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-Gli otto prototipi di muro (Foto di Guillermo Arias, cortesia dell'autore)
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Attraverso un’analisi interdisciplinare, il testo affronta il caso studio Prototypes, consistente nella proposta dell’artista C. Büchel di considerare i prototipi di muro di confine tra USA e Messico dei monumenti nazionali. Tramite gli strumenti teorici garantiti dai border studies, dalla filosofia analitica e dalla storia dell’arte contemporanea,...
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Citations
... La Street Art -nell'intero insieme di sottocategorie che ne fanno parte -costituisce un linguaggio sostanziale del genere artistico della Border Art, una sfera visuale relativa al concetto di 'con ne' secondo plurime accezioni geo-territoriali e concettuali (Amilhat Szary, 2012;Berelowitz, 2003;Masala, 2022). Ne costituiscono paradigma i casi in cui il con ne territoriale e politico veste i panni sia di tema che di supporto speci co delle opere. ...
The text investigates the decorative aspects of Street Art works in border contexts and on border walls thorough an interdisciplinary analysis articulated between geography, border studies and semiotic of culture. By relocating the Street Art genre in Border Art, the study reflects on the possibility to consider such works as decorations and insists on the importance of focusing the attention towards the performative and active aspects of decoration. Therefore, a discourse projected into a ‘per-form-active decor-action’ is here introduced. The analysis of San Diego Chicano Park episode as an example of muralism about borders and bordering issues represents a significant example of the cases in which border-Street Art is executed in contexts that are chronologically and geographically far from the border line and the wall that possibly marks it. Subsequently, the paper investigates a wide and diversified selection of case-studies, such as Banksy and JR’s interventions on the israeli- palestinian wall, the East Side Gallery of Berlin and other examples belonging to the US-Mexico border. The site-specificity aspects are deepened together with the relationship with the material relationship with each barrier’s formal typology and with the numerous subjects and themes selected by the artists for each of them. These written considerations bring some side notes on the different questions raised by the decorations on divisive barriers and contribute in conceiving them as a foundational part of the performative dimension of decoration.
