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Icelandic Street Art. an Analysis of the Formation and Development. Dissertation Zur Erlangung Des Grades Eines Doktors Der Phil

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Icelandic Street Art. an Analysis of the Formation and Development. Dissertation Zur Erlangung Des Grades Eines Doktors Der Phil Icelandic street art. An analysis of the formation and development. Dissertation zur Erlangung des Grades eines Doktors der Philosophie an der Philosophischen Fakultät der Technischen Universität Dresden vorgelegt von Joanna Zofia Rose geb. am 29.06.1985 in Wroclaw Betreuer: Prof. Dr. Bruno Klein Institut für Kunst- und Musikwissenschaft der TU Dresden Verteidigung am 14.07.2020 1. Gutachter: Prof. Dr. Bruno Klein 2. Gutachterin: Prof. Dr. Ilaria Hoppe Table of contents PART I ......................................................................................................................... 5 Theory .......................................................................................................................... 5 1. Methodology and research goals ............................................................................................... 6 1.1 Subject matter and research tools ....................................................................................... 6 1.2 Historical background reasoning the topic choice ............................................................. 10 1.3 Development of history of art as a discipline reasoning the topic choice ......................... 12 1.4 Information sources used in research, collection methods and value assessment ........... 14 1.5 Specifics of Iceland ............................................................................................................. 18 2. Fluctuating scope of the area of interest ................................................................................. 20 2.1 Change in the approach ..................................................................................................... 22 2.2 Widening research and multidisciplinary approach ........................................................... 25 3. Nomenclature in the street art and urban activity studies ...................................................... 28 3.1 Overview of milestones in attempts of street art definitions ............................................ 29 3.2 Newest points of view ........................................................................................................ 33 3.3 Definitions used hereby ..................................................................................................... 34 4. Institutionalization as an inseparable part of street art history .............................................. 37 4.1 Scope of definition ............................................................................................................. 37 4.2 Institutionalization as an inseparable part of street art .................................................... 39 4.3 The side effect of sponsored street art .............................................................................. 44 4.3.1 Graffiti in large-format advertising ............................................................................. 44 4.3.2 Substitute for freedom in curated urban space .......................................................... 46 4.3.3 Zero Tolerance Policies and clean cities ...................................................................... 48 4.4 Publicity of the public art ................................................................................................... 49 4.5 Research on the institutionalization of street art .............................................................. 53 5. Icelandic street art in the context of the current state of international research ................... 56 5.1 Area of interest – social studies and the edge of different disciplines .............................. 56 5.2 Different means of research on street art ......................................................................... 57 5.2.1 Festivals, conferences and street art museums as a research tool ............................ 58 5.2.1.1 Street art festivals ................................................................................................ 58 5.2.1.2 Street art conferences .......................................................................................... 62 5.2.1.3. Street art museums ............................................................................................. 65 5.2.2 Material published in book forms ............................................................................... 68 2 5.2.3 Online accessible articles and reviews, blogs.............................................................. 69 5.3 Icelandic art ........................................................................................................................ 71 5.4 Street art in Reykjavík ........................................................................................................ 75 5.4.1 The Reykjavík Grapevine ............................................................................................. 76 5.4.2 Online sources: personal blogs, tourist information, social media accounts ............. 77 5.4.3 Hard copy published materials .................................................................................... 80 5.4.4. Social media and sharing platforms ........................................................................... 81 5.4.5 Film materials .............................................................................................................. 82 5.4.6 Publications of cultural and educational institutions.................................................. 83 6. Icelandic street art ................................................................................................................... 84 6.1 Environment for street art development in Iceland. Artistic society after the Second World War ................................................................................................................................ 84 6.2 Hlíðargöngin as the first scene for Icelandic street art ...................................................... 91 6.3 Bloom and expansion time ................................................................................................. 95 6.4. Zero Tolerance Policy Implementation in Reykjavík ....................................................... 100 6.4.1 Reasons for the implementation of Zero Tolerance ................................................. 100 6.4.2 Scandinavian inspirations for Implementation of Zero Tolerance Policy ................. 102 6.4.3 The costs of Zero Tolerance Policy ............................................................................ 104 6.4.4 Obtaining permission for graffiti ............................................................................... 105 6.4.5 An assigned place for graffiti ..................................................................................... 107 6.4.6 Icelandic version of Zero Tolerance Policy ................................................................ 112 6.5 The peak of urban creativity around 2012 ....................................................................... 113 6.5.1 Hjartagarðurinn......................................................................................................... 113 6.5.2 Guido van Helten ....................................................................................................... 118 Sailors, Skagaströnd 2013 .............................................................................................. 120 Afi, Reykjavík 2013 ......................................................................................................... 120 No exit, Reykjavík 2013 – 2014 ...................................................................................... 121 Halla, Vestmannaeyar, 2014 .......................................................................................... 122 Girl, Akureyri 2014 ......................................................................................................... 123 Jón from Vör, Kópavogur 2015 ....................................................................................... 124 Sæfari, 2015 ................................................................................................................... 124 6.5.3. Sara Riel .................................................................................................................... 126 6.5.3.1 Education, early recognition and awards ........................................................... 126 6.5.3.2 Beginnings on the street art scene..................................................................... 127 6.5.3.3 Time of growing up ............................................................................................ 129 6.5.3.4 In the vibrant city ............................................................................................... 130 3 6.5.3.5 Natural Kingdoms ............................................................................................... 131 6.5.3.6 Memento Mori ................................................................................................... 134 6.5.3.7 Is it legal? ........................................................................................................... 135 6.5.3.8 Turn into abstract organic art ............................................................................ 138 6.5.3.9 What plant would you like to be and why? ........................................................ 139 6.6 Street art intensity around 2012 – 2013 and balancing the scene off ............................. 141 6.7 Wall Poetry ......................................................................................................................
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