Bengtsen, P. (2018). Street art and the nature of the city.

In this paper, the relations between Art, Urban Space and the City will be discussed. From these, I aim to understand how urban public space can be configured through the ways in which it connects with the city and the artistic field -namely in what concerns art in the public space.

Executive committee @@@@@@@@@@@@@@@@@@@ Editorial The SAUC 2017 conference bridged scholarly and practice-based approaches to urban creativity. This year we included interventions, roundtable discussions (guest-hosted by Nuart), exhibitions, a book launch, and guided visits to sites of urban creativity around the city of Lisbon. The impact of the practice-oriented activities was particularly positive, and generated a strong connection between theory and of the debates during the conference was inspiring and constructive. The intangible dimensions of the conservation heritage, albeit mainly through documentation. Although physical conservation was regarded by some as a 'non-greatest contemporary challenges-in response to which a range of possible solutions were suggested, such as self-preservation by the creator's communities. of public art and urbanism augmented the academic debate. The Lisbon council's experience was a particularly and opportunities associated with inst...

Out in the Streets: The possibilities and implications of making art in the city's public space 1 This paper is the result of an ongoing PhD thesis project about the relations between art, urban space and the city, namely through the ephemeral forms of art that are present in the city's public spaces.

This article sets out to show how a sociological research project on the production of street art in Lisbon was built, from the construction of an object of research to the development of a methodological approach that enabled the collection of a diverse set of expressive data. The notion of 'route' serves not only as a valuable instrument of research in the first stages of an investigation in urban sociology, but also as a powerful visual depiction of the development of a specific methodology and the set of techniques adopted. The diverse set of interrogations about the object that stem from these incursions, as well as the specific urban context at hand, allowed the researcher to conceptualize street art as a component of contemporary urban space and as a visual means to reveal social dynamics between the several actors involved in its production, and the city itself. Therefore, in this paper it is briefly shown how this object is theoretically framed, namely in what concerns the street artists and the way they build an artistic path and attribute meaning to the act of intervening artistically in the streets of the city, and how this connects with the worlds of contemporary art and the several contexts of production of street art; the contexts in which street art is currently created in Lisbon, from individual initiatives to the actions of associations or collectives, and the municipality; and the way in which the city, through its institutional powers, can instrumentalize street art as a way of creating 'images of the city', and how this can be explored in terms of tourism and the marketing of cities, and the conflict or opportunities that these processes reveal for the actors involved.

2013

Chapter 1-Introduction 12 1.1 Objectives of this text 12-15 1.2 Guiding questions 15 1.3 Case selection (I) countries 16-19 1.4 Case selection (II) actors 19-21 1.5 Using images as source material 21-22 1.6 The organisation of this text 22-24 Chapter 2-Finding ground: a literature review and elaboration of my conceptual framework 25 2.1 Reflections on stray cats: popular mobilisation and art in International Relations 25-27 2.2 Social movements and International Relations 27-30 2.3 The feminisation of art and aesthetics in International Relations 30-33 2.4 Art, democracy, folly 33-37 2.5 The category of 'political street art' 37-39 2.6 A review and refashioning of Social Movement Theory 40-41 2.7 Revisiting political process: revealing gaps, revising 'performance' 41-46 2.8 Framing political contention 46-50 ! 3! 2.9 Expanding the parameters of political opportunity 50-58 2.10 Synthesising insights, cues and precedents 58-68 Chapter 3-"Tupinaquim o Tupinãodá?" Brazilian artist-activists in confrontation with power 69-70 3.1 Surfacing: street art as campaign tool 70-76 3.2 The push for plurality 77-83 3.3 Os anos de chumbo and the retreat from the street 83-87 3.4 Colouring the streets: the emergence of Tupinãodá 87-92 3.5 Collective interventions: from cannibalism to political critique 93-97 3.6 Mounting articulations: civilian government and its discontents 97-103 3.7 Brazilian street art articulations in summary 103-107 Chapter 4-Articulations in the clouds-street art and contentious politics in the city of La Paz 108-111 4.1 Federal war to revolution: Indian affirmations, performative precursors and early political street art in Bolivia 111-115 4.2 Hacia la Revolución Nacional (Towards the National Revolution): regional influences, domestic uproar and 'the social painters' 115-120 4.3 Contra La Dictadura-Street art as resistance to authoritarianism 120-128 4.4 Mujeres Creando, mujeres!denunciando: transition, patriarchy and the push for deconstruction 128-130 4.5 A new 'craziness' 131-135 4.6 The task(s) of street art in the wake of a hollow democratic transition 135-143 ! 4! 4.7 EVOlution in articulation-graffiteando por el TIPNIS 143-145 4.8 Background: on the ambivalent discourses of Bolivia's first indigenous president 145-148 4.9 The plans for el TIPNIS 149-151 4.10 Street art in defense of the 'unauthorised indian' 152-158 4.11 Los animales 158-162 4.12 Three mo(ve)ments in discussion 162-165 Chapter 5-Insights from the Southern Cone: Argentine street art in contention 166-167 5.1 La edad de oro and embryonic articulations 167-170 5.2 Developments and contingencies in the "infamous decade" 170-174 5.3 Political street art and Peronismo: a marriage of convenience 174-179 5.4 Peronismo and political street art: from anti-system to pro-system 179-183 5.5 Political purges, artistic rebellion and the peoples' spring(s) of '68 184-195 5.6 Silencio en la calle? from organised state terror to the Siluetazo 195-207 5.7 Street art and the democratic restoration 208-210 5.8 Human Rights, market cooptation and the peso crisis: political street art from the nineties 210-214 5.9 La calle to the white cube 214-223 5.10 Argentine street art: a landscape in motion 223-226 Chapter 6-Discussion and Conclusion 227 6.1 A restatement of purpose and intervention 228-229 6.2 Evidentiary street art practices: summing up 229-235 ! 5! 6.3 Locating International Relations 235-238 6.4 Concluding remarks 238 Bibliography 239-260 Image References 261-264 ! 6! LIST OF PLATES CHAPTER 3 between pages: Plate "NÉGO" (I deny), an Alianca Liberal campaign poster. Lithograph 76-77 ! 8! Plate "Un Desaparecido" (A disappeared person). Photograph 207-208 Plate A Neighbourhood Memorial in San Telmo, Buenos Aires. Photograph 213-214 Plate An escrache. Photograph 213-214 Plate An escrache. Photograph 213-214 Plate Bush/Mickey Mouse Stencil by Bs.As.Stencil. Photograph 222-223 ! 9! ACKNOWLEDGMENTS There are a number of people who have contributed to the formulation and eventual completion of this project, and to them I owe an enormous debt of gratitude. I must firstly thank my supervisors Dr Thomas Richard Davies and Dr David Williams, both of whom have provided me limitless support and encouragement since I arrived at City University as an undergraduate nearly ten years ago. David's engaging lectures on the politics of development and the many contradictions of the International Financial Institutions secured my commitment to the discipline of International Relations and Tom's patience and encyclopaedic knowledge of all things 'revolutionary' really gave me something to aspire to. Additionally, I am eternally grateful to Professor Peter Willetts who entirely altered my fate by allowing me to transfer my undergraduate studies to City's then 'Centre for International Politics' in 2005. Professor Kim Hutchings, Dr Peter Wilson and Dr Francisco Panizza from the London School of Economics also deserve a mention for showing me great kindness during my Masters degree and encouraging me to pursue my doctoral studies in the subject. Importantly, this thesis is founded on my interest and more fundamentally, my belief in the power of 'politics by other means'. For developing my understanding of activism in theory and in practice, I have to thank comrades from the Housman's Bookshop on the Caledonian Road, my friends and teachers Louie Jenkins and Omar Mansur as well as protagonists in Chiapas, Mexico, whose activities captivated me and gave me the material for my very first piece of extended research. The biggest credit due here is to the wonderful people whose stories I have touched upon in this thesis. It has been my great honour to have met artist-activists and their families as I made my trails across Latin America and words cannot express how grateful I am for their ! 10! time, openness and generosity. I am especially grateful to Stanislaw Cabezas for being the most informative and intriguing guide in La Paz; to Adri Ballon-Ossio for the comfort of her blow-up mattress and for my introduction to salteñas. Thanks also go to Jaime, Neta, Lina and Anita Prades for taking me in, feeding me and providing me access to their wonderful archive of photographic slides from the 1980's. Many friends deserve a mention for their support and understanding but to list them all here would be to compete in length with the dissertation itself. In particular, I must thank my PhD colleagues for their advice, encouragement and solidarity. Without their collective madness the office would be a far gloomier place to work. I am also immensely grateful to the lovely ladies that I lived with during my write-up period in Brunei Darussalam-Aline, Madlen, Ivonne and Mariam-you are all stars and I am lucky to have met you. Last but certainly not least, my mother, Runeika and my partner Tom have suffered the most through these three and a half years. Their ability to provide unending love and support, to put up with my ungodly hours of work and to revive me when I feel defeated never cease to amaze me. Without their backing, I could never have reached this point. My mother has made many sacrifices to see me through higher education and give me a chance to flourish academically and I hope that I have made her proud. Meanwhile, Tom has been an inexaustable motivating force since he appeared in my life in 2009. Always keen to see me reach my potential, his faith in me has never diminished, even when my own faith has dwindled. To him I owe so much. I wish also to express my gratitude to my father, who sadly isn't here to witness me win this battle, but whose rebellious spirit, determination and fascination with foreign affairs I have inherited and are almost certainly what have given me the drive to see this project through to completion. I dedicate this work in memory of my dad.

Pivot: A Journal of Interdisciplinary Studies and Thought, 2017

The world economy has detonated processes of re-territorialization in Latin American cities to favor their aspirations to be distinguished as global cities. The economical dynamics of globalization emerging from their public politics have increased social inequalities having their manifestations on one hand, in economical polarization of the urban area and on the other, in the gentrification and increasing social segmentation and fragmentation of the urban area. The result has been a new, socio-economically and culturally shattered geography of centrality and marginality with frictions between them having their manifestations in ourbreaks of contesting non-institutional creative and artistic practices of local communities and urban tribes, among them projects of art in the street and street art. These creative practices have been used by local urban communities as manifestations of civil resistance to denounce their marginalized situation and to demand major visibility in local publ...

urbancreativity.org ; AP 2 - Associação para a Participação Pública, 2016

The number 1, addresses Center and Periphery issues of practical nature, texts directly related with authors and pieces, including distinct cities, and supports of creation such as photo and video, and also about research ethics. The number 2, is devoted to Theoretical approaches to Center, Periphery. Addressing world geographies like Uruguay and Brazil, methodological geographies centered in values, also about digital geographies, including also for Contributions for this issue were selected from the received full papers blind peer review process developed by the of three formats:-book or exhibition reviews.