Desire Lines: MetaphoricalVol 5 No 2 (2019)
The SAUC V5 Issue 2, “Desire Lines: Metaphorical” is about:
The Disappearance/Virtualisation of Graffiti and Street Art – From Urban to Institutional to Virtual Space; Whose Wall is it Anyway? Using street art to navigate the private and the public in a community; Polysemiotic Communication vs. Multimodality: a conceptual and terminological distinction applied in street art; The Past in Public Space “Der Jahrhundertschritt”: A Lieu de Memoire As An Urban Intervention of Memory (2018); Zero Tolerance = 100 New Techniques Swedish / Nordic Street Art; Contextualizing graffiti and street art in suitable museum settings: Street Art Today’s upcoming museum in Amsterdam; There and Back Again: Redistributing Visibility between the Virtual and Real Alleys of Graffiti; From Post-Posters to Un gilet; Streetness & Inopinatum: the “sense of the street” and the “unexpected impertinence”. For a binary code in street art.; Street Art is dead. Again and again. Brief State of the (Urban) Art.
With contributions from Sweden, Switzerland, Canada, Netherlands, Spain, China, France and Italy.
Desire Lines: LiteralVol 5 No 1 (2019)
The SAUC V5 Issue 1, “Desire Lines: Literal” is about:
Street art and heritage conservation: From values to performativity; Development of art in Kosovo after World War II “The artist’s Art Works after the Second War and their similarities with the famous painters” ; The Local text of a city and public art: in search of a post-Soviet identity; The Brigada Ramona Parra and the art of muralising protest during the Pinochet Regime; From the street to the walls: the “yellow vests” movement in France; Red Army Gra ti: Reconstructing a lieu de mémoire; Con icts of Memory: Red Army Gra ti in the Reichstag 1945-2015; Street Art in Lisbon.
With contributions from Norway, Kosovo, Russia, UK, France, Germany and Brasil.
Changing times: ResilienceVol 4 No 2 (2018)
“Changing times: Resilience” gather contributions about Resilience and adaptability through institutionalization, formal aesthetic shift , Graffiti as a Palimpsest, Framing Poetical Expression, Poetic Objects in Public Space. Geographically framed approached as The “black-and-white mural” in Polytechneio in Athens, The Evolution of Street art and Graffiti in India, Shark Graffiti On Reunion Island Russia - Specifics of Periodization in Russian Street Art . Temporal overview looks upon: strategies for creating village identity symbols using street art tactics, The commodification of alternative cultural spaces, English Language Video Documentaries On Contemporary Graffiti And Street Art, A brief history of street art as a term up to 2000. And finaly an article review of Glaser, K., 2017. Street Art and New Media. And the invited contribution of OPNI Group - Grupo OPNI graffiti and urban violence in present-day Brazil.
With contributions from Switzerland, Finland, Spain, Sweden, Greece, Poland, New Zealand, USA, Austria, UK, Russia, and Brazil.
Changing times: TacticsVol 4 No 1 (2018)
“Changing times: Tactics” gathers contributes about the Displacement of the Street Art Aesthetic (OSGEMEOS in the white cube), looking at a City-wide Art Gallery or The Pixed City the Body-Landscape, Aesthetics of Change with Multiculturalism. Also Sustainable Graffiti Management Solutions for Public Areas and street art and Copyright hard areas of approach. And more soft approaches (based on human sciences) on and Against Street Signs: On Art Made out of Street Signs, Work and play, in Line or within Graffiti-Writing traditions and Street Art innovations. Visioning with the posturban paradigm and where street art and graffiti are not (going to be), the evolution of Halls of Fame, and as a statement: No Tags. No Masterpieces, but also the duality of Image versus writing: from post- graffiti and murals’ assault to gra ti’s scriptural riposte. Also Gra ti as a catalyst of individual creativity and more broad contents about Documenting graffiti culture. All brave Paths also documenting Graffiti on trains, photography and Subterráneos.
With contributions from Germany, Iran, Brazil, Australia, UK, Spain, Italy, Ukraine, Austria, Portugal, and France.
Intangible HeritageVol 3 No 1 (2017)
The intangible dimensions of the conservation of graffiti and street art were regarded by most to have a broader capacity for dealing with graffiti and street art as heritage, albeit mainly through documentation. Although physical conservation was regarded by some as a ‘non-issue’ this is, in fact, conceptually where we may find the greatest contemporary challenges – in response to which a range of possible solutions is suggested, such as self-preservation by the creator’s communities.
Knowledge TransferVol 3 No 2 (2017)
Practice-based approaches from the professional fields of public art and urbanism augmented the academic debate. The Lisbon council’s experience was a particularly relevant contribution for the clarification of the difficulties and opportunities associated with the institutional practice. Several participants emphasized the incompatibilities that may arise when graffiti and street art are developed in an institutionalized manner. It was argued that these forms of urban creativity have a valuable capacity for resilience in adapting both to attempts to institutionalize, and attempts to oppose, these forms of practice.
Center Periphery: TheoryVol 2 No 2 (2016)
In the aftermath of the Lisbon Street Art & Urban Creativity International Conference (June 2015) the Executive Committee of the conference intends to promote and foster the existence of broader approaches to the conference's outcomes. The Street & Urban Creativity International Research Topic will develop actions to generate stronger articulations between researchers through collective applications, applied research and publishing material.
Theoretical approaches to Center, Periphery. Addressing tangible geographies like Uruguay and Brazil, methodological geographies centered in values, also about digital geographies, having space also for one philosophical essay and one book review.
Center Periphery: PracticeVol 2 No 1 (2016)
In the aftermath of the Lisbon Street Art & Urban Creativity International Conference (June 2015) the Executive Committee of the conference intends to promote and foster the existence of broader approaches to the conference's outcomes. The Street & Urban Creativity International Research Topic will develop actions to generate stronger articulations between researchers through collective applications, applied researches and publishing material.
Center and Periphery issues of practical nature, texts directly related with authors and pieces, including distinct cities, and supports of creation such as photo and video, here's also included a very useful and of practice nature article about research ethics.
Methodologies for ResearchVol 1 No 1 (2015)
Research concerning street art & urban creativity assumes quite different methodologies according to the scientific background of the researchers and the scientific area it is being developed. As there is still no consensus regarding a methodological approach towards such issues and in the aftermath of the first international conference regarding street art & urban creativity, this issue brings forward the insight of several researchers on their own methodological approaches towards this thematic.
Places and Non PlacesVol 1 No 2 (2015)
Does street art & urban creativity contribute to settlement and establishment of places or non places? Do such artistic practices transform non places into places and/or vice-versa? Taking on a methodological research towards such questions this issue brings forward original research concerning these artistic practices in the contemporary background. Whether exploring street art & urban creativity in specific urban contexts or discussing its own rightful place, this issue sheds some light on such questions and contributes to the current scientific debate.