The Process of Virtualizing Public Art: QR Graffiti, Art in Augmented Reality in Public Space, and Graffiti Created in VR
DOI:
https://doi.org/10.18778/0208-6107.2024.11Keywords:
public art, street art, graffiti, medialization, virtualization, hybridization of public spaceAbstract
The virtualization of public art, which I approach as art in public space, street art, and graffiti, can be viewed from one side as its medialization, that is, a mediation of reception through media images functioning online. This process makes our experience of these art forms virtual in terms of their potentiality. On the other hand, the virtualization of public art can be approached as a process of gradually transferring it into the virtual space. In this second case, virtual space constitutes, if not the foundation, then at least an equal element of artistic realizations. These realizations are increasingly manifesting themselves primarily in a digital form, although each time in a physical space, which gradually loses its significance, undergoing hybridization. The process of virtualizing public art is illustrated by referring to examples of graffiti made in the form of stencils with artistic QR codes. Then, I point out artistic projects that explore the city by searching for contemporary art objects in the form of augmented reality, located in selected and marked areas on a map. As the final examples, I mention the work of Kenyan artists who create and promote the creation of graffiti in virtual space.
References
Austin, J. (2010). More to See than a Canvas in a White Cube: For an Art in the Streets. City, 14 (1–2), pp. 33–47. DOI: https://doi.org/10.1080/13604810903529142
Baldini, A. (2017). Dangerous Liaisons: Graffiti in Da Museum. In Rivasi, P. (ed.), Un(Authorized)//Commissioned. Rome: WholeTrain Press, pp. 26–32.
Baldini, A. (2018). A Philosophy Guide to Street Art and the Law. Leiden: Brill. DOI: https://doi.org/10.1163/9789004394049
Baldini, A. (2020). Street Art in the Digital Age: Photos, Documents, Urban Agency. Arch Daily, February 18. Available at: https://www.archdaily.com/933982/street-art-in-the-digital-age-photos-documents-urban-agency [Accessed 7.04.2025].
Baldini, A. (2022). What Is Street Art? ESTETIKA. The European Journal of Aesthetics, LIX/XV (1), pp. 1–21. https://doi.org/10.33134/eeja.234 DOI: https://doi.org/10.33134/eeja.234
Baudrillard, J. (1996). Precesja symulakrów. Translated by T. Komendant. In Nycz, R. (ed.), Postmodernizm. Antologia przekładów. Kraków: Wydawnictwo Baran i Suszczyński, pp. 175–189.
Baudrillard, J. (1994). The Precession of Simulacra. In Baudrillard, J., Simulacra and Simulation, transl. S. F. Glaser. Ann Arbor: University of Michigan Press, pp. 1–42. DOI: https://doi.org/10.3998/mpub.9904
Baudrillard, J. (1995). The Gulf War Did Not Take Place. Translated by P. Patton. Bloomington: Indiana University Press.
Baudrillard, J. (2006). Wojny w Zatoce nie było. Translated by S. Królak. Warszawa: Sic!
Belting, H. (2007). Antropologia obrazu. Szkice do nauki o obrazie. Translated by M. Bryl. Kraków: Towarzystwo Autorów i Wydawców Prac Naukowych Universitas.
Bengtsen, P. (2015). Carelessness or Curatorial Chutzpah? On Controversies Surrounding Street Art in the Museum. Konsthistorisk Tidskrift / Journal of Art History, 84 (4), pp. 220–233. DOI: https://doi.org/10.1080/00233609.2015.1095797
Benjamin, W. (1968). The Work of Art in the Age of Mechanical Reproduction. In H. Arendt (Ed.), Illuminations (H. Zohn, Trans., pp. 217–251). New York: Schocken Books. DOI: https://doi.org/10.4324/9780429498909-39
Benjamin, W. (1975). Dzieło sztuki w dobie reprodukcji technicznej. Translated by J. Sikorski. In Benjamin, W., Twórca jako wytwórca, Poznań: Wydawnictwo Poznańskie, pp. 66–105.
Benjamin, W., Twórca jako wytwórca. Translated by J. Sikorski. In Benjamin, W., Twórca jako wytwórca, Poznań: Wydawnictwo Poznańskie, pp. 46–65.
Benjamin, W. (1999). The Author as Producer. Address at the Institute for the Study of Fascism, Paris, April 27, 1934. In Benjamin, W., Selected Writings. Volume 2, part 2, 1931–1934, transl. R. Livingstone and Others, Jennings, M. W., Eiland, H. Smith, G. (eds.). Cambridge, Massachusetts, and London, England: The Belknap Press of Harvard University Press, pp. 768–792.
Berleant, A. (1991). Art and Engagement. Philadelphia: Temple University Press.
Berleant, A. (2004). Re-thinking Aesthetics: Rouge Essays on Aesthetics and the Arts. Aldershot: Ashgate Pub.
Berleant, A. (2007). Prze-Myśleć Estetykę. Niepokorne eseje o estetyce i sztuce. Translated by M. Korusiewicz. Kraków: UNIVERSITAS.
Castells, M. (2002). Virtual Communities or Network Society? In Castells, M., The Internet Galaxy. Reflections on the Internet, Business, and Society. Oxford: Oxford University Press, pp. 116–136. https://doi.org/10.1093/acprof:oso/9780199255771.003.0005 DOI: https://doi.org/10.1093/acprof:oso/9780199255771.003.0005
Chmielecki, K. (2016). Obrazy, które nie są już obrazami. Wizualność obrazu cyfrowego w antropologii obrazu Hansa Beltinga. In Łukaszewicz-Alcaraz, A. (ed.), Widzialność/ Wizualność obrazu cyfrowego pomiędzy fenomenologią a kulturą wizualną, Szczecin: Akademia Sztuki w Szczecinie, pp. 114–135.
Crotti, S. (1997). Interspaces: From Public Site to Common Places. In Architecture of Public Space: Forms of the Past, Forms of the Present. Milano: Electa.
Czekalski, S. (2000). Awangarda i mit racjonalizacji. Fotomontaż polski okresu dwudziestolecia międzywojennego. Poznań: Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk.
de Souza e Silva, A. (2006). From Cyber to Hybrid: Mobile Technologies as Interfaces of Hybrid Spaces. Space and Culture, 9(3), pp. 261–278. https://doi.org/10.1177/1206331206289022 DOI: https://doi.org/10.1177/1206331206289022
di Marino, M., Tabrizi, H. A., Chavoshi, S. H. and Sinitsyna, A. (2023). Hybrid Cities and New Working Spaces – The Case of Oslo. Progress in Planning, 170(100712), pp. 1–35. https://doi.org/10.1016/j.progress.2022.100712 DOI: https://doi.org/10.1016/j.progress.2022.100712
Grochowska, A. (2013). Murale symbolem rewitalizacji czy gentryfikacji? Przykład Wrocławia. XXVI Konwersatorium Wiedzy o Mieście, pp. 149–158.
Hampton, K. (2002). Place-based and IT Mediated ‘Community’. Planning Theory & Practice, 3(2), pp. 228–231. DOI: https://doi.org/10.1080/14649350220150099
Iveson, K. (2009). Graffiti and the politics of public space. City, 13(4), pp. 367–379.
Jankowska, M. (2004). Wideo, wideo instalacja, wideo performance w Polsce w latach 1973–1994. Historia, artyści, dzieła. Warszawa: Wydawnictwo Neriton.
Jones, O. (2009). Nature–Culture. In Kitchin, R. and Thrift, N. (eds.), International Encyclopedia of Human Geography. Elsevier, pp. 309–323. https://doi.org/10.1016/B978-008044910-4.00716-1 DOI: https://doi.org/10.1016/B978-008044910-4.00716-1
Kita, J. (2015). Ilustracje z dziewiętnastowiecznej prasy Królestwa Polskiego jako źródło do badań nad kulturą uzdrowiskową. Studia z Historii Społeczno-Gospodarczej XIX i XX Wieku, XIV, pp. 37–48. http://dx.doi.org/10.18778/2080-8313.14.03 DOI: https://doi.org/10.18778/2080-8313.14.03
Lessing, L. (2006). Code: Version 2.0. New York: Basic Book.
Łukaszewicz-Alcaraz, A. (2014a). Foreword. The eye and the palm. The dynamic of the painting as an artistic, social, and political expression „Breaking the walls of graffiti. The correspondence between street–artists”. In Łukaszewicz-Alcaraz, A. (ed.), Breaking the Walls of Graffiti. The Correspondence Between Street-Artists. Szczecin: Wydawnictwo Naukowe Akademii Sztuki w Szczecinie, pp. 7–9.
Łukaszewicz-Alcaraz, A. (2014b). The event and the painting Abusa Crew and Chinarte about femininity and community. In Łukaszewicz-Alcaraz, A. (ed.), Breaking the Walls of Graffiti. The Correspondence Between Street-Artists. Szczecin: Wydawnictwo Naukowe Akademii Sztuki w Szczecinie, pp. 38–45.
Łukaszewicz-Alcaraz, A. (2016). Wybrane wątki pragmatyczne, ontologiczne i estetyczne w filozoficznej analizie obrazów miejskich. Kultura i Historia, 30, Lublin, pp. 9–23.
Łukaszewicz-Alcaraz, A. (2017). Urban Images: Street-Art, Graffiti, and Vandalism – in the Context of Arnold Berleant’s Aesthetics of Environment. In Proceedings of ICA 2016: Aesthetics and Mass Culture. Seoul: The Korean Society of Aesthetics, pp. 653–661.
McLuhan, M. (1964). Understanding Media: The Extensions of Man. New York: McGraw-Hill.
McLuhan, M. (2004). Zrozumieć media. Przedłużenia człowieka, transl. N. Szczucka. Warszawa: Wydawnictwa Naukowo-Techniczne.
Mitchell, W. J. T. (2011). Cloning Terror: The War of Images, 9/11 to the Present. Chicago: University of Chicago Press. DOI: https://doi.org/10.7208/chicago/9780226532615.001.0001
Moch, W. (2016). Street Art i Graffiti. Litery, słowa i obrazy w przestrzeni miasta. Bydgoszcz: Wydawnictwo Uczelniane Wyższej Szkoły Gospodarki.
Najjar, O. A. (2011). Emergent Structure in the Abu Ghraib Political Cartoons of Emad Hajjaj. The International Journal of the Image, 1(3), pp. 1–18. https://doi.org/10.18848/2154-8560/CGP/v01i03/44212 DOI: https://doi.org/10.18848/2154-8560/CGP/v01i03/44212
OECD (2020). Policy Responses to Coronavirus (COVID-19). Available at: https://www.oecd.org/en/publications/capacity-for-remote-working-can-affect-lockdown-costs-differently-across-places_0e85740e-en.html [Accessed: 3.04.2025].
Public Art (n.d). Tate Gallery [official website]. Available at: https://www.tate.org.uk/art/art-terms/p/public-art [Accessed: 3.04.2025].
Ramirez Blanco, J. (2013). Reclaim The Streets! From Local to Global Party Protest. Third Text: Critical Perspectives on Contemporary Art and Culture, 123. Available at: http://thirdtext.org/domains/thirdtext.com/local/media/images/medium/Julia_Blanco_Reclaim_the_streets_1.pdf [Accessed: 3.04.2025].
Salad Days (2016). 23 Giugno / Modena ’1984. Evoluzione e rigenerazione del writing’. Salad.Days Magazine, June 8, https://www.saladdaysmag.com/23-giugno-modena-1984-evoluzione-e-rigenerazione-del-writing/ [Accessed: 4.04.2025].
Setti, G. (2013). Beyond Public Spaces: Shared Spaces in the Contemporary City. Journal of Civil Engineering and Architecture, 7(7), pp. 833–840. DOI: https://doi.org/10.17265/1934-7359/2013.07.008
Soulages, F. (2012). Estetyka fotografii. Starta i zysk. Translated by B. Mytych-Forajter and W. Forajter. Kraków: Universitas.
Vert, S., Andone, D. and Vasiu, R. (2019). Augmented and Virtual Reality for Public Space Art. ITM Web of Conferences, 29 (03006), pp. 1–9. https://doi.org/10.1051/itmconf/20192903006 DOI: https://doi.org/10.1051/itmconf/20192903006
Zizek, S. (1997). The Plague of Fantasies. London: Verso.
Zizek, S. (2001). Przekleństwo fantazji. Translated by A. Chmielewski. Wrocław: Wydawnictwo Uniwersytetu Wrocławskiego.
Invader2006 (2008). SPACE INVADER VRN_12 QR CODE INDIA, Available at: https://youtu.be/koovHRADjxI?si=uRyV0PdlkOCk7ATM [Accessed: 7.04.2025].
Downloads
Published
Issue
Section
License
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
How to Cite
