who are searching for who they are.

In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti.  Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture.   The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.

Esta dissertação tem o objetivo de refletir sobre as práticas de Curadoria Educativa e Mediação da Arte Urbana a partir da observação de suas relações com Instituições Culturais e Educacionais na cidade de São Paulo. Analisamos exposições de Arte Urbana, entre 2009 e 2013, no Museu de Arte de São Paulo Assis Chateaubriand e no Museu Brasileiro da Escultura, os quais, a partir de agora, serão representados pelas siglas MASP e MuBE. Pesquisamos as mostras: De dentro para fora/De fora para dentro e De Dentro e de Fora, no MASP; e as I e II Bienal Internacional do Graffiti Fine Art, no MuBE. As mostras citadas foram escolhidas por se tratarem de exposições de Arte Urbana sediadas em museus. Realizamos também dois estudos de caso, duas propostas de práticas em Arte Urbana, direcionados à educação. A primeira é o trabalho do Eduqativo do Instituto Choque Cultural que mantém projetos como o Linguagens Artísticas: Arte Urbana na Escola, um projeto de Arte Urbana ligado à educação junto às instituições educativas públicas no município de São Paulo. A segunda é um projeto de Arte Urbana, que acontece na Escola Municipal de Ensino Fundamental Deputado João Sussumo Hirata, citada de forma abreviada (EMEF) Dep. João Sussumo Hirata, localizada no bairro Jardim Ofélia, periferia da cidade de São Paulo, que pelo segundo ano consecutivo, realizou o projeto Fazendo Arte no Sussumo, com base na cultura hip hop cujo encerramento é a festa do Grafite no Sussumo, nomeada de Graffitassu. Preocupados com a leitura dessas imagens, trazemos uma discussão sobre o processo de comunicação entre o emissor e o receptor dessas imagens quando estas transitam em diferentes espaços como os institucionais e os públicos, a rua. Com base nos estudos voltados à Educação de Freire, de Vygotsky, de Foucault, à Sociologia de Bauman, Hall, Bourdieu, Badiou, à Arte-educação de Ana Mae Barbosa e à Arte de Rancière, Baudrillard, Cauquelin, temos o intuito de refletir acerca das práticas e abordagens aplicadas por instituições culturais e educativas, de forma social, política e educativa para contribuir com as discussões direcionadas à Arte Urbana quando em diferentes ambientes, visando a Arte-educação. / This paper aims to reflect on the practices, Educational Curating and Mediation of Street Art, from the observation of its relations with cultural and educational institutions in the city of São Paulo. For this, we analyzed Street Art exhibitions that happened at MASP (Museum of Art of São Paulo Assis Chateaubriand) and at MuBE (Brazilian Museum of Sculpture), made between 2009 and 2013. Our focus is on the exhibitions: De dentro para fora/De fora para dentro e De Dentro e De Fora/Inside out Outside in, both at MASP; and the 1st and 2nd International Biennial of Graffiti Fine Art, both at MuBE. The samples cited were chosen specifically as they were exhibitions based in cultural institutions, as our goal is to investigate how this art manifestation has been addressed by the Educational Curating, and how the work mediation was directed to the schools and/or groups that have visited these exhibitions. In addition to this analysis, we conducted two case studies, two proposal practices in Street Art. The first is the work of the Eduqativo of Institute Choque Cultural that, since 2011, keeps projects like the Artistic Languages: Street Art at school, and Street Art project connecting education with the public educational institutions in São Paulo. The second proposal deals with a Street Art project, which takes place at EMEF Dep. João Sussumo Hirata, school located at Jardim Ofélia neighborhood, suburb of Sao Paulo, which for the second year carries the project Making Art at Sussumo, under the guidance of one of the Arts teacher, based on the hip hop Culture whose final event is the Graffiti party at Sussumo, named Graffitassu. Concerned with the reading of the Graffiti images also bring a discussion of the process of communication between the sender and the receptor of the images. Based on studies in Education of Freire, Vygotsky, Foucault, in Sociology of Bauman, Hall, Bourdieu, Badiou, in Art education of Barbosa and in Art of Rancière, Baudrillard, Cauquelin, the last goal of this research is to reflect in a social, political and educational way about the practices and approaches surveyed with a view to contributing to discussions regards Street Art through different environments with the overriding aim of Art education.