vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 of Lodz.October 2018,andreviewed for publication in 2019 February Note: 1871-7897 https://orcid.org/00000-0003- ID: ORCID [email protected] Wioletta Kazimierska-Jerzyk , University ofŁódź. ) Gdańsk, ŁódźandDulwich/ of Collectionsin Zaspa/ (Comparative Analysis Galleries Aspects ofResponsibility for Aesthetic and Ethical 2. Are collections of actually galleries or is the term “gallery″ just a conceptual metaphor public spaceasmural galleries possibleat all? a in interference massive and intense visually a such make to when and happened What 1. The analysis ofthesecollections shouldhelpusanswer the following questions: original commonaims, directly related tohave the current problems of districts or cities in which they – were created. London in Gallery Outdoor Łódź, in Gallery Forms Urban for creating mural galleries. The three examples – Monumental Art Collection in Gdańsk/Zaspa, The aim of the article is to draw attention to the aesthetic and ethical aspects of responsibility Abstract DOI: https://doi.org/10.1344/waterfront2019.61.6.7 This This paper was selected for the 3rd. Aesthetic Energy of the City International Seminar. University 3 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Estètica; ètica; murals; galeria; Gdansk; Lodz; Urban Forms; ; Londres; Outdoor Dulwich Forms; Urban Lodz; restauració; conservació Gdansk; galeria; murals; ètica; Estètica; Paraules clau: 4. Calprotegir irestaurar elsmurals odeixar-los al“element urbànatural”? poden associar-se alfenomen delsmurals? metàfora 3. una Quins valors, estètics, només ètics i relacionats amb és els valors “galeria” socials, artístics, urbans, terme cognitius i educatius, el o galeriesconceptual quefacilita lesaccionsdutes aterme enunespaipúblic? són realment murals de col·leccions Les 2. a galeries murals? com públic espai un en massivainterferència i intensauna visual ferpossible quan i passar va Què 1. ens hauriad’ajudar arespondre alespreguntes següents: amb els problemes actuals dels districtes o ciutats en què van ser creats. L’anàlisi DulwichOutdoor Łódź, Londres,de Gallery tenen originals objectius directamentcomuns, d’aquestes relacionats col·leccions galeries murals. Els tres exemples: Monumental Art Collection a Gdańsk / Zaspa, Urban Forms Gallery a L’objectiu l’article de cridar és l’atenció sobre aspectes els estètics de i ètics la responsabilitat de crear comparativade (Anàlisi de murals galeries col·leccions aZaspa /Gdansk,ŁódźiDulwichLondres) de les laresponsabilitat de i ètics estètics Aspectes Resum restauración conservación Estética; ética; murales; Urban Lodz; aire Gdansk; al galería; Galería Forms; libre Londres; Dulwich; de Palabras clave: 4. ¿Debemosproteger yrestaurar losmurales odejarlosenel“elemento urbanonatural”? urbanos, artísticos, sociales, cognitivos yeducativos valores puedenasociarse conel fenómenodelosmurales? con ellos, y correlacionados éticos estéticos, valores, ¿Qué 3. conceptual quefacilita lasaccionestomadas enunespaciopúblico? metáfora una solo es “galería” término el o galerías son realidad en murales de colecciones ¿Las 2. espacio público como lasgalerías demurales? 1. ¿Qué sucedió y cuándo hacer posible una interferencia tan intensa y visualmente tan intensa en un El análisisdeestas colecciones deberíaayudarnos aresponder lassiguientes preguntas: directamente comunes, relacionados originales con objetivos los problemastienen Londres actuales - de en los distritos Gallery o Outdoor ciudades en Dulwich los que Łódź, se crearon.en Gallery Forms de crear galerías de murales. Los tres ejemplos - Monumental Art Collection en Gdansk / Zaspa, Urban El objetivo del artículo es llamar la atención sobre los aspectos estéticos y éticos de la responsabilidad de colecciones enZaspa /Gdańsk,ŁódźyDulwichLondres) comparativo murales (Análisis de galerías las de responsabilidad la de estéticoséticos Aspectos y Resumen Gallery; London; Outdoor Dulwichrestauration; conservation Forms; Urban Lodz; Gdańsk; gallery; murals; ethics; Aesthetics; Keywords: 4. Shouldwe protect andrestore murals orleave themto the“natural urbanelement”? and cognitive, urban, educational artistic, values – can beassociated withthephenomenonofmurals? social, them with correlated and ethical, aesthetic, – values What 3. that facilitates actions taken inapublicspace?

4 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 com/about/. 2.- TheLondonMural Preservation Society, http://www.londonmuralpreservationsociety. nities where they were created” celebrate established “protect,commu- Society the preserveand to muralstion in Mural interesting London PreservaAn the - approach is first of the kind example of their creation. continue creating, protecting and preserving murals, while others would like to ban to wish Some polarised. is extremely of art type to this attitude Our problematic. however,become murals, has of presence universal The case). the be to used (as are assigned to murals than just decorative, aesthetic orobjectives commemorative functions more Many galleries. called clusters in formed is art of type this that in a very specific way, that is, in a more or less institutionalised manner. This means explained later in the text. Murals are not new, but they are currently being created the year 2008 constitutes an important lineinthis boundary respect, which willbe us in a particularly intensive manner for the last ten years, as it can be assumed that large-formatmurals– have accompaniedthat – externalsaid paintings be might It immediately compare the most important data. The very name of the institution the of name very The data. important most the compare immediately to us allows This in 1. included Table is galleries the information about Basic Łódź. and Zaspa/Gdańsk Dulwich/London, cities/districts: following the in galleries ted selec- three of values and aims structure, the analyse to like would I criticism. of It is therefore not surprising that the so-called mural galleries have become objects in 2016(Grabowska 2016). during Katowice Air Festival StreetPolish M-City Art rals”createdartist was the by expressing banner A literary sentimentof kind “Peacethis unto Walls, Mu- on War murals. against war a wage to startedhave themselves murals numerous painted recently until who artists same very the even Sometimes stopped. be should rals mu- of creation the that demanding people many are there hand, other the On been taking care of. Mural Preservation has London Society the which 1981 in riots after the Brixton in createdworks of series the illustrated of complex murals is the vationvalues of by preser the for struggle this of legitimacy The communities. local of experiences and events of memory the preserving for responsibility ethical by here balanced are considerations Aesthetic species”. of “endangered status the with paintings historical endowing historians, art of expectations the meets and seriously very murals treats initiative this that said be can It creation. its of history the even and founders its as well as condition, location, technique, dimensions, its work, the of title the author, the of name the including convention, museum the with dance accor in prepared works of descriptions contains It rare. is which documentation, 2 . The Society has a website with extensive murals - - 5 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 This analysis shouldhelpusanswer thefollowing questions: curating, financing and protecting the works. of way the to objects, of scale the through buildings, of historical value the location, the same time, the manner of achieving these goals is very different, ranging from the At created. were they which in cities or districts of problems current the directly to related aims, original common have they as examples three these chosen have I of thegallery andtheaspirations oftheorganisers. constituting the illustrate galleries the only not territorial the also but scope integrity largest the locationDatathe and crucial. on distancesis century betweenmurals the our of decade second the that indicates actions undertaken of time The experts. of opinion the well-thought-out, of ve, cooperation-oriented basis the taken actions on to comprehensi- testify organisers main the supporting institutions of rank the and involvement of municipal authorities or the scale of bottom-up activities. The number of degree the and financing of large method creating a murals extent the to explains “natural urbanelement”? the to restoreleavethem protector and murals we Should 4. be associated withthephenomenonofmurals? –can values educational and cognitive, urban, artistic, social, them with correlated and ethical, aesthetic, – values What 3. taken inapublicspace? actions facilitates that metaphor conceptual a just “gallery″ is theterm or galleries actually murals of collections Are 2. possible at all? galleries mural as space public a in interference massive and intense visually a such make to when and happened What 1. 6 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Sponsors Location: country/ city/district gallery/ the of collection name The Substantive support various stages ofactivity) Organisational support(at Financing method and important dates Period ofactivity betweenthe murals distance largest The institution the animating themurals of name The Table 1.General information aboutthe galleries/collections Poland /Gdańsk/Zaspa Monumental ArtCollection in Gdańsk] Mural /the Academy of Muralu/Fine Arts w of School Gdańsk Pięknych [the Gdańsku Sztuk Szkoła Akademia Gdańska 80-460 Gdańsk Pilotów St., Archipelago ofCulture], 11 Kultury 2[Spot.Gdańsk Plama. GdańskiArchipelag Targ St.,80-830Gdańsk Culture Institute], 39/40Długi Instytut Kultury Miejskiej[City (via GdańskSchoolofMural) Culture andNational Heritage co-financed by theMinistry of City Culture Institute), some Municipality ofGdańsk(viathe commissioned by the Public: essentially works buildings, sponsors, crowdfunding. up by the local community or organisation; 2. private: local societies, housing communities, owners of throughpublic: programmes/projects/grants;combined:1. special Usually obtained frombottom the 2017 –last work 2011 –Local Guidesstarted 2009 –revival ofactivity 1997 –first festival long break) a last(with – 1997 work2017 in 1.7 km(21minwalk) and Festival, Mural Local Guides of School Art Gdańsk projects: of three Monumental activities integrated as Institute] Culture [City Miejskiej Kultury Instytut In selected projects especially thecitycentre city, whole /the Poland/Łódź Urban Forms Gallery No organisational support in Łódź Strzemiński Academy ofArt diploma works ofstudents of 2 murals implemented as Medical University ofŁódź, works commissioned by the the University ofŁódź,2 works commissioned by Municipality ofŁódź,2 commissioned by the Public: 6works directly startedGallery the name of the Urban Forms 2011– projects realised under 2008 –last works in2019 9.6 km(2.20minwalk) from Foundation] 2010 10thJanuary Forms [Urban Forms Urban Fundacja name the under continued Activity (2 works) Art Support Foundation “Outline” [Street “Outline” Ulicy Sztuki Wspierania Fundacja Rd, LondonSE217AD Gallery Gallery, Picture Dulwich Dulwich /East Kingdom/London United Dulwich Outdoor Gallery Artists’ OpenHouse event4 Festival 2013) The Streets: DulwichStreet Art Street ArtLondon3(Baroque The annualDulwichFestival2 Festival gallery/ Dulwich the for art up opened shop street the – 2016 Streets: the Dulwich Street ArtFestival Baroque – 2013 2012 –last works in2019 5.8 km(1.13minwalk) Outdoor Dulwich isestablishedGallery the 2013; Festival Art Street Dulwich reets: St The Baroque for London Art Gallery Picture Education Department and Street Dulwich the collabora a – 2013 andStik) between (cooperation Gallery Picture Dulwich – 2012 tion between ­tion 7 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona in theirrecent history Institutionalisation of murals andthe year2008 proposedastheturningpoint DOI: https://doi.org/10.1344/waterfront2019.61.6.7 ‟in the street” outside the Museum (only maps with the locations of their works their of locations the with maps (only Museum the outside street” the ‟in time the at deployedwere Tono Nuria) El and 4814, Nano Spok, (3TTMan, Madrid artists from other efficient Five removal. their enable and walls the damage to not as so surface prepared specially a on createdwere murals The months. three just for Os Gemeos) and collectives: Faile artist two and Sixeart, JR, Nunca, Blu, artists: eight of total a (createdby murals six – fromthe literary – decoratedwith was side Thames facade the Museum’s ofall, character. First specific very a had it that and art of street promotion one-time a was it that said be can It overestimated. is exhibition this of role the opinion, my In 50). 2017, (Biskupski reality” everyday on impact enormous its despite institutions) largestart the of level the at least (at of art discourse official the in art street of absence the of problem the “defined Modern from 2008. They believe that the London Museum for the first time openly Tate the at exhibition Art Street famous the to importance great attribute some In connection with the museum-and-artistic process of institutionalisation, (Keith Haring, Jean-Michel Basquiat), are rarely presented at permanent exhibitions. genre the of classics the from apart artists, street and event, big a still is museum streetmyopinion,art.Inmainreasonthe this is whypresence the streetofa in art doesand knows the cultural and material value ofits exhibits. Itisnot the case with behindsuchcomprehensive careart.mainstreamThe of worldknowsartof what it worksof art.ofEnormous, systematic efforts and substantial financial resources are professionalisedof promotion.art Above all, however, they are places protection of places also – are ones publishing educational, and including activities, research of range wide a to thanks – galleries and Museums not or art. of work a becomes something whether decide sites exhibition art important with associated experts art practice, In 101). appreciation” 1971, candidate (Dickie for ofstatus conferredthe some certain personpersons a orsocial behalfwhich institutionacting of on world) has art (the on 2) artefact an 1) is sense classificatory the in art of is work a point that: the nutshell, a In 90–109). (Binkley1976, Binkley Timothy by proposed work of art proposed by George Dickie and its particularly interesting development ofa concept institutional criticised) (though existing still the with accordance in inthe emerging of art streetsunderstoodbe mainstreamtoshould the art”. ‟worldof art” ‟worldof This the transition thus and art, fine and art street between [1.] distinguished: museum-artistic, urban-activist, official-urban and Internet. can be institutionalisation of types Four art. of type this creating of process the of the institutionalisation is galleries mural of creation the for reason main The The first museum-artistic type of institutionalisation concerns the relationship concerns of institutionalisation type museum-artistic first The 8 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 established in 2008, who created a gallery dedicated to only one work – Ferrolalso in (Spain), Canido of district the in Canido de Meninas galleryLas the of creator the Hermida, Eduardo by shared also is belief This 171–189). 1985, Danto (cf. assumption this surrounding doubts of (regardless art street particular in art, of impact the in faith of kind special a with connected is it time, same the city.At decaying neglected, a to alternative an create to image, its change to space, city the in value a new create to grassroots intensive attempts very about is It activist. urban- call we can which art, of street institutionalisation of type second the of [2] Forms Foundation. the ‟Outline” Foundation for Street Art Support, which later evolved into the Urban established Latuszewska-Syrda Teresa 2008, in And 6). 2016, (Latuszewska-Syrda […]” everywhere seen be can traces Its inventions. technical as frequent as were revolutions artistic when times the revolution, industrial great the of period the within age fell golden Its revolution. of city a is Łódź city,younglikestreetart. just a is Łódź extent: some to art street of history the resembles Łódź all, of After history Łódź? the in not Why here? it do not why myself: to thought I point, that At Faile. and Blu JR, Sixeart, Nunca, Gemeos, Os artists: the of works the building Foundation, its of Formsfacade the on presented TateModern Urban London the 2008, “In reminiscences: the of President the Latuszewska-Syrda, Teresa As model to follow, anexample ofcourage, orasymbol ofmodernityandchange. art was promoted as a way of identifying the place, the building or the city, as a role an –obtaining Streetfacade,Internet purposes. forperfectly-lookingpromotional the unusual on the muralists than more much cooperation this from benefited collection (neither Keith Haring nor Jean-Michel Basquiat). I think that the Museum Modern Tate the in listed is artists thirteen the of None there). distributed were of illegal urban art, taming it and including municipal authorities in the programme different and has somewhat different goals. This third model consists in taking control the case in some cities. Then the course of the institutionalisation process isslightly [3] 30,000 peopleparticipated init(Ruiz2018). approx. and 2018 in Cunido in festival last the during worked artists 200 Approx. n.d.). (Hermida, art” urban of reference international an becoming is district the different disciplines, artists from other and residents local the of contributions the to a city affected by an economic crisis that has punished it for many years. Through back hope give and area forgottena urban of morphology the change can art how (1656) by Diego Rodríguez de Silva y Velázquez and who states: “[it] is an example of Such successes should be of interest to municipal authorities. And this is indeed The activity of the Polish Urban Forms Foundation is, however, anexample is, however, Forms Foundation Urban Polish the of activity The Las Meninas

9 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona 4.- CitéCréation, https://citecreation.fr/en/. 3.- Mural ArtsPhiladelphia,https://www.muralarts.org/. 2.- GaleriadeArte Urbana,http://gau.cm-lisboa.pt/en/gau.html. DOI: https://doi.org/10.1344/waterfront2019.61.6.7 since 1978. creation of murals is the French organisation CitéCréation which has created murals urban version. However, the proof of the need for the professionalised commercial 2016) since (existing Arts The Mural currently and 1986), recognisable. since existing branch most the (as its Program is Arts the Mural as known Philadelphia later Network, Anti- Philadelphia of city American the structure, organisational the of evolution well-thought-outthe and murals of number the of terms in muralProbably galleries. creation of organisationsfamous the involved in world- other two to due point turning the as doubtful seem may 2008 year The organisation alsohasitsclearlydefined mission, strategy and codeof conduct. The artists. 510 cooperationboastcan with GAU The 2008. establishedin also was which (Portugal), Lisbon in Heritage] Cultural of [Department Cultural Património the largest probably is gallery of this type in Europe – the Galeria de Arte Urbana of the Departamento de ofactivity type this of example best The creation. its of It is not even known exactly what a mural is, what distinguishes it from the two the from it distinguishes what is, mural a what exactly known even not is It new andoriginal,desirable andworth investing in. what is clearly defined as art. Otherwise it ceases to be distinguishable as something with itself confront constantly must it that expression aesthetic its in conservative and traditional so is muralism fact, In true. comes wishes above the of none thus more the art, fine artistic these polarisation the both emphasise of we And worlds. and art street between dialogue the for argue we more the opinion, my In art. of type other any about as seriously as art street about write to start will historians can be tamed, (2.) that murals will help educate the museum audience, (3.) that art graffiti that (1.) hopes: following the organisers express the level, idealistic the On prejudices? however,any overcomemuralism, Can 12). 2015, (Beazley world” art drawsattention “Therea is the great of in the deal to prejudice following problem: book titled thus the of author the and OutdoorGallery Dulwich dialogues between murals and other genres of art). Ingrid Beazley, the originator of of types various 1–18: photos (see element urban the stimulatedgrassroots by art new (in the mind of the organisers) genre of independent, spontaneous, egalitarian, decorating walls, preventing vandalism or pleasing people. The point is to promote a from the special tension between street art and fine art. This type of art is not about 2008 indicates a certain special feature of muralism of the last decade. Murals arise The 2008 threshold may, therefore, seem arbitrary. However, in my opinion, the year 3 may pass for the prototype of institutionalisation of street art inthe official- 4 Street Art, Fine Art Fine Art, Street 2

10 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona 9 St.,2009.Photo by ArturAndrzej. Pilotówbeing”, 8h of Gdańsk, unity the of Stanisław separate by world, it is the ultimate reflection a is “Art Woman” Witkacy): (aka IgnacyWitkiewicz Demonic or Bung of coded Falls “622 novel binary a the from quote on based composition ywse Gałuszka), Jurkowski, Sylwester R. (Mikołaj Crew ART PGR 2. 2012. St., Bajana Photo by Wioletta Kazimierska-Jerzyk. 11c and 9a Gdańsk, Mural, of School Gdańsk Zdybel, Jacek by concept diptych the Dobkowski, Jan and TomaszTatarkiewicz, Jan Tarasin, by Stefan Gierowski works from quotes contains Painting Węgrzyn, Polish Michał to Homage Wojciech Goś, Kędra, Emil AgataWoźniak, Buza, Natalia Czarna, Alicja Piskorz, Alicja Wrona, Anna Posiecz-Polkowska, Justyna Taut, Anna 1. DOI: https://doi.org/10.1344/waterfront2019.61.6.7 ikc’ Code Witkacy’s te mural (the (the Foundation Archive. realised by theUrbanForms Foundation. Photo by Paweł Trzeźwiński/Urban Forms llation, Łódź,58 Żeligowskiego St.,2017.The2ndeditionoftheOffGallery Project – MEProtector], theartist’s own technique, thepainting combinedwiththeinsta- 3. Meisal(aka Meisal461,Lasiem,Meis1),Kobieta –JA – Opiekun [Woman 11 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Łukawski, p.88. Mariusz by photo 2004, Łódź Lodz, of History and Signum Malek Foundation [exhibition David catalog], Museum of the of Collection the Artists. From Jewish Distinguished cm, 6 x 46.5 plywood, technique, artist’s the Paul 1940s, to TributeKlee, a – Woman Adler, Jankiel 4. by Paweł Trzeźwiński/Urban Form Foundation. Opiemme, 6. Black Hole Sun (Tribute to Chris Cornell) Chris (Tributeto Sun Hole Black of the roots of Meisal’s work, i.e. graffiti. Photo: graffiti. i.e. Urban Forms Foundation Archive. work, Meisal’s of roots the of reminding project) the of phase initial (the Adler by painting the Meisal’s in “found” letters of tag The 5. , 2017, Łódź, 5/7 Pogonowskiego St. Photo PogonowskiegoSt. 5/7 Łódź, 2017, , 12 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Jerzyk. 150 Court Lane, London. Photo by Wioletta Kazimierska- 20 September 2018”, http://www.guinnessworldrecords.com/world-records/largest-outdoor-mural. TBT Co. Ltd. and Incheon Business Information Technopark, Korea (all South Korea), in Incheon, South Korea, on and was achieved by the Industry Promotion Division, Incheon Metropolitan City, Incheon Port Authority, […] Korea m² 23,688.7 measures mural outdoor largestrecords/114466-largest-spray-paint-mural-by-a-team; “The 2017”,http://www.guinnessworldrecords.com/world-November 10 on Brazil, Paulo, São Head Itapevi, Show in quarters,Cacau at measured and displayed team, his and (Brazil) m² Kobra Eduardo 5,728.62 by createdmeasures was team and a […] by mural paint spray largest “The reported: has Records World Guinness 5.- , 7. DOI: https://doi.org/10.1344/waterfront2019.61.6.7 lz ad ay Davidson Mary and Eliza World Records World recordsareGuinness There contained in be. mural should largea howdetermined has Nobody 167–178). Gralińska-Toborek,2014, Kazimierska-Jerzykin considered most competitive terms ”graffiti” and ”street art“ (detailed terminological issues are noted that, unfortunately, street art may paradoxically not have anything to do with be to city. needs the it with And art this of relationship maintainthe to essential is murals, as graffiti lends contemporary urban artists the myth ofurbanity. This myth about discussions in alive come to continues it blurred, become has streetart and graffiti of genesis socio-political the Although values. landscape or content their created legally, but cities do not have the tools to control the quality is of these works, it Usually, wall. a on necessarily not horizontally, and and vertically laid be can Amural of architecture. the structure using techniques of combinations various reliefs,sgraffiti, paintings incorporating and mosaics, mapping, ceramic video light, has been the case with murals: we have simple paintings, anamorphoses, templates, Differentrule. decoration no of wall there is types so and usedages, have been for important at all. We do not know what technique should be used to create a mural, 5 , but from an axiological and cognitive point of view they are not are they view of point cognitive and axiological an from but , 21, iw t night. at view 2012, , 101.9 cm,oilon canvas, London, . CC0. Kettle, Tilly 8. lz ad ay Davidson Mary and Eliza , c. 1784,c.,127 x - 13 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona art-from-the-streets.html (cf. Biskupski 2017,67; 112). https://www.marinabaysands.com/museum/exhibition-archive/Danysz, Magda by curated Mu Singapore in Science seum Art the in 2018) June 3 January (13 - Streets the from Art exhibition the on comments See: 6.- DOI: https://doi.org/10.1344/waterfront2019.61.6.7 all these words, the term “street art” is highly valued in the artistic circlesthe valuedwords, boastingin these termhighly “street all the is art” of Since, space. public a counter-cultural in interferenceand independent of type (Litorowicz et al. 2016, 35). Street art is most often associated with the intervention know that graffiti is limited by the reach of their hand: “a mural is when you getlift” a graffiti, regardless of the size of the work and its legality. Artists, on the other hand, environment.term the the recipientdeterminedordinaryby uses often most is An popularity their interchangeably, and used are art street and mural Graffiti, Web. the on found knowledge of attribute obvious an is chaos Conceptual hashtagging. essence of network communication, the operation of search engines, or information successfully There concept are This anticipates numerouscritic. options. the art an or gallery names, but we might as well find something in the index of publications of they can be identified by means of an index. This may be an index of artists’ names appropriate way the which their circulationworkslaterto to in forfind the and art as products their define to artists for enough is It 90–109). 1976, (Binkley indexing specifying/ as them described Binkley used. they mechanisms the all above but so-called world of art, not only institutions and their representatives were important, Biskupski 2017)). Already at the end of the 1970s, Timothy Binkley noted that in the and in particular nowadays (in the era of the Internet and Web 2.0 (Seabrook 2001; 293-304), 2001, (sf. Sontag time long a for mentioned been has culture, nowbrow hierarchymovement.the lowbrowInsteadmiddlebrowculture,of – highbrow – of from transition high, worse from better. low to to vertical about not is This process the art, of hierarchy the observed we where models, described previously the in than very differently is conducted which type, the Internet – institutionalisation [4] sortof some highest performance (something “themost”, “the longest”, or “thefirst”, etc.). anecdote, interesting an site-specificity), as responsibly so not described (usually interference artistic the and site the between interaction witty excellentan media: photography,“like-d”“share-d”successfullysocial and be on a can that everything is importantmost The Web2.0. on all abovestreets but the in spreadabilityopenly: accesibility,and lifethe as happening not is art of type this of are mentioned art street promote effectively that features two Today 9). 2008, ago, Cedar Lewisohn optimistically called this impasse a “living dialogue” (Lewishon manner has mixed the qualities of graffiti, street art and decorative painting.To Ten years sum up, art emerging in the streets (of cities and villages) in a strategic (purposeful) longer created in,orfor thestreets”. no are today works many as problematic, is Art’ ‘Street term the “Even city: the h aoepeetd hnmnn s n xml o te orh ye of type fourth the of example an is phenomenon above-presented The 6 - 14 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 a fixed budget. The artists were also not paid: “Their expenses […] [were] paid, [were] […] expenses “Their paid: not also were artists The budget. fixed a the Although Gallery. have not Picture did works the 2), (see larger Table much often fromDulwich were therecreated works paintings old of collection the by inspired monothematic, also was idea the where Dulwich, in implemented was concept similar A more... and more that out turns It Meninas? Las of subject the on variations create to convinced be can people many How unbelievable. seems idea their but miniature, often lift, a without performed small, rather are works the where Canido, of case the is This execution. their for needed materials the to relation in solely borne outlays financial minimal with created be can artist) an of It should be emphasised that murals (depending on the size and often also the rank murals, they are again incorporated into thecityscape. to Thanks glory. former their lost have streets and homes whose inhabitants the city deserves more than the authorities have to offer, also feelings of solidarity with personal the regret often are of that city, These feelings the it. relation to special a gallery. admiration correlatedorganisationalthe for with are skills of These vitality and timeliness the maintaining and nurturing commitment, constantrequire they all, above funds, systematically provided specific, require galleries mural that true is it Although furniture). city or greenery (unlike costs maintenance no practically with associated are murals well-made technically And investments. cultural other with comparison in expensive not is murals of production the general, in as art, of type this of foundation the is money only However, not actions. planned more officelike in Lisbon or (until recently) in Gdańsk provides work comfort and enables of both types of activities are disproportionate. Constant income from the municipal same time simplifies and distorts the heart of the matter. First of all, the possibilities a new way of financing has created a new kind of art. This is an explanation that at the simply provides financial resources for the patronage, creation of initiative such galleries. grassroots In other words, the and patronage municipal the on based both art, of street institutionalisation that fact to the attention draw publications Many on external facades, closeto oneanother, withaview to creating acertain whole. located works, large-sized of clusters creating – at aimed are galleries mural what of model a was It gathered. were art street of creators significant most the and another one to next shown weremurals giant that places those at was it case any in not, or time that at enhanced actually was art street of status the whether of the also when 2008, in created wereaforementioned Street Art exhibition at Łódź the Tate Modern was and organised. Regardless Lisbon Ferrol, in murals Wall used asageneral term that encompasses notonlyartbutalsourbanlifestyle. of independence, and is a combination of commonly used words, it is most eagerly 15 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 exhausted? What isactuallybehindthechanges that are taking place? be formula this Why should activities. those of continuation the ensured year to year from interest and gratitude their and people, to addressed were murals The created. were websites media social operating dynamically and launched quickly during series larger festivals, providing or a sequence of smaller artistic events. in Tour programmes created with guides were were works The them. accompanied activities what and propagated were murals the how shows below 2 Table here. discussed places the in galleries external of aspect only the not was Painting walls important impulsefor reflection. an are they but art, mural stopped not have decisions these course, Of subsidies. city centre (cf. photo 16). In 2018, the Urban Forms Foundation did not receive any century image of the city and it has been essentially forbidden to create them in the In Łódź, it has been decided that a larger number of murals will hurt the nineteenth- decreed that the creation of the gallery in the Zaspa district was completed in 2016. been has it Gdańsk, In galleries. mural supporting from withdrawn have cities the artistic quality was created in the urban space. Recent years, however, indicate that and aesthetic unique a new, that assuming festivals, mural competitions) tender Polish supportedboth (throughcities direct methods, various open co-financing or multi-storey blocks flats of (see in authorities Upa point, 3). municipal Table to the on created are they larger,as even are murals the Gdańsk, In plinth. building the abovemeasured house tenementnineteenthcentury the of wall the of height the high, m 17 approx. is mural average an Łódź, In large. spectacularly usually were works the and included, was artists the different. for Remuneration generally was situation the Gdańsk, and Łódź However,in 336–337).” 2015, (Beazley etc. print, canvases, sell to want they if them lodging, for and publicity good It’s board flights. sometimes and ifnecessary and licences, council lifters/scaffolding, paint, 16 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Art Festivals collection The gallery/ information Sources of for visitors and facilities Guided tours DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Table 2.Dissemination: events andmedia Monumental ArtCollection 2016 –Monumental Art:Waiting Day Each Counts Art: Monumental – 2015 Happiness the is Road Art: Monumental – 2014 Art: We Going? Come From? What Are We? Where Are Monumental 2013 – Monumental Art: Where Do We – Is Everything for Sale 2012 is Love Art: Temptation Monumental – 2011 the TimesofCrisis in Freedom Art: Monumental – 2010 2009 –Monumental Art [Millenium ofGdańskFestival] Gdańska na Festiwal Tysiąclecie – 1997 • • • • • • • • • com/ gdanskaszkolamuralu.blogspot. Gdańsk SchoolofMural: http:// przewodnicy-i-przewodniczki/ http://ikm.gda.pl/projekt/lokalni- Institute ofUrbanCulture page: http://muralegdanskzaspa.pl/ Monumental ArtCollectionpage: “Murale Gdańska Zaspa” mobile application map ofmurals about thecollection. best source ofknowledge the ambassadors andthe certificate andthey are they have aspecial to fulfil the role of guides, inhabitants are prepared agreed time tour by phoneoremailat you can alsobookafree in thesummerseason tours three timesa week charge hikingandbiking regular andfree of 2011 –till today

08 Ubn om Festival: Forms Miejsce [Place] Urban – 2018 of Dialogue] Festival]: Alfabet dialogu [Alphabet Cultures Four of Łódź [The Czterech Kultur Łódź Festiwal – 2017 Destroying, Building, Reconstruction]Demolishing, Cycles: budowanie, Festival. Urban City the of [Energy odbudowa burzenie, cykle: niszczenie, Miejskie Miasta. Energia Festiwal – 2016 Miasta [Energy oftheCityFestival] Energia Festiwal – 2015 Gallery Forms Urban Festival – 2014 Gallery Forms Festival Urban 2013– Gallery Forms Urban Festival – 2012 Gallery Forms Urban Festival – 2011 • • • • • • • Urban Forms Gallery ot pt-ae website: urbanforms/ up-to-date https://www.facebook.com/ most https://energiamiasta. com City], the of [Energy Miasta Energia www.urbanforms.org/ page: Foundation Forms Urban map ofmurals guide sightseeing temporarilyto prepared are FUF at working apprentices interns and time, agreed by at tour email paid a book can you the in summer season usually grants, from tours refunded and bus free occasionally and biking hiking, 2011 –till today 2012 –theannualDulwichFestival • • • • • • Dulwich Festival) the with (associated Festival Dulwich Art Street Streets: the Baroque – 2013 Dulwich Outdoor Gallery DulwichOutdoorGallery/ https://www.facebook.com/ most up-to-date website: https://dulwichonview.org.uk/ page], Dulwich OnView [local community map ofmurals guide at DulwichPicture Gallery tour a as involved previously guide a a Dulwich book paid tour by can email at agreed walk time with you – Art Gallery Outdoor Street – 2017 no regular free orpaidhiking since May 2012–till today 17 5 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona The concept andcollection ofgallery A gallery orametaphor ofagallery? DOI: https://doi.org/10.1344/waterfront2019.61.6.7 whether and in what sense it is metaphorical. This is all the more interestingmore since the all is This metaphorical.is it sense what in and whether and of gallery notion in the is expressed activity urban-social-artistic complex this why understand to try can We 4). 2003, Johnsen (Lakoff; of” aware normally are we is not something system conceptual as “our operation, marketing calculated Thirdly, the use of names, especially common ones, does not have to be a conscious, these initiatives. towards formulate should we expectations of kind what and mean names these galleries/collectionsthese from,comes questions the hence and what arise exactly synergy of time, place and people. This is where the ambiguity in the assessment of specific the connote also that names trade of kind a brands, sense, a in are, They a city. or a district of promotion targeted specifically local, on focused initiatives also are Łódź and Gdańsk Dulwich, in galleries mural cases, three Moreover,all in ephemerality, distinctiveness, etc.). institutional of because (e.g.: it to themselves (as I have already mentioned) all the time they aspire to the world of art and compare 71). At the same time, however, these are specific cultural products. Firstly, because proper names of products (effects) of human cultural activity (Gałkowski 2017, 55– exampleschrematonymes,are,likeherenames, analyseof manyother I i.e. which galleries mural of names the Secondly, 135–144). 2014, (Rutkiewicz-Hanczewska ridiculousness to leads often and fashion of expression an is creation image brand Such elements. constitutive its are qualities technical and aesthetic which in art of concept conservative and traditional the refer to they time, taste”.same the At “sublime and something of performance skilful spaces, largesuggest they objects: related to art, its creation and exhibition lend their specific features to the described terms The place. the of properties takethe accountintoprinciple in should names of types Such image. assumed a certain create to order in written texts, efferent so-called the are These salon. door a or taste, of atelier an studio, nail a gallery, alcohol encounter,an example,can forWe art). to unrelated(completely services and shops enterprises, of names marketing as in especially todayoverusedgreatly First of all, many words related to art, for example, an atelier, a studio or a salon are as galleries? Thematter isnotsosimplethough. murals are as simply art to most practice, people. Why should we a strange not collect or not promote murals is this Essentially, used. properly and understandable in used often be should they are so words, known commonly which are These murals. “collection” of clusters naming and “gallery” terms the examine us Let 18 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Should staircase decorations be considered monumental art? interior works considered murals since we are talking here about outdoor galleries? related to each other formally, be counted as one work or two (photos 10–11)? Are building, same the on compositions different two Should one? or works several they – are another into one flowing compositions are that passages underground in works Multi-author installations? or murals plywood) (e.g.: walls movable on works large-scale Are 12–13)? (phots one or works two these are – other) the (one on palimpsest-style e.g.: atypically, created works describing for rules no are There 9)? 1, (photos murals two or work, one i.e. diptych, a as them treat – walls by the collections in Łódź, Gdańsk and Dulwich. It is not known how to count double generatedproblems basic some are Here it. do cannot simply one rules, arbitrary of the text. It is very difficult to just count these works in a reliable way. Without any that offered by the London Mural Preservation Society mentioned at the beginning as works of their description a detailed such has institutions three these of None size oftheexhibits. the on information general and involved artists of number the works, of type and contains below 3 TableTherefore, hard). very try we if (even collections these describe to easy not is it all, of First of thiscollection. Inpractice, itisunachievable formany reasons. should be admired as an identified set of objects, having its value also due to the entirety whole (cf.whole whole”.vieweda ascollection The therefore has purpose own a meaning its and as is objects of group “a that fact the with but objects of accumulation simply or activity “agathering together”. Itisimportant that this isnot associated with non-reflectivea another.“collection”,oneword The Medievalderived from Latin, meansalso while structureallows one tocompare works with one another and works tocompete with portico, of divided kind rhythmically a columns. gallery Hence, is function.the by It fromMedieval Latin,connected is specific formal a with of type architecture its and The word “gallery” is interesting and semantically complex. Its meaning, which derives war, terrain markingandtrespassing. creativity, metaphors conveying in are differentexpressed completely of messages spontaneous and phenomenon urban the of combination optimal the as treated still art, street and of muralists, experience aprimary is generally which graffiti, Collins English Collins ).Dictionary Summing up, murals as a collection in the gallery on the number the on informationapproximate only 19 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 The numberofartists dimensions ofworks Types andapproximate included inthegallery) of places(onlyworks of works orthenumber The numberandtype The gallery /collection Table. 3.Works andartists – general data most interesting and most significant in the collection. Generally, we readthat Generally, ofthe thecollection. in one significant being most often and interesting works, most non-existent treat to how known not also is It the artist’s presence inagiven place,one can even say that this fact distorts it. gallerycompletelya of takesfactmuralpart The thata is away contextfromthe of kindof some (cf. idea Kazimierska-Jerzyk, specific 2017). a or of integral element an intervention is mural) to a large (next work a smaller sometimes And not? or collection the in included works,be theytemplatesformsmaller tags.of Should or the in presence their of leave traces often Artists 2016)? (Begum decorated inside orthe 2013) St.) Village Dulwich (84 M@ Gallery Outdoor Dulwich The called gallery indoor Dulwich 2013; (Siegrist 2013 Festival Art Street Dulwich Streets: The and outside – made available to the festival audience for three days during Baroque How to treat a total project such as the Art House – a house filled with works inside • 8 works madeby teams 72 authors engaged • • • • • ouetl Art Collection Monumental n egt te nrne o the to staircase: approx. 2.5minheight entrance the height, in m 36 to up – floors 14 to 5 from flats: of block a of wall gable The nrne: 9 authors 19 engaged Entrances: Side walls: o cvrd y h name the Monumental ArtCollection) by covered and not club (changing difficult to count, deliberately the “Plama” of elevations non-existing] the [only outdoor paintings, three of entrance to ablockofflats decorations 19 63 large format murals • • height block of flats: approx. 31 m in 12-storey a to up pavement, the on paintings horizontal facadestenementof houses, (including side usually facades), main functions and shapes different with Walls Urban Forms Gallery • • • • Town inGdańsk Old in houses of fronts the revitalising of project the engaged and works small (including authors 121 authored) - 2works Republic People’speriod (so double- Polish on the from advertising format working large Authors 24 works madeby teams making large murals) 7 6 authors engaged (only engaged authors 6 Forms Gallery) y h name the are by them covered not deliberately of interventions (some smaller passages, underground on trams, paintings doors, works in ceramics), installations, projects (, small as such works, interesting many [5 non-existing] murals format large 90 6 )

Urban • • • an aae) installations, miniature works facades), main of (including parts only panels or walls (small height 10 in m to up (approx. buildings gable walls of double or triple storey often functions, shapes and different with Walls • • uwc Outdoor Gallery Dulwich 35 authors engaged 1 work. – duo a as working Authors 44 locations of outdoor of locations 44 murals non-existing] 2 House, Art the [except Dulwich Outdoor Gallery The called gallery indoor Dulwich (non-existing), the indoor works: the Art House complex of locations 2 and Nagel) Christiaan by installations Wilson, Ben by art” gum “chewing stencils, stickers, types (large murals, small panels, different of works 20 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona 7.- LeGrenobleStreet ArtFest, https://www.streetartfest.org/visites-guidees/. DOI: https://doi.org/10.1344/waterfront2019.61.6.7 allowed recipients to seethewealth ofsubgenres ofthistechnique. proximity) close the in placed works (especially turn in which technology, 3D in working artists only gathered 2018 Festival Forms Urban the example,For events. of leitmotiv the often also are photo. postcard-size Techniques a in well reflected not is which 3), photo see Meisal, (e.g.: techniques various of combinations are or used are of great importance, they are often completely original (e.g.: Cityzen Kane) the appearance and quality of work, or its maintenance. It is known that techniques determinethat aspects threearesurface. These what on and manner what in laid, was medium what explain to necessary be would It techniques. and Materials 2. Art Fest. presenting their entire range – for example, the latest edition of Le Grenoble Street by themselves distinguish to eager are and genres of diversity the of aware well are festivals art However, street art. organisers of of mainstream conservative the before,contemporarymentioned I in murals, knownas but to belong widely art, is situation This art. of genres of lexicon the in occupy they place what interestedin to a situation in which artists no longer ask themselves how they create and are not streetin subject and consideredbe should art transmedial.as agreeingmeans This for example, techniques, assemblages, reliefs interesting or sgraffiti. many It is possible that have currently the correlate we of creativity paintings, from apart and 1. to relation in complicated) all murals. at not are (which criteria these consider us Let Property. UNESCO Handbook cultural property and Practical(Legal Measures Against Illicit Trafficking inCultural protect and describe to used tool UNESCO a – ID Object as such objects, heritage cultural of description the international standards meetfor not do they but media no longer exists). As a rule, galleries in Dulwich, Łódź and Gdańsk have informational take stock of works (which means the indication of the author and address, even if it to duty its as – manner binding less a in and safelytherefore – GAUconsiders The documented? are status material their of because valuable are which works that way a in art of type this documenting in point any there is feature, immanent an determinedcreatorsthe by ephemerality this if is turn, allegedcollection. In the of groups of muralsbe shouldcalled a collection/a ifit is allaccidentalgallery andnot these why arises immediately question The Lisbon. in Gallery Urbana Arte the of no point in debating this fact. This rather convenient solution is the basic assumption ephemerality and temporariness are integral features of this type of art and there is ye f object. of Type 7

h ognsr d nt rvd dt aot h gne f art, of genre the about data provide not do organisers The , 2006). 21 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 adresses, one work). The 1 Nawrot, Paulina & Adamczuk Aleksandra 9. Photo by MichałSikora/Urban Forms Foundation. st edition of The Off Galerry Project realised by Urban Forms Foundation. [Jonah], 2015, Łódź, 49 i 51 Legionów St. (two St. Legionów 51 i 49 Łódź, 2015, [Jonah], Jonasz sone/ioa Zacharow/Urban Forms Foundation. Karuzela by. Photo Wspomnień/Mikołaj adress). one (two works, Herring St. Getta Bojowników 3 / Łódź, 2017, Remanufacture Strzemiński. Opiemme, –11. 10. A TributeA Władysław to 22 , vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Sikora/Urban Forms Foundation. Michał 16/18 by Photo background, St.). Wróblewskiego the in visible is enterprise former the of address the of the Łódź “Fonika” Radio Plant (detail: advertising old the respecting formally mural palimpsest‑imposed the datail, and work whole a 16, Politechniki al. Aryz, 12.–13. , 2012, Łódź, Łódź, 2012, Life, Still 23 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 next partofthearticle). the in return will I which (to research of type this on interesting based conclusions find can one for and art, urban point on theses reference diploma their important writing students an numerous remains still method iconographic the that ballast. know, unnecessary We an seem however,may iconographic motif) specific Subject 7. then used,often inashortened version. Title. 6. information. this to access have not does recipient The projects). current other in involvement Numerous works remain unfinished (due to a lack of time because of their creators’ media that the artist expected (e.g.: the lack of fluorescent paint to finish the detail). or technique the with made not are some and drastically faded have works Many 256–257). to (Beazley 2015, laterpossible auction online recognise an workon the Moody called Stik of work damaged the renovatedherself had she that informing by herself distinguished Beazley Ingrid respect, this In objects it. does the nobody of virtually statebut the describe to important is It Features. Distinguishing 5. associations, invisible at first Opiemme). glance(e.g.: of intertextual aseries triggers information. This of interesting piece an is subtitle) the in included be usually should (which dedicatedsomeone tobeen has work the from the point of view of an art historian (see item 9. Maker). Also, the fact whether only not important is all at signed is work the whether fact the Meanwhile, is logos. which signature a great place incorporated artists into the work Many or treated Markings. as a trademark. and All works are Inscriptions often promotional 4. year inGrenoble (suchpromotion of street artisunfortunately quite common). works, but it is known that individual documentation of the attached to is importance No small. and medium, Grenoble Street Art Fest 2019. The works are divided here into monumental, large, Le achievements” of “numerical the in visible is which artist, prestige the more for murals.about Moreover, they have axiological significance, larger the the the walls informing in used often most are indicatively provided dimensions main the only kinesthetic experience of this type of art is one of its bigger attractions. Unfortunately, interestingspatial is (depth) thickness works, their information, and haptic the and of cases many In glaring). is descriptions proper without images tothe of reproduction in relation encountered (disinformation purposes tourist for essential is This object. the of scale the about us inform width and height The given. are size 3. Measurements. , stolen later in November 2013. Documenting the renovation made it renovation the Documenting 2013. November in later stolen , There are often no titles, or they are added ex post. Unofficial names are names Unofficial post. ex added are they or titles, no often are There Knowledge about the main theme or the convention (a landscape, a landscape, (a convention the or theme main the about Knowledge . In principle, no-one measures the works, only trivia about their about trivia works,only the measures no-one principle, In summa summarum 2000 m2 has been painted over this Mrs 24 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona The experience ofthegalleries DOI: https://doi.org/10.1344/waterfront2019.61.6.7 identification ofthe creator. elementary problemof the creativity but of appropriatedanonymoustype has the art street that fact the not is point other. The each to similar often abbreviations, are they as aliases, and names in mistakes many are there addition, In work. the do to companies specialised commission or teams in work they often more and 9. Maker. Usually, the projects are performed by artists themselves. However, more basis offanpages. the on data such deconstruct to easy is it because probably made, was something Date . 8. tourism, combining art tourism and urban tourism, has developed. It involves tours of type specific a that important very therefore is it murals, of assessment the In needed. is it where i.e. appear, should work a such where indicate usually also they and that they cannot indicate the case in which the work should not have been created, admit education) or age their (regardlessof Others them. againstprejudiced most students the were murals experienced with not had who those classes that learnt I murals), to devoted and groups age various with workshops as well as tours organising research, (doing art of type this about conversations many Conducting attractiveness due tothe context ofitssurroundings. another only in mural generally gains a space be real the interesting in that is It picture. uninspired to seems photograph a such in seen work The completely. us eludes environment the of context the nature, spectacular their to due Web the dominate which drone, a or lift a from taken photos In passers-by. the of angle viewing optimal the and street the of perspective the colours, the surroundings, landscape. It is amazing how artists are guided in their works by the qualities of their urban closer, co-create the they after coming how and distance, note a from them their unique nature. It is good to look at murals from different perspectives, observe However, they do not do their job well in terms of what murals have to offer due to sightseeing-related. and sports recreational, functions: other have also They rare. more than 25 works. Experiments with bus, bicycle and running tours are relatively preferredown no their show route,offering (Tablechoose to general,guides In 1). the distance between the furthest objects is difficult to cover during a one-day tour muralsare located relativelya on London and Łódź area in small while km², 1.22 of Another issue is the physical impossibility of seeing the collections. In Gdańsk Zaspa, The only piece of data we can be sure about. It is usually known when known usually is It about. sure be can we data of piece only The 25 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 offer created independently ofthese institutions is substantively unsatisfactory. the and updated, been not have applications developed Initially discussed. cases consideredbe thatsurprising there are currentno applicationsphone any in the of and Dulwich, though selective and addressed to the online community. I guess it can way. Fanpages on Facebook (Table 2) remain the best source of information in Łódź to the time of the creation and, due incomplete are publications Both information. biographical artists’ with along impressions of artists and the curator Ingrid Beazley, as well as her interesting and improved (Beazley 2014, 2015), containing very short theoretical introductions, re-issued album, attractive visually most the undoubtedly boasts Gallery Outdoor Dulwich successively. published were murals of photos with mini-catalogues only 2009–2015 Forms Urban (Galeria 2016 in works of list a and The Urban Forms Foundation published a catalogue containing a calendar of activities are interwoven (Orłowski 2019,7;8;39). Czesławyearsor Miłosz the 1974–82) in Zaspa WałęsaPrizein winnersLech (living Nobel as figures such and residents ordinary of stories artists, of adventurescity, which is then appreciatively shared with tourists. In these stories, the history of the this specific atmosphere of creating art for someone (not just for artists themselves) reflects 2019, createdin guidebook, Gdańsk objects, large of number the of terms own experiences as persons accompanying artists at work. A small, but complete in their on draw also They Zaspa. of architecturalconcept and planning urban the as not only in terms of knowledge about murals but also the history of the city as well 2011, probably Thirty field. this in position a unique holds residents were prepared in launched was Guides” “Local project educational and social the where Gdańsk, given institutions, committed and competent. of activity the with associated directly persons by organised popularity, growing enjoying are which tours, includes offer the all, of First Dulwich. and Łódź Zaspa, Gdańsk in Dulwich) in slowdown significant a and Gdańsk in works of completion the (despite maintained and systematically established been has (Table2) visitors for offer special A 51). Makohonienko,Matulewski,2015: (Świeściak, people even and history, culture its place, given a about information with need acquainted hence and city, getting the of way a such on decide people Many art. of type this of animators and artists with meetings and space urban the in works on focused de facto, describe the murals in a casual or anecdotal 21) Previously, 2016). , FAQs 26 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 4–5 Tiry Noir, Thierry 14.–15. Photos by Wioletta Kazimierska-Jerzyk. David of Triumph by inspired nature, 5DB, of colours respecting mural SE15 London Peckham, Grove, Elm 71 2015, ( c.1631–33) by Nicolas Poussin. Nicolas by c.1631–33) ( oae o ihls Poussin Nicholas To Homage The 27 , vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Kazimierska-Jerzyk. A Castle anditsProprietors (c.1640s–1660s).Photo by Wioletta and colours). Itis aninterpretation ofDavid Teniers the Younger’s Rd, London.Themural referring to thelook ofarchitecture (shapes 17. MehdiGhedyanloo, A Castle anditsProprietors, 2015.21Kinsale DOI: https://doi.org/10.1344/waterfront2019.61.6.7 inspired by the lithograph by Marc Chagall Marc by lithograph the by inspired esp. bright architecture. Photo by Paweł Trzeźwiński/Urban Forms Foundation. 16. Klone Yourself, Midnight Lovers , 2017, Łódź, 41 Legionów St. The 2 Heaven of lovers of Heaven (c.1950). Mural respecting the look of its serrounding its of look the respecting Mural (c.1950). hlp Wuemn n Lncp with Landcape and Wouwerman Philips by 1660s) (early Party Hunting a of Halt by inspired shapes seen in the street. The figure of “pooping dog” 77-79 Choumert Road, London. Mural referring to the 2013. Game, and Sportsmen with Landcape Roa, 18. nd edition of The Off Gallery Project. The work dm yakr Photo Pynacker. Adam Game and (c. 1665) by 1665) (c. Sportsmen 28 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Curating street artand values ofmural collections DOI: https://doi.org/10.1344/waterfront2019.61.6.7 than museum art. This “socialmuseum art.This than circulation ofculture” is constituted bythe following differently managed and on commented received, served, therefore is art Street of contemporary (Bensaïd2016,117). art” extravagant the to have access longer prices no they as opportunities new seeking owners gallery with thisvisibility, from profit they medium: marketing a as city the use artists young these turn, In presence. media and itsfestival inexpensive city and immediate the allow the net on reputation worldwide their and artists brands to implant them in their city centres […] This is the time of Street Art. These international large the courting buzz”, “the for gone already have others as way same the in Art, Street of umpteenth Festival the create to rushing are marketing, fierce their in cities, Some competitionfor greaterthe field in visibility ofterritorial has appeared, which is transforming some urban territories into a global art gallery! perspective the “Today in following way: produced phenomenon a globalisationby 14). Halim Bensaïd explains this phenomenon from the organisational and financial 2015, (Howard-Griffin society” our of levels elite the within influence real find to yet nature, very its by is, that movement, popular massive a created has Internet, the of power the discipline’s protagonists ant the key of internationalism the with combined when consciousness, public the in art of stream This sense. traditional direct in presenting a stream of art and ideas to the public is that are uncurated art in the “street out: points Howard-Griffin Richard As art. of type this at looking of perspective proper only the not if visibility,complementary provides Internet the public different mentioned, already “completelyas words, other In 38). 2017, gains(BiskupskiWeb the on visibility” art street that and everything” see street you cannot the “from that fact the to attention draw authors many Meanwhile, work now iscontinued] and caretakers whoknow each wall and every view angle. whose [1950–2017] Beazley Ingrid Dulwich TeresaLatuszewska-Syrda,in: Łódź: in Schwabe, Piotr RoskowińskiRafałand Gdańsk: founders(in their haveWallmurals 67). 2007, (Benjamin them” in lives who he is it him; in alive come they that Not […] latter the in only due their get objects the collections, private than academically useful more and socially objectionable less be may collections public though Even noted: the phenomenon of collecting loses it meaning as it loses its personal owner. be should thing “one collector: the of person the of role the emphasise collection the of value the about remarks well-known Benjamin’scurator. Walter regarded highly a of image/figure metonymic The a collection. concept, old a the to as according it is, collector understanding and whole a as gallery the perceiving to conducive is not it curating of lack the or art street curating of way specific The — ownership is the most intimate relationship that one can have to objects. to have can one that relationship intimate most the is ownership —

29 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 iso. n h goa gley f tet r, eiins rmrl wth (mainly watch primarily recipients art, street of gallery global the In mission. texts, is able to and should work in the long-term perspective, their having a programme writes often and catalogues the composes dissemination, public their and project the of site the at works the layout of the exhibition, the of topic the items, design and organisation of the exhibition, determines the selection of the exhibited the for responsible is curator The curators. need they do nor exhibits, permanent of collections as understood galleries need not do creators their and works Such here.worlddescribed the case of model ephemerala the is art, naturetype this of of the awareness building and works its of dissemination comprehensive the to Gallery, in fact, by cataloguing photographs and attaching importance in its mission Urbana Arte The feature. binding its as materiality its loses work the result, a As festivalor city the entailwork,of atnot addressthe name most the of given. is Internet,the On veryhigh. way other the is it round: artist’sthe identification does is area surrounding the or mural the with street the place, the integration with of sense the but residents, urban among negligible is artists of knowledge the shows that Research street. the i.e. medium, the not and content), their frequently (less images of creators the only strengthen Prosumersmateriality. and urbanity specific its loses culture a participatory in art street that interesting particularly is It city. one in another one with competing often art, of type this around focused communities of domain the is art market.Street art the of segments price highest Bensaid and Biskupski rightly point out that one cannot show off this lifestyle in the artists, brands,festivals, sponsors, etc.). (usually subgenresinnumerable sequence varietiessuch styles, practicesof of one created and catalysed that media social by donotuse that ofagreed descriptions definitions or creativeart ofsuch one is practices. art Street lifestyles, and different circulations cultural different creating communities, niche and individualised very often are These wealth. or aspiration preferences some communities sharing by formed various of factors, types as such division of the audience. Instead, we can observe many smaller and rather unequal such reflect not do turn,intheir and art high and in low of hierarchy old the use not do choices These communities, communities. symbolic and identities of re-segmentation a provides and creates branding, of form the in generally value, This Internet. the on attractive is which value symbolic a having goods intangible Web. Theyproduce the on communicating entities numerous of interaction the of result a as arises and comercialised is processes cultural wider into woven art Urban it. in street no is today,there misleading as already Inthissense, is “streetart” term Web. the on the extent large to a life everyday and art integrating of of possibility as the andaccessibility as well potential advertising great a exhibiting messagesuniversality visual technology, digital democratised elements: 30 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Gdańska Zaspa isanimportant placeinthepost-war history ofPoland. DOI: https://doi.org/10.1344/waterfront2019.61.6.7 idea ofartcorrespondence. understoodcontemporarily the on hand, other the on city,and the of experience the on based hand, one the on innovative curating, an of way displaythree All art. The galleries in Dulwich, Łódź and Gdańsk are competing with such practice of street visual data). manipulated with mainly but works interact with not do we (as pleasure aesthetic reconstructingspenttoon be data disproportionate is to cognitive satisfaction and needs that time The it. about write to like would collectors,who people many not are and there appraisers historians, art professionals, museum to spreadable it still has to aspire to being the world of art. And because it lacks basic information, why the world of street art is very neglected in historical and artistic terms and why explains This collections. virtual of and arrangements own createcontent, subscribing the sharing by and gallery, the in works of order the arrange recommend, others what Web the on visit reading, of instead films) of” “making of hundreds the representative townhouses withtwo expensive main facades. Themurals were largely in the corners of the streets, where there are undeveloped plots, centre,waiting for city the in walls numerous to spread has gallery The Latuszewska-Syrda. suggested by Łukasz Biskupski to the founder of the Urban Form Foundation – Teresa neglect and emptiness. Adjacent walls along one street inspired an idea of a gallery mindlessness, showed years for which revealed were elevations side and blind outbuildings their The thoroughfare. the expand to order in War World Second the after demolished and were buildings Zachodnia the of combining some which city, along Streets, the Kościuszki of arteries main the of one of appearance the with connected was gallery the of creation the for impulse main the Łódź, In dialogue images (photos 1,21,22). face one another at a certain angle, in pairs or threes, creating interesting layouts of of honeycombs (photos 19,20). This means that the gable walls of the blocks of flats urban planning assumption in which blocks of flats are laid out on lines in the shape a perfect of unfinished an vision modernist the also becomerealisation of lost.is It to easy is it which in topography by characterised additionally is estate particular grey, moreover, were flats this of blocks the time, the Atcreated. were murals 10 a festival for the thousandth anniversary of the city of Gdańsk (Table 1) and the first waiting to be painted over (Rutkiewicz 2013, 10). Ten years later, he organised there religious banners. Rafał Roskowiński pointed out that those walls were like canvases huge with then covered were flats of blocks of walls gable The 1987. in mass field celebratedPaulHerePopePresidentWałęsaII John Pilotów and Lech 17, at liveda 31 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 author ofthemock-up: Zygfryd Wiklend. Source: Gruszkowski, 1970,277. estate, Zaspa the of design Urban TeresaOpic, and Grochowski Stefan Hordyński, Roman 20. and theyellow lineindicates thearea oftheMonumental ArtCollection.Source: GoogleMaps. districtZaspa the of areaindicates the line red The estateGdańsk. Zaspa in the of map The 19. 32 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 St. Photo by Wioletta Kazimierska-Jerzyk. Duran), untitled, 2015, 12f Nagórskiego St.; Mazu Prozak, untitled, 2011, 14a Pilotów Gdańsk,Zaspa.21. Two interacting Crewwalls: Licuado Núñez (Camilo Florencia and 33 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Same84, untitled, 2015,13aPilotów St.Photo by Wioletta Kazimierska-Jerzyk. muralZaspa.Gdańsk, The 22. the filling skillfully betweengap two blocks flats. of 34 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 distance show inasynthetic way themain lines the from viewed large formats the as composition, the trackto easier makeit also to belong to the repertoire of ordinary motifs in the paintings (cf. photo 18). Murals contentof form.and For instance, mayit thatout controversialturn the topic used of old masters with interesting tips for the observation of these works both in terms there on their own initiative). On the other hand, murals provide admirers of works the picture gallery in the first place (most participants of the mural tours do not get visit motivation to the gainenthusiasts streetart murals, the to tolerance.Thanks between the two genrestois supposed and eliminate prejudicesteachand mutual 14, 15, 17, 18). The dialogue of old and contemporary art emphasises the differences based on the free interpretation of the works in Dulwich Picture Gallery (photos 7,8, From the artistic perspective, Dulwich Outdoor Gallery is amonothematic exhibition Virtual tours, Walks &Cycling). People, London, South areas, Local History, Local Park, (Dulwich Dulwich Around Shopping), Podcasts, Gifts, Fashion, Gardens, & Homes Fitness, & Health Living, Green Drink, & (Food Style & Life Art), StreetTheatre, Photographs, Video, & Film Exhibitions, Poetry,Music, Dance, & Books Design, & (Art Culture areas: following not only museum and street art events but also all creative activities, grouped in the associated with Dulwich Picture Gallery. View”,On “Dulwich magazine online blog-based community-run the founded also project, gallery outdoor the of development the from apart Beazley,inhabitants. city the gallery, art and public first the as founder its gallery,byfamous conceived world- the between bridge a – Dulwich in needed was what was That characters. street story,new becomingown another, their createone to similar as very are they figures, These identities. own their with houses the providing and space the taming figures, recognisable his with facades elegant of fragments populated Stik 17). photo (see windows bay projecting height double with houses storey double Typicalareterracedbuildings. dwellings looking monotonously but picturesque by characterised gentrification is markedby district impoverished This found). be can life-size. In East Dulwich, there are not as many blind walls as in Łódź (although they less the outstanding or more are figures in and large not are works His 7-8). (photos works Baroque depicted people of expressions) facial (body gestures, expressions general positions, only code visual his into translated points, two and lines six at most with drawn figures stick large his for known London, from artist graffiti The Gallery. Picture Dulwich famous the in working and Dulwich educationistin based and editor, author, curator, museum art the – Beazley Ingrid with Stik of collaboration the with 2012 in begins gallery the of history the Dulwich, In about. cared had no-one which and all at visible be not should which walls the on made

This portal constantly works and promotes . 35 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 to be organised, creators were selected in terms of a particular message and message particular a of terms in selected were creators organised, be to started a theme with strategy. Festivals its changed Foundation the 2015, 1997, In (Welsch15). responsibility of lack a and reality from detachment something, experiencing of actually instead experiences accumulating associations: negative subject-related – referring to the way of being in which the term “aesthetic” has only tocities; ostentatious aspect and artistic random of addition the with associated – object-relatedpoint: this at meet art to guidance cultural and spiritual of role the of the process of aesthetisation that are difficult toaccept among those who assign what we want and dictate everything ourselves” (Litorowicz 2016, 41). Two aspects functioning in the public space and their lifestyle:“We are as free as possible, we do of part integral an is that risk a challenge, another is mural each muralists, Polish city”. mainstreamin the For a wall and “owning graffiti), to (analogously territory” own selves, communicating their own views and “their own universe”, “marking the their expressing on focused are strictly they Instead, mission-oriented. particularly 75) indicates that the motivations of artists in general are not social, conciliatory or of the community of the creators of monumental painting in Poland (Litorowicz 18– from thevery to attention beginning – drawn these works have are mainly murals a form of of gigantic promotion ofthe critics artists. The study – what practice In selflessly brought into thecity. largewith format murals as advertising, serve not any did and purpose were goods way,confronted were this murals In process. that in value main the was artist the autonomy of the because out, carried were residents consultations with no rule, a intention of “saturating” the city with images. Moreover, it was emphasised that, as during the organisation of festivals in the years 2013–2015 apart from the arbitrary themselves, creating very similar works. The Foundation repeat did to not began creators have The relationship. anygood centrala establish idea to managed it whom with artists engaging in consisted Foundation Forms Urban the of steps first The Roskowiński andJacekZdybel. Rafał are art, street contemporary of trend globalising the with competing idea, this authors of The art. socio-political of function original restoringmuralits tothe integrationimprovement and community, the discussion, skills of of view to a with for created a platform but sense, institutional an in school a not is This Mural. of School Gdańsk the of adepts promote and educate to and world the around from the build largest in Europe collection oflarge-format paintings of recognised artists to aims: two had gallery The (Table2). Schwabe Piotr curator next the was 2016 and the region, or implemented in thematic cycles whose author in the years 2009- Gdańsk to related either were murals The emphasised. been always has content of the importance the in Gdańsk, assumptions, artistic of view of point the From 36 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Conclusions DOI: https://doi.org/10.1344/waterfront2019.61.6.7 works were created, located closeto oneanother. need or directly desiring such interference. In this way, some of the most interesting in communities and places indicated which Engaged Socially the of Society Polesie necessary). The location was not chosen arbitrarily but with (if the together support of project the Stare the refine and another one know to get would they that but workshops. It was not assumed that the the artists would fulfil those residents’ wishes, during them by made comments to refer to and residents with meetings in participate to obliged were paintings specific by inspired large-formatworks etc.), mosaic, installation, graffiti, (mural, technique of terms in any, create to invited were who Artists Łódź. of City the of Museum the was tradition cultural the with integration providing institution The process. revitalisation intensive undergoing and exclusion social by threatened area the of residents among perception its in competences and culture in participation increase to was aim Its Polesie. Stare of residents the to addressed was It 16). 9, 5, 4, 3, (photos Beazley Ingrid by inspired – aproject off took OFFGallery of two editions the first time, that ideas.artistic At barely visible walls. blog was In 2016, the “Energy launched, explaining of the City” on backyards the in often it, for asked residents the where created were works building a network of fans, which can ultimately result in a financial success. The agiven artist), success. financial a (of in result ultimately can which fans, of network equity a building brand of an aspect as case) fixed the becomes actually and was disappears that (if street the in appeared that sign a of materiality The value. symbolic a generates there, audience largest its has and Internet the values Symbolic (1) and thosethat manifest themselves inthephysical fabric ofthecity. streetgeneratedvaluesof art comparefavouredthe and culture participation a by us Let experience. of spectrum different completely a to refers pride, of sense a feeling to imposed) arbitrarily (usually space their interference in new a accepting wayresidents,havelong of fromwho a viewcomepoint anything.The lose not do something else; let us take photos and keep them alive on the Internet –this way we restoreand thereare with likemuralselevationsthey just them ordinary replacing follows:as somemuralsnewwhile disappear appear;let ones enjoyus themwhile is view of point global The works. these select or protect should we reasons what for and whether on reflect to time is it audience, wide a by acceptance euphoric short-termorganisers their vastof assume the artists majority and existence. After deteriorate, and change Works collections. or galleries called legitimately less or In thousands of cities around the world there are currently clusters of murals – more . Street art, which – paradoxically – became known thanks to thanks known became – paradoxically – which art, Street . 37 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona facelift. 8.- Andnottheotherway around, asthey are often accusedof, i.e.that the mural is considered asasufficient DOI: https://doi.org/10.1344/waterfront2019.61.6.7 for it for for years (e.g. in the place on photo 16), they prepare their home and surroundings mural a of creation the forstriveresidents Some murals.by provided is art by for” aesthetic much pleasure, cognitive satisfaction how or happiness derived from being appreciates “noticed and cared or checks Nobody measured. not is murals of city,the In 64). everyday associated inevitability the activity the of with experience 2017, (Biskupski subversivedifferent sense culture-creating and a havemay it that emphasise culture participatory of Supporters subscribing. or websites visiting by just values, symbolic quality, creates and purpose their of regardless activities, of (2) Social values. are inaplaceimportant for someone. we that photograph means day murals every who people of sight the but Stik!), or attains without Banksytopography not is translate material any effect (it into not does This addresses. area specific the a mural, to Thanks identity. own its gains anonymous for residents, but the place that used to be devoid of its own properties creator. remains often the artist not The site, the refersto city a in value symbolic sanctioned on the Internet, they are almost irrelevant, as they do not referto do not they as irrelevant, are almost they Internet, the on sanctioned values artistic to comes it When (4) and independent activity. to conducive aesthetic satisfaction, is as it is associated with it understanding, interest more in other works the censor), a as acting or anything imposing mean not does (which form final its and work the of creation the with inhabitants moreconnect contexts The 93). 2002, (Kwon joke avisual of superficiality the on based site-oriented The 74). 2017, conceptbecomesreducedexisting toplayingthe with physical structure (Biskupski intriguing however, this way, This 18). 16, photos (cf. site-specifity as to referred usually is This Internet. the on spreadable most the is space, of illusion additional createan and thebuilding of the structure with interfere which painting the of elements the context, architecture The context. landscape their without images reproducing in consists manipulation basic the and photos, by created is which 148). In the online reception of murals, the size is reduced to its spectacular aspect Simmel has already noted how vulnerable to manipulation it is (Simmel 1968, 135– Georg 5–30). (Stróżewski 1994, dignity and infinity, perfection connotes quality.It metaphysical and category,mathematical wide combining very a is This size. their (3) Aesthetic values efforts ofindividualpeopleor communities are alsonotmeasured. 8 , and then they have to do many things to protect the mural. The sums of sums The mural. the protect to things many do to have they then and , The most important social value on the Internet is activity. The sum . The most exploited aesthetic value of murals on the Internet is category is much more important in the city. It is not is city.It the in important more much is category (formal qualities, content, technique, etc.) technique, content, qualities, (formal 38 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 (5) Moralvalues(5) them, for example, whenthey serve education, integration or revitalisation. of, whether they are enriched and popularised, or whether other values are built on and externalisation. We can observe whether and how mural galleries are taken care their description. They can be judged on the basis of social processes – internalisation numerous of contextual– factors. mentioned before,As historians art data lack for aesthetic of values case the in as resultant the – is artistry anonymous,and almost and aurisation factors (Biskupski 2017, 111). In the city, however, the artist remains by authorisation stimulated is art, museum from distinct quality, specific Its fact. this that determines reputation intermediaries’ their and artists the is with art– it usually dealing we are that of guarantee sort some art, with here is association the important most The reproductions. their to rather but objects material an issue of the survival of the works but also of the necessity to experience their experience to necessity the of also but works the of survival the of issue an only not is This space. public a in it do should who decided not is It maintenance. Artists entrusting their works to museums are not responsible for their storage and that itissomething permanent for theminbothsymbolic andmaterial sense. on reflections of the residents on what art is about for them. These reflections show www.facebook.com/urbanforms).projectbased a out carrying vanis HeltenGuido with the inhabitants (the event has been propagated since April 13, 2019, see https:// the Foundation decided to create a new work based on comprehensive cooperation Ultimately,themselves. for play to role any see not did they city,so the to murals the given had they that works, their of fate the in interested not were they that first steps were directed to the authors of the original works. Four of them decided The community of residents asked the Foundation for help in their restoration. The damaged. significantly been have preparation, surface poor to due which, works previously of existing place murals created the twin in of the form in Foundation is takenalso away latestfrom The parties. both Urban the Forms by out work carried that profits and credibility of co-creators of something important and individual are means it responsible), everyone (making artists and organisers the from shifted is a become to heavy burden to everyone. Although the beginning responsibility for maintaining these works are art street of inclusivity and ephemerality assumed universally The use. unlawful and 2018) (Feuer destruction streetworksboth from original most the protect to made being is effort more contrary,and the more On residents do not invest money or time to create the best mural of the worst quality. space, public real the worthy.In as dankmemes) (e.g.: worthless fundamentally is the virtual nature of the often collective activity. This favours the recognition of what neutralises generally experience its Secondly, communication. of participants the between dispersesFirstly, responsibility message. this the of quality and structure . On the Web, they are related to the level of responsibility forWeb,responsibilitythe the levelof arerelated theyOn the to . 39 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona DOI: https://doi.org/10.1344/waterfront2019.61.6.7 There are many indications that the following actionsshouldbe taken: the element ofthecity. to be left for should they that conclusion the just than more attention deserve orcalls action, advertisements like acting city, one in sights inevitable of hundreds that seems It 565–575). 2014, (Iglesias disobedience and adaptation mutation, of processes multidirectional as interpreted be can These fears. quasi-philosophical deep and auto-presentations artists’ groups: two into divided be can works that fewtexts by historiansart of devoted to mural galleries, Lorena Arévalo notesIglesias one In day. every them read they them, among Living murals. read primarily People about. concerned most are recipients is what aesthetisation, superficial of are very important for the dissemination of content, which, despite the accusations everyday experience. In addition, decisions about what is protected of and what is the co-formation not thus and devastation, tothis consent a default destruction, ephemerality bears themarkofan advertising billboard. city, the in contrast, In form. another in repeated be cannot that solution conceptual remarkablecontext,a of sort some with associated alwaysbeen the Internet records everything anyway. In avant-garde art, ephemerality since has devalued, become has Ephemerality city? a in needed are however, places, such many How performance. of space permanent a create to want considered.ephemeralityadvantagebe an Emphasising should canbe youif important fulfil value social and urban artistic, of works preserving of they project The functions. that fact the to due protected be to need Murals • were better documented, thelevel ofdebate would bemuchhigher. art format large of knowledge if that believe I destroyed. being are works important consequentlyanother, one for partners not are and art of value the assessing for criteria internal own their have city the in entities Cultural inPoland). and mosaics sgraffiti or period Republic People’s Polish the of forms quasi-advertising decorativeinterwar art, (e.g.: sense historical the in novelties. There a is reluctance indicating in a of artistic continuum practices ofcity authorities lead to the situation in which murals skills are most often promoted as with cognitive along aspects political Also, work. meticulous and systematic isdifficult, it it? Because doing artists and be institutions few must objects so material are Why space. public a of in interference an only is it description otherwise required, a that means which studies, substantive and exhibitions of form the in popularised be to need Murals • atmosphere ofprejudice –eitheraesthetisation or vandalism. an in function must they that means which confrontation unnecessary this fromMuralsfreedtofromart, be • need museum archaic comparisonswith 40 vol.61 , nr6. July the 15th, 2019 ISBN: 1139-7365 POLIS RESEARCH CENTRE. Universitat de Barcelona Bibliography DOI: https://doi.org/10.1344/waterfront2019.61.6.7 Massachusetts–London, :TheMit Press, 2001. Kwon, Miwon. One Place After Another. 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