Banksy, humor británico e ironía ácida grafiteadosSentido, significado e inversión del ready-made en el arte urbano
ISSN: 1131-5598
Argitalpen urtea: 2022
Alea: 34
Zenbakia: 1
Orrialdeak: 233-253
Mota: Artikulua
Beste argitalpen batzuk: Arte, individuo y sociedad
Garapen Iraunkorreko Helburuak
Laburpena
On the periphery of the intellectual debate about the redefinition of visual art, street art or urban art is progressively acquiring a clearer status as an artistic manifestation with intrinsic value. Some graffiti artists already recognized with an artistic aura, protected, however, by anonymity, produce this type of artistic manifestation on the walls of the city, thus defying legality. These works unfold alien to museum circuits, taking advantage of the notoriety that their projection into the public space provides in a difficult balance between authorship and ownership. This research analyses the theoretical foundations of meaning and sense in graffiti, and what we call mature urban art. We consider the role of architecture and the city as elements of an inverted ready-made that street artists, ultimately, use not only as a material support but also as an instrument of meaning, integrating such contextual frame in their work in an unequivocally intentional way. Thus, in this type of street art to which we refer, what is painted on the wall as well as the wall itself or the place where it is located are an inseparable ensemble adding meaningful layers that qualify the sense of the entire work. We consider some of Banksy’s work as a paradigmatic example of this new expressive medium. This new, more sophisticated conception of urban art executed by a critical minority and aimed at a social majority places this kind of artistic production at the centre of the contemporary cultural problematic, resignifying the city as a continent and as an artistic content, thus integrating the graffiti and its urban context in the same signifier
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