Graffiti: art's final frontier
Greening of the most rebellious form of expression
French painter Eugene Delacroix, said that nature is the dictionary whose words paint artists, and something similar, According to Robert Motherwell, fit for human artifice: discerning painters recreate the culture with his mind, and his works are both bright and colorful tributes (or repairs) to it. With these notions, beginning my environmental approach to the phenomenon of graffiti in reference to the drawing of the street (remember that the most abstract term 'graffiti' in its original Italian meaning is plural). This term appears to refer to certain manifestations of the ancient Roman daily life. The Greek infinitive 'grafein' and Latin 'graffiare' shared once the semantic connotations of iconic and textual inscription. In the collective imagination of modern graffiti is mostly dismissive, it alludes to informal inscriptions, mainly sexual or scatological, present-for example, in college bathrooms. The current meaning 'graffiti' (Nominative plural of the Latin 'graffitus') arises from those in the city of New York studied certain artistic prodigies performed on subway cars and walls of the slums (by spray paint on formats of retail, whose manufacturers, Of course, never dreamed of such use). 'Graffiti' is now generic word for scripture murals (wall writing), images, symbols or marks whatsoever and on any surface.
However, interpreting the drawing street from industrial design as such, it is difficult (and perhaps irrelevant), since-while-working with industrial designers myself, devoid of degree in the subject, just as the fan reached, and things, my approach is just humanistic and scientific unpretentious. However, I think that the designer known only design, ignores even the design, and twelve years in charge of eco-design a chair, my condition zootecnista graduate, and editorial advisor of the magazine dedicated Proyectodiseño constantly observing and writing, presuppose sufficient credentials to reflect on the ecological dimension of graffiti.
Physically, size, let's review is one of the magnitudes of a set that define a phenomenon (the graffiti in this case). And also ecology is: both the science that studies the relationships of living beings among themselves and with their environment, as part of sociology that examines the links between humans and their physical and social environment (the latter applies to my approach .) However, the compositional element 'eco' comes from two roots, one Greek means "house", "dwelling" or "vital area" (as in ecology or ecosystem) and other Greco-Roman equivalent of "wave" or "sound reflection "(as in echolocation, or echolalia). Both relate to the drawings street.
adversarial opponents
Surely, with graffiti all is ambiguous and, depending on who opine about it, it can be understood as art or as a disaster, such as design or disheveled, supports and encourages conflicting interpretations uncertainty or confusion. Some find it to waves or reflections of social deterioration, other promises of new realities. They love him for starring in the home, dwelling, living area, and I hate those signs of rebellion as contaminant. All right. It is always easier to talk about knowledge of feelings, or memorizing what to think, but the amazing graffiti art and incorporates both urban scourge. Welcomes the rustic spirit the paintings that made the prehistoric Cave on the wall of his cave, and insubordination of the infant who refuses to be confined to the grid in the textbook. It should be clear, yes, I find useless to generalize concepts of a sentence from current version emerges from the hip hop New York of the 80's, but he took distinctive to globalize and get used in most cities of the world (even with hints different the urban sector as given, or a group of writers or painters in charge of elaborating, whom we respectfully call 'graffiti'). Perhaps
on his willingness to clandestine, many scholars on the side "ordered" quotes, society, dismiss and condemn the wall as an indicator of dialogue civic impairment. For me, understand the poetry of the controversy that establishes the graffiti, involves thinking about what they mean the wall or in the United States and other nations, the walls where graffiti trains discharge their vocation. What is the wall? "Protection, separation, support? "A structure against which to urinate boo ...? (I recall a child aged men vying to draw with the stream of urination). However, the objective of the walls were in place the authorities and alter such regulations, street artists become offenders. About of which, a graffiti artist defined his occupation as "the artistic side of hooliganism or vandalism of the art side" of vandalism, of course, involves both the use of space for purposes other than those provided by the graffiti.
Many voices now advocating to legalize graffiti artists providing their authorized areas to develop (which is an achievement), but restrict it to a parent, and trying to keep its essence, it is impossible to one hundred percent. Some call it "the softer side of terrorism" or "the degree zero of sabotage." And the dilemma is how to tame the 'horse' wild without losing its wild condition? Perhaps recognizing that, as the untamed horses, the graffiti can be assigned "cultural parks" which is sometimes inevitable to escape to gallop out ... all commercial assignment or attempt to confine it to museums and galleries it becomes kitsch. His soul is illegal. And in this regard should recall the statements of English Valsa in the fanzine 'Ajoblanco': 'Free art, free animal as before, has ended his days in a museum. Only when the artist, in all its varied and multifaceted, to break his narcissistic self-absorption and art taps into a spring return poetical creative force, will deploy their wings to soar. The only way to get rid of the dungeon museum and institutional protection of critical and bureaucrats, the golden cage of the market and the media networks that try to catch their flight in the society of the spectacle. Where you can create even freedom? Where has not yet extended their networks the market? Somewhere, quietly, you must be brewing beauty and truth behind the big show. "
undoubtedly referred to the graffiti.
The 'personality' of graffiti
This is, in its purest Reef-an antidote usury against commercialism and greed that characterized advertising in modern societies. Is marginal border. Giller said that refuses to become consumer goods or negotiable according to gender has an owner or producer. His dynamic prevents its marketing mockery of private property and everyday use. Melts in the wall where it is located and thus, modify or move it to ruin. To be produced without permission of the owners of the walls, graffiti particular object possession. Has the author but not as owner and never belonged to someone is unsaleable and incomparable (although many are unique). Outstanding value is that it advertises itself, even on its own artifice. Thus, reminds us that beauty or originality are immeasurable in money.
We are in the process of cultural renewal and global culture, a time to review terms, take, eg, the Castilian 'graphite' that defined the dictionary of the English Royal Academy paragraph which reads: "sign or engraving drawing or written on walls or other surfaces resistant, popular and casual in nature, without significance "such a specification is acceptable at all, except that of" no significance ", the better, perhaps the graffiti, even in its cruder variants is of the few genuine human expression yet and transcendent. Yes, what is or is not graffiti covers many aspects, under what is calología elusive, more familiarly designated aesthetics, concrete left.
Wherever you are and paint (or write) who may, the English scholar Diego Jesus defines seven features common to modern graffiti: 1. Promotes and communicates discussed instituting (a poem about Bogotá recently awarded in the competition for the 2005 Casa Silva points out that our city has "graffiti shouting their truths.") Unlike advertising remunerative and communication (as the poster, television and radio) graffiti embodies participatory realities, conversational and interactive. In addition, their aesthetic evade the provisions that restrict the approach of the human and cultural group that produces them (hence engender intolerance, lawlessness and repression) 2. It occupies space but definitely ephemeral. 3. Includes some challenging illegality and transgression (objects uniformity.) 4. Conceptually is mobile and is believed to be briefly noted, without selling anything like the film and television propaganda. 5. Sets and appropriate space for their lawlessness quietly or labyrinthine condition, follows a clear order for the graffiti artist or writer 6. Is intertextual and intericónico-since merged with other expressive media (comics, posters, television, film, cartoon) - citing, distorting and transforming their usual content. 7. Goes beyond the traditional arenas of art and expression, including international and global. Thus, it is in underground resistance and militancy against the unanimous expression by disseminated photographs via the Internet, becomes international symposium and thrives today in all major cities worldwide.
The ecological role of street design
here is one ecological analogy because I think the graffiti a form of "insurance culture", arrhythmic with the main stream of progress and formal art. Think of the creatures living in a forest or primary forest, ie pure in those ecosystems where plants are grown or harvested by humans, there is usually a dominant species. This species has as much, if not individuals, they live mass in a given habitat. Visualize the wax palms in the Colombian department of Quindio in the central mountains, or mangroves in the coastal regions. These plant groups are called 'stands' and they, as individuals of a herd of zebras in central Africa, or the school of fish in the ocean, they synchronize their life cycles after generations of living. Hence, the respective fruits and puppies appear cyclically as progeny of individuals ordered or successful. These organisms represent those who follow the dictates of culture under the template of "when and how he plays." In contrast, equivalent to the dissident graffiti uncoordinated, in jungles and plains, or in herds that travel, or in the forests that the forest, exhibit behaviors acyclic, beings allegedly ignored by the circumstances, ie fruiting plants months after they have done all the others, females that give birth in harsh winters and harsh summers when scarce pastures and dams. Outcasts and misfits. Everlasting trance losers vital. Or maybe not? What happens when ruthless hurricane devastates the crop, or do as the implacable epidemic kills the cubs born on schedule? In those tragic moments, the few exiles are in saving his species!
who was born in October, when it is normal in February, can be seen as an unfortunate excluded. But when the crisis has befallen their counterparts in sync, its historical dimension is revealed. In nature, and indeed also in culture, are the unhappy accident insurance for the species. The great choice of survival and renewal thereof.
The 'graffiti', if that verb invent, appears to trigger visual intelligence and thought Id to be clarified in itself is a soliloquy been thinking about the one that comes alive in a unique communication, hence, to increase graphics capabilities through improved technology, graffiti proliferates even in the cities profiled in the science fiction genre in advance for excellence.
cultural warriors or peacekeepers, many expect their authors to migrate to the official art and integrate the circuit of galleries and museums, renouncing the street yesterday, in light of this, consistently emphasizes the need for legal spaces for their activities. Will have to see what the conditions of graffiti Bogota (beyond my current understanding), your chances of aesthetic expression and action on their environment and their desire for social advancement through graffiti. Bogotá is a huge canvas, a display of pictures and words multiform influence the conversation between the street artist and context. As mobility increases the graffiti is conducive, as it thrives in areas of rapid transit, or on large walls abandoned. Trying to define the artistic qualities of this or that book is useless as the substance of art is vague and indeterminate. Furthermore, graffiti just looks homogeneous to the uninformed viewer. The diversity and individuality are central to contemporary graffiti. Among the many aspirations coexist graffiti artists, styles and trends in the same artistic framework. In essence, his job feeds intertextual other iconic and verbal expressive forms such as comics, movies, music, posters, television, graphic design, etc., Whose attributes are handled, adjusted, becomes deformed and variegated ways ... Appearing
and 'cracking'
Some assert that the graffiti of European roots, linked to the libertarian slogan of the 1968 French is the father of the family of graffiti where raw textual component (those that draw on the wall an aphorism or an intellectual spark) also argues that all graffiti is more iconic ingredient evokes the New York tradition (see www.graffiti. org ) Although it is true, which I doubt, there are very few pure archetypes of one of the two slopes and abundant, however, in the production of graffiti artists from the middle ground. Moreover, if we return to the outline of graffiti art as untamed animal, it is proper to treat it with so much prudence as would attend a tiger or a lion, accepting his condition but should not, in parts, 'bite' to unsuspecting tourists prefigured by citizens who have the white walls as an axiom paramount. After all, although the style, form and methodology importing, graffiti overriding guideline is to be seen, the authors also wish to include and 'cracking', breaking with the establishment. Compete for space appropriation and from the cross border observer construction exhibit overturning the semiotic content advertised socially accepted, and thus its presence should be assessed by urban planners of tomorrow Bogotá.
The most lyrical of graffiti is that its writers and cartoonists, at least while they hold the status of graffiti, working for pleasure without receiving money in return. Perhaps because of this, the graffiti attract to themselves the enmity of the citizens who consider cleaning and color uniformity (determined by the respective administrations) as superior to their works. Anyway, Bogotá is a city with many people but few Bogota, in the process of building identity, and if all its residents tried to show consistency is precisely because we lack it. I do not know which way to take the graffiti in both amalgam of assimilation, rejection and modal alternative to industrial and commercial taxes promotional culture, appropriate for children of displacement and migration the capital, in response to the pervasiveness of the culture district leader (characterized by a promotional calling foreign imitation.) As a builder and built urban, son and father who decided to make aesthetic into their own hands, faces two meanings graffiti cultural one, as social work and suffers gesture intellectual or aesthetic judgments as approved by the government. In another, establishing daily patterns of relationships through which groups before silent write or draw their version of history. In fact, the graffiti is of plural and multiple interpretations, but overall ecological harmony factor to bind its operator with the environment, and formally, through colors, intelligibility, visual impact, lighting, landscape effect, etc., or promoting the social position of a group of street artists are these confrontational (transgression, provocation or prestige of the author, etc..) or conciliation (appeasement, transfer to the wall of violent moods that otherwise would have been verified in reality, innovation, creativity).
ethnic, cultural, class struggle, territorial demarcation, the fact is that graffiti is multilingual and resists any attempt to specify its relentlessly changing cultural slang, neologisms coined all the time or the taking of different areas. Mutation hybridization, invasion are its laws, and the "extreme makeover" that experiences in the Colombian capital this novel gives evolutionary possibilities. The progress of the works adjacent to a galaxy of TransMilenio bare walls that hint tantalizingly as 'graffitódromo', it would be prudent to devote some of their practice and recreation. Are valid in our context, the statements of Ken, a English artist of the street who works in a statement: "There was once a master race of people called graffiti artists. They fought a fierce battle against society. The end result is still unknown ...". Perhaps the issue, rather than shock required complement and compromise, then, is the drawing street art practice of resistance to authority or strut of solidarity and affirmation of the sociocultural context where it appears, it is true that the city and the graffiti they need each other and consume together a delicate symbiosis. The pictorial rhetoric and second, their contribution textual or iconic, encourage and refresh an array citizen languish in aseptic statism without it, conversely, the potentially volatile atmosphere metropolitan structure provides the graffiti breathes seeking collective representation , the expectation of 'grafocracia', abundant and versatile public space visually accessible (susceptible colonization) and lack of who would audit the omnipotence of art forms marketed or cultural variations emanating from the figures of power.
camels and future
Somehow, graffiti brings to mind the dromedary Australian exotic animal in Africa, led to his deserts by European explorers to cross its immense sandy beaches, there is' feral 'and becoming acclimated something new, so strong that when it comes to improving their flocks, now the Arab sheikhs themselves traveling to the land of kangaroos get stallions to breed with domestic camels, less robust and resilient ...
The domestic camel equate it to the art room, gallery and Trade, the dromedary emancipated, I love the Australian outback, and only one of its kind on the planet free graffiti plays the son of traditional art but autonomous ... anxious to trace, to participate in the symphony of existence, but occasionally trample a crop or break a close, competitive and very particular behavior ... "No one will cover the graffiti graffiti," "prevents the graffiti outside atribuirte," whispers the breeze in the desert. Consigned
I conclude inquiring what new directions await Bogota by graffiti the XXI century avenues? Perhaps unpublished materials, chemical foam rapid solidification give rise to the emergence of three-dimensional version: the 'objeffiti': the sculpture of the street, or perchance the development of colorful paintings of evanescence program allows a rewarding exchange-or better Moreover, one-graffiticante "broadband", in which gallant graffiti cloisters flood walls and offices to disappear within hours or days later, without the mediation of personal hygiene or repression policing, thanks to technology. Without a trace. And everybody's happy. Anyway, I guess in the future, graffiti, wild child black sheep of the art and will continue to monitor and, fortunately, to play a key role in sociosistema. Coexist with us and we with it. The more harmoniously better.
planning to invite to stop talking and focus on paint and stain ...
God 
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