Conceptual Post-Street Art in Russia

Detalhes bibliográficos
Autor(a) principal: Polsky, Anton
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
DOI: 10.25765/sauc.v6i2.223
Texto Completo: https://doi.org/10.25765/sauc.v6i2.223
Resumo: Global street art turned into a neo-pop(ulist) post-street art (inter)muralist movement operating with simple visual messages easily accessible for people via Instagram. Artists’ anti-capitalist pseudo-critical statements—what I call ‘protest for sale’— circulating in social media are easily co-opted by creative city discourse, the capitalist neoliberal system, discipline society, and the art market. Artists’ voices from peripheral scenes and regions dealing with local contexts, languages, and communities, and those who work in a more nuanced and sophisticated way are overshadowed by street art celebrities and their domesticated rebel aesthetics. Taking as an example Russian conceptual and dialogical post-street art I want to show other perspectives on the development of street art.
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spelling Conceptual Post-Street Art in RussiaGlobal street art turned into a neo-pop(ulist) post-street art (inter)muralist movement operating with simple visual messages easily accessible for people via Instagram. Artists’ anti-capitalist pseudo-critical statements—what I call ‘protest for sale’— circulating in social media are easily co-opted by creative city discourse, the capitalist neoliberal system, discipline society, and the art market. Artists’ voices from peripheral scenes and regions dealing with local contexts, languages, and communities, and those who work in a more nuanced and sophisticated way are overshadowed by street art celebrities and their domesticated rebel aesthetics. Taking as an example Russian conceptual and dialogical post-street art I want to show other perspectives on the development of street art.AP22020-12-30info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.25765/sauc.v6i2.223https://doi.org/10.25765/sauc.v6i2.223SAUC - Street Art and Urban Creativity; Vol 6 No 2 (2020): Emergence of Studies; 103 - 1092183-99562183-3869reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://journals.ap2.pt/index.php/sauc/article/view/223https://journals.ap2.pt/index.php/sauc/article/view/223/204Polsky, Antoninfo:eu-repo/semantics/openAccess2024-01-26T14:15:37Zoai:journals.ap2.pt:article/223Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:57:51.061316Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Conceptual Post-Street Art in Russia
title Conceptual Post-Street Art in Russia
spellingShingle Conceptual Post-Street Art in Russia
Conceptual Post-Street Art in Russia
Polsky, Anton
Polsky, Anton
title_short Conceptual Post-Street Art in Russia
title_full Conceptual Post-Street Art in Russia
title_fullStr Conceptual Post-Street Art in Russia
Conceptual Post-Street Art in Russia
title_full_unstemmed Conceptual Post-Street Art in Russia
Conceptual Post-Street Art in Russia
title_sort Conceptual Post-Street Art in Russia
author Polsky, Anton
author_facet Polsky, Anton
Polsky, Anton
author_role author
dc.contributor.author.fl_str_mv Polsky, Anton
description Global street art turned into a neo-pop(ulist) post-street art (inter)muralist movement operating with simple visual messages easily accessible for people via Instagram. Artists’ anti-capitalist pseudo-critical statements—what I call ‘protest for sale’— circulating in social media are easily co-opted by creative city discourse, the capitalist neoliberal system, discipline society, and the art market. Artists’ voices from peripheral scenes and regions dealing with local contexts, languages, and communities, and those who work in a more nuanced and sophisticated way are overshadowed by street art celebrities and their domesticated rebel aesthetics. Taking as an example Russian conceptual and dialogical post-street art I want to show other perspectives on the development of street art.
publishDate 2020
dc.date.none.fl_str_mv 2020-12-30
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dc.identifier.uri.fl_str_mv https://doi.org/10.25765/sauc.v6i2.223
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dc.language.iso.fl_str_mv eng
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