Graffiti “Window to Europe”, Tsesarevich Embankment, Vladivostok, 2012. Concrete Jungle Arch Bureau (founders: Felix Mashkov and Vadim Gerasimenko).

The time when graffiti was considered vandalism has sunk into a dark past. Today, street artists have taken their well-deserved place on the pedestal of contemporary art. City officials, who used to go after authors to punish them to the fullest extent of the law, are now queuing up for contracts to decorate public spaces. Street artists do not just make our cities beautiful and interesting, they are often able to rethink the existing urban landscape, change the architectural context.

Following the great names of the founders of street art - (Keith Haring), (Banksy) and (Jean-Michel Basquiat), a huge number of artists took to the streets to paint everything that comes to hand. Street artists themselves believe that it was high time to release art from museums to the street. And although the typology of contemporary art is hard to drive into a strict framework (post-graffiti, “intervention”, muralism, etc.), the only thing that city dwellers and tourists want is spectacle, scale, aesthetics, philosophical message and bright colors. This is exactly what the viewer gets from a street artist.

Especially for our readers, we talk about the biggest names in the world of contemporary street art and offer you to enjoy a selection of the most spectacular street art projects.

Pokras Lampas

Calligraphy with an area of ​​1625 sq. meters took the artist two days of work and requested 730 liters of paint.

The artist Arseniy Pyzhenkov, originally from Korolyov, is known worldwide as (Pokras Lampas). Funny, now no longer a pseudonym, but an official name, it was formed from the old expression “paint” among graffiti artists and the most absurd rhyme to it. Pokras works in the "calligraffiti" style, as the name implies - at the junction of graffiti and calligraphy. He is constantly busy with new projects, and there are traces of fresh paint on his hands.

The artist was able to paint the tunnel from the Atrium to the Kursk railway station only halfway. The reason is that part belongs to the shopping center, and part belongs to Russian Railways, and the latter refused to provide their segment to Pokras.

The artist was glorified by the project to create the largest calligraphy in Russia (and indeed in the world) on the roof of the Red October in 2015. In 2017, Pokras painted the tunnel from the Kursk railway station to the Atrium shopping center in Moscow, inspired by the works of Russian avant-garde artists, quotes, and Mayakovsky. A high-profile international project in the career of a calligrapher was the painting of the roof of the Palace of Italian Civilization (Palazzo Della Civilta) in Rome, which is also the headquarters of .

“It is important that creativity does not turn into a craft. The main thing is to trust your intuition and do only what you sincerely believe in. Honest creativity will always be appreciated,” Pokras Lampas.

Duo Aesthetics

Post-graffiti duo Aesthetics group near Moscow has existed since 2004. The composition of the participants and the concept have changed over time, at the moment they are Petro (Peter Gerasimenko) and Slak (Ilya Blinov).

Joint work of Petro and Slak within the framework of the pilot project of the festival "Objects of Nature". Aerosol paint. Kotka (Finland), 2014.

The team has gone from classic graffiti to mixing it with abstract painting. The artists work at the intersection of avant-garde and graffiti, the author's style is expressed in rich colors and broken lines.

Diptych without title. The left side is Slak, the right side is Petro. Aerosol paint, acrylic. Satka, Chelyabinsk region, 2017.

Misha Most

Moscow-based artist Misha Most has been doing graffiti since 1997 and has been creating paintings since 2004. The author quickly moved from the category of "street authors" to full-fledged artists. Almost all of the author's works are devoted to the human future.

In 2017, the artist created the largest wall painting in the world on an area of ​​10 thousand square meters. meters. The canvas for the work "Evolution 2.1" was the building of an industrial complex in the city of Vyksa (Nizhny Novgorod region).

"Evolution 2.1", Vyksa, Nizhny Novgorod region, 2017.

In the autumn of the same year, Misha taught me how to draw a drone. It was based on the “creating a picture without an artist” approach. Drones are ubiquitous these days, people are constantly training the devices to do something new. And the artist decided to bring this “something new” to art.

The Farewell to Eternal Youth project consisted of several stages. To begin with, Misha drew an object on a tablet, then the image was transferred to a special program, according to which the drone “flies”. Then, to get the finished work, you just had to press a button - the rest was done by the machine.

"Farewell to eternal youth": Misha Most and drone.

Camille Walala

Actually a British artist (Camille Walala) is a fabric designer by profession. But her education never truly captivated her. Recently, Camilla has been actively called to decorate concrete boxes, unremarkable facades and pedestrian crossings.

Splice Post Building, London.

Valala works on the edge of contemporary art and architecture, infusing energy and optimism into the environment through bright colors and ornaments. The group had a huge influence on the work of the artist.

Playground in London.

It was in the style of this design association that the author designed the facade of an industrial building in Brooklyn with a 40-meter painting. The concept is based on optical illusions, contrasting colors and repeated L-shaped motifs.

Facade in the spirit of the Memphis Group, Brooklyn (New York).

Felice Varini

Architecture itself became the canvas of a Swiss by birth and an inveterate Parisian by residence (Felice Varini). The artist is famous for his signature optical illusions. The author's works are imprinted on the walls of buildings and sidewalks, in parks and squares.

Carcassonne, France, 2018.

At first glance, the image created by Varini is not perceived as a whole, it breaks up into separate fragments. And only from a certain “correct” point of view, the ornament develops into a complete image. Varini's work looks so unrealistic that the first reaction of the human brain is: "It's Photoshop!".

Lausanne, Switzerland, 2015.

Grand Palais, Paris, France, 2013.

The genre that Varini chose for himself is called anamorphosis. The main theme of creativity was geometry - a variety of regular shapes: circles, triangles, rectangles. Varini's works are similar to mirages in the desert: here a person observes a hypnotic spectacle and suddenly, one wrong move, and the vision dissolves.

Roof of Le Corbusier's Residential Unit, Marseille, France, 2016.

ill-studio

Artists collaborated with fashion brand Pigalle to radically change the look of a basketball court in Paris. In 2015, the sports facility was dressed in sharp colors and clear geometric shapes based on the work of Kazimir Malevich.

The Pigalle Duperré site in Paris is squeezed into a narrow space between houses, 2015.

In 2017, the studio turned to softer, but no less spectacular gradient shades. “When working on this site, we wanted to explore the relationship that has developed between sports, art and culture over many decades,” the authors of the project say.

Pigalle Duperré site, Paris, 2017.

The project of a bright basketball court was vigorously discussed on the Internet around the world. The modern generation of Instagram clearly liked the space. Of course, this is not the only sports facility that has such a non-standard color. For example, in the Belgian city of Aalst, artist Katrin Vanderlinden (Katrien Vanderlinden) worked on the transformation of another basketball court. The most spectacularly bright surface looks from the height of the quadrocopter.

Basketball court, Aalst, Katrin Vanderlinden.

And in Ravenna, Italy, another basketball court revived the urban environment. The renovation was done by street artist Gue.

Basketball court, Ravenna, street artist Gue.

Daniel Buren

The work of the French conceptual artist (Daniel Buren) has a permanent element - the stripe. Interestingly, the author found the conceptual theme by chance. Once, on the canvases he ordered, there were traces of packaging - stripes that filled all of his work, regardless of the context.

From the canvas, the Frenchman moves to the urban environment - he marks the metro stations, the courtyards of Paris with stripes. Since the 70s, the artist has been working with multi-colored glass and light. He turns the windows of buildings into stained-glass windows and studies the shadow they cast. Together with the Italian gallery Continua, Buren created a large-scale installation right on the facade of the building of the Parisian gallery Aveline in the corporate style - with vertical monochrome stripes and stained glass.

Aveline Gallery, Paris, Daniel Buren.

Shantel Martin

The style of the young British artist (Shantell Martin) is easily recognizable. With sweeping black and white drawings, Chantel is ready to decorate anything - paint city walls or decorate a new collection of shoes or clothes.

Street art is a type of fine art characterized by a pronounced urban style. Many people are familiar with one of his directions - graffiti, but this is not the only form of self-expression of street artists. There is also screen printing, the creation of posters and installations, painting with stickers, mural painting and other forms of street art.

Street art began to emerge in the ancient world. In principle, rock art can also be attributed to its manifestations. In its modern form, such creativity originated in America in the second half of the 20th century. One of the founders of graffiti was Taki-183 from New York, whose full name did not go down in history. Working as a courier and moving around the city, he left his signature on the walls, fences, in the subway, consisting of the name and number of the street where he lived. Later, newspapers wrote about him, and already crowds of his followers began to leave their marks (tags), more and more painting the streets of the city.

The walls of abandoned buildings served as objects for art. Photo: thinkstockphotos.com From America, street art is still spreading only in the form of graffiti. In Europe, this movement has become more "intellectual". Artists began to call on people to think, to fight for their rights, to protest against injustice, to be active. Initially, the walls of abandoned buildings, the foundations of bridges, and metro stations acted as objects for art. Later, the artists switched to the walls of historical sites, which defined street art as outlawed. It began to be considered vandalism, and so it continued for several decades.

Thanks to street art, the creation of paintings on the walls of entrances or even apartments has become popular. Photo: thinkstockphotos.com Now street art is not always perceived by others as art. Some areas of street art are still considered vandalism and illegal in many countries. However, smart leaders reconsidered their attitude to such a manifestation of youth creativity and decided to direct its energy in the right direction. The authorities instruct groups of artists to paint the featureless walls of industrial buildings and residential buildings, arrange competitions and give grants. Often, large shops, cafes or galleries resort to this method of decorating buildings. Thanks to street art, the creation of paintings on the walls of entrances or even apartments has become popular.

Gradually, this kind of creativity is selected from the underground. Quite legal festivals, competitions, exhibitions and other events are held for street artists, where young people can learn from the masters or demonstrate their work.

Street art is done by people who want to make the city better and more beautiful. Photo: thinkstockphotos.com A relatively new trend in street art is 3D graffiti. Artists manage to create unique and realistic masterpieces on asphalt, which from a certain point seem voluminous. Creating a three-dimensional picture can take several days, and its life is quite short: until the first rain or road cleaning. Here it is important to have time to capture your masterpiece in the photo.

Street art is done by people who initially do not seek recognition or fame. It is important for them to make the world around them a little better and more beautiful, to touch on some important social problems, to show the hidden facets of the modern city and their view of the world. If a person can see beauty in a crack in the pavement, a defect in the wall of a building or an ordinary concrete fence and decorate this place, should he interfere?

Ministry of Education of the Republic of Karelia

State Autonomous Vocational Educational Institution

Republic of Karelia "Sortavala College"

research project

"Street art: vandalism or art?"

The work was performed by students of group 711 "Construction and operation of buildings and structures" Dubrovskaya Anna Vasilievna and Galaktionova Diana Maksimovna

Supervisor:

Egorova Vilena Zikrulaevna,

teacher of the highest qualification category

Sortavala, 2016

Introduction…………………………………………………………………………...3

Theoretical part…………………………………………………………………5

Chapter I. The history of the development of street art……………………………………………5

1.1. Origins…………………………………………………………………..5

1.2. 1970s……………………………………………………………..5

1.3. 1980s……………………………………………………………..6

1.4. 1990s……………………………………………………………..6

1.5. 2000s……………………………………………………………..6

Chapter II. Street art is the “language” of the city……………………………………………..8

Chapter III. The influence of street art on various aspects of human cultural life…………………………………………………………………………..10

Practical part………………………………………………………….......12

1. Poll……………………………………………………………………….12

2. Analysis of the survey conducted…………………………………………….12

Conclusion………………………………………………………………………….15

List of used sources……………………………………......................16

Introduction

Street art - a trend in contemporary fine arts, a distinctive feature of which is a pronounced urban character. The main part of street art is graffiti, but it cannot be considered that street art is graffiti. Street art also includes posters, stencils, various sculptural installations, etc. The artist creates his own stylized logo - a "unique sign" and depicts it on parts of the urban landscape. The most important thing in street art is not to appropriate the territory, but to involve the viewer in a dialogue and show a different plot program.

Relevance: The theme of street art has become relevant for critics, reviewers, specialists in the design of the cultural environment of the city from the very beginning of its existence (1960-1970s). It is relevant to this day. But the biggest spread came in the early 2000s. there was a certain freedom in many areas of life, including street art has won its niche in the urban environment.

The relevance of our work lies in the fact that street art is gaining great popularity, but someone sees art in it, while someone is of the opinion that it is vandalism.

Target: to comprehend the importance of street art in modern society.

Tasks:

Study the literature on this issue;

Conduct a survey among Internet users to identify their attitude to this problem.

Fundamental question: Does street art have a development perspective in contemporary art and architecture?

Research methods: study of literature, collection of Internet resources, questioning, analysis of the information received.

Object of study: Street art.

Subject of study: public opinion about street art.

Hypothesis: Perhaps street art is art if it serves a noble purpose, otherwise it is vandalism.

Theoretical part

Chapter I . The history of the development of street art

1.1 Origins

2. New literary review.Street art in the context of modern urban culture. com /? p =1050

6. Eleven-story residential building "40 BondStreet". [Electronic resource]. Access form: –

7. University Library in Cottbus. [Electronic resource]. Access form: –

8. World 24.Graffiti and street art: how the language of the ghetto entered museums.[Electronic resource]. Access form:

Review

for a research projectStreet art: art or vandalism?

students of 711 groups of the first year of study of the specialty

Construction and operation of buildings and structures

Dubrovskaya Anna Vasilievna and Galaktionova Diana Maksimovna,

head Egorova V.Z., teacher of the highest qualification category

The research project is devoted to the actual topic of gaining wide popularity in the contemporary fine arts - Street Art.

The purpose of the work is clearly formulated and justified. The research plan includes all the necessary steps to achieve the goal.

The research project has a logically correct structure. It consists of an introduction, a theoretical part, a practical part, a conclusion, as well as a list of sources of information used in writing the project. The work is well crafted. It contains a large amount of illustrative material, which makes it possible to more clearly reveal its main results.

The theme of the project is fully disclosed. The descriptive (theoretical) part reveals the historical stages of the formation of Street art, the history of its development, the cultural phenomenon of this phenomenon. The authors competently analyzed a large amount of literature on a given topic. The theoretical part is designed in accordance with the requirements for abstract work and deserves a high rating.

The project is research, therefore, it contributes to the development of cognitive interest, analytical abilities, various ways of perceiving and processing information.

In the practical part, a survey and own research were conducted. The obtained results are generalized, the conclusion is given, the confirmation of the hypothesis is found.

Throughout the entire period of work on the project, the students formed the necessary skills and competencies.

As a result of the work on the project, a presentation was developed that clearly illustrates the topic. The product fully complies with quality requirements, is convenient to use, and meets the goals of the project.

This project can be used as a didactic material for classroom work with study groups in the discipline of Project Activities, Informatics, as well as for extracurricular activities: extracurricular activities, class hours.

Reviewer: ______________ Stepanova N.V.,

teacher of the highest qualification category

There are people in the world who see beauty in every moment! And these people are united by the street art movement. Speaking in general terms, street art is fine art, a distinctive feature of which is a pronounced urban style.

The main part of street art is graffiti, stencils, sculptural installations and more. As participants of the street-art style themselves admit, “Every detail, trifle, shadow, color, line is important in street art. The artist creates his own stylized logo - a "unique sign" and depicts it on parts of the urban landscape. The most important thing in street art is not to appropriate territory, but to engage the viewer in a dialogue and show a different plot program.”

Street art experiments with the environment and is built on the play of clearly drawn images with the surfaces of the buildings on which they are placed, as well as the collision of contrasting images or placing them in an unusual perspective. The object here includes the wall as part of what should be clearly visible as a framing space, the graffiti simply erases it.

At the moment, the streets of the largest capitals of the world are covered with thousands of pictograms, abstract forms and all kinds of characters - logos of street artists. Almost every country has already formed its own distinctive style. Russia is no exception.

Victoria Golovacheva

The emergence of street art, the transformation of its style

Street artists are representatives of the graffiti culture, which was formed in the West as a subcultural movement and has now reached the status of one of the forms of contemporary art. However, it should be noted that most Russians are still inclined to consider street art, to a greater extent graffiti, vandalism and hooliganism, while street artists in the West have long since moved away from such clichés and clichés in their address and even gained worldwide fame. . Even a person who is far from contemporary art probably knows the work of a street art artist who has gained worldwide fame - Banksy. If we talk about the state of Russian street art, there is a common opinion that it is “lagging behind, catching up”, since graffiti culture appeared in our country not so long ago, with the beginning of perestroika, on the wave of penetration of Western mass culture that swept Russia in the late 80s. th, early 90s.

Street art, according to the majority, arose in the 1970-90s, and its prehistory began in the Second World War. According to legend, the history of graffiti begins in 1942, during World War II, when the worker Kilroy starts to write "Kilroy was here" on every case of bombs that are produced at the factory in Detroit. Soldiers in Europe reproduce this phrase on the walls that survived the bombing. This first manifestation is later joined by Cornbread's signatures in Philadelphia in the 1950s and 1960s. Together with Cool Erl and Top Cat, they create graffiti, in the truest sense, giving rise to this trend.

From Philadelphia, traffic in the late 1960s comes to New York, to the Washington Heights block in Manhattan, from there, in the 70s of the XX century, the “tag” spreads everywhere, covering the walls of subway cars. Julio 204 was the first to put his street number next to his pseudonym. Taki 183 was the first graffiti artist recognized outside of his own neighborhood. He leaves traces of his presence in so many urban places, becoming a kind of "arsonist" and provoking a wave of imitations among many graffiti artists.

From New York in the 80s. 20th century graffiti, as a special subculture, began to spread around the world. This subculture took root especially well in the poor regions of Latin America, where even earlier its own tradition arose - “mural”, i.e. drawings on houses. By the 1990s, artists appeared who were moving away from graffiti in many respects (writing letters, names) and completely switching to creating images or direct messages, using a variety of techniques for this. Here one cannot fail to mention Blek le Rat, who, having become acquainted with the street arts of New York, takes this idea to his homeland, to Paris. There he departs from the signature standards and begins to use a stencil, which has become one of the main tools of all artists over time. Blek le Rat becomes a fundamental figure in the art of street art, according to the most famous representative of street art, Banksy, it was he who became the father of modern trends.

By the mid-1970s, more mature graffiti appeared on the streets of New York, painted by the first real street artists: Lee Quinones and Jean-Michel Basquiat. Quiñones paints entire subway trains in his native New York and enters the first street art exhibition in Washington DC in 1981. At the same time, Batischia is one of the earliest recognized street artists, whose work is currently available for $14 million or more.
The case with Batischia became rather extraordinary for the culture of street art, and he himself soon moved more and more away from hooligan drawing and adjoined neo-expressionism. Street art, meanwhile, moved on and became more and more daring and defiant. The turning point was the 1990s, when more and more masters began to abandon the "standard" graffiti (which is now almost no longer associated with street art) and, already in the 1990s, posters and stickers, video art began to be used after stencils and even arrange installations. This time was for street art the time of a new generation of artists - Banksy, Shepard Fairey, Ces53, Space Invader, 108, Ash and many others.

Particularly significant for modern street art culture is the mysterious personality of Banksy, who is one of the most influential and sought-after figures in contemporary art. But his identity has not yet been established. All this time he manages to hide his face behind masks and hoods. This English graffiti artist started painting on the streets of his native Bristol back in 1993 and for quite a long time acted as an ordinary graffiti artist as part of his team, but over time, in order to manage to draw and not be caught by the police, he began to use stencil technique, similar to the French street artist Bleck le Rat, who painted the London Underground in the late 1970s. Banksy gained world fame precisely thanks to stencil drawings on acute socio-political topics and ridiculing mass culture.

According to the artist himself, "Graffiti is one of the few means of self-expression that you can afford, even if you have nothing."

Two traditions of street art.

In street art, there are two traditions, different in origin and character, although generally conditional. They are usually referred to as "French" street art and "Anglo-American".

In the English-speaking world, street art grew out of poverty, from "bad neighborhoods", working-class suburbs, and in many ways from the Negro subculture. He gave rise to the street art movement, having a strong influence on Latin America and continental Europe.

"Anglo-American" street art was initially of a protest nature, created mainly by people of proletarian origin. It is still rather painfully perceived in it any fact of cooperation of colleagues with commercial organizations. At the same time, this tradition is not alien to some lightness, irony and frivolity, and vandalism is often seen as pure pleasure from destruction and breaking the rules.

However, although European artists were inspired by the graffiti of New York, they soon created their own tradition. "French" street art positions itself as "serious art". Almost all artists have higher education and associate their artistic ideas with philosophical reflections. The idea behind French street art is to serve the community and try to fit into the urban landscape without distorting or destroying the environment. It should also be noted that French street art was quickly included in the system of museums and galleries - most of the now well-known authors quickly gained access to exhibitions. The latter circumstance makes us consider a significant part of this tradition rather than street art, but something else (pop art, glam art...). At the same time, modern French street artists are rather skeptical about other traditions (for example, in the article “The Age of Developed Vandalism” from the magazine Kommersant - Power, the French artist Zevs says: “I respect Banksy, but what he does is they are basically caricatures.

If we look for the underlying reasons for the difference between the two traditions of street art, then probably the main one is that the Anglo-Saxon tradition of graffiti and street art is firmly rooted and sees its basis in the primitive, territorial beginning of a person - street art as a pure pleasure from the destruction of boundaries, as the ability to "mark" the territory, and not so much one's own, but of some group. The French tradition sees as its goal the creation of additional meanings of the visual message, and not destruction.

It is curious that the difference between these two traditions also correlates with the ability of artists to reflect. It is noted that the works of French street artists turn out to be hyper-reflexive, the messages conveyed by them in art objects are filled with meaning. At the same time, according to the biographies of the authors, it is noticeable that representatives of the Aglo-Saxon tradition are mainly from the social lower classes, while in the second tradition there is a significant number of professional artists and designers with one or two educations (often artistic plus humanitarian).

After describing the features of Jewish and Anglo-Saxon graffiti art, it is necessary to trace the path of graffiti in Russia and its features.

The process of origin and development of street art in Russia

The formation of Russian street art, like most other varieties of Western culture, has been taking place in Russia since the beginning of perestroika. Around 1985, a fashion for Western values ​​and Western culture began to take shape in Russia, including hip-hop and rap. Since the citizens of the Soviet Union did not have wide access to information about Western cultural phenomena, they had to collect information "bit by bit ... from Western magazines, films and musical products brought by the lucky ones." That is why a stable stereotype has developed that hip-hop style consists of three directions: bray-dance, rap and graffiti. This cliche is still popular in modern Russian society, although, in fact, this is not entirely true. After the collapse of the USSR, a wave of hip-hop culture poured into Russia, rap and hip-hop dance and music schools appeared, and numerous festivals began to be held. At the same time, the first rappers and breakers were at the same time the first graffiti artists, decorating the scenery of their concert and rehearsal venues, the interiors of their clubs, premises, etc. in this style. Among the first representatives of Russian graffiti in those days were: Krys, Basket and Max-Navigator .

Russian street art is formed along the Western path of development and arises from the direction of graffiti, this transition has been actively taking place since 2000. Such names as Code and Fet, Make, Kto and others appear on the Russian street art arena. In 2003, the first Russian street art events "Don" t Copy me" and "Access" take place, and starting from this year, Russian street art festivals and street art shows are held in Russia regularly. As a result, Russian street art is moving to a new level, instead of hooligan attacks, it turns into a new art form.However, most modern street art researchers and even the artists themselves often criticize Russian street art, calling it a faceless imitation of the Western school.But, nevertheless, many note a positive trend development of Russian street art.What are the reasons for the slow development of original Russian street art?The main reason is the apparent centralization of the Russian school of street art: most of the teams, individual artists and street art centers are concentrated in Moscow and St. negatively affects the development of Russian street art, often leaving provincial street artists unnoticed. The reason for the dominance of Western patterns in Russian street art is the use of the Latin alphabet by most street artists, the inscriptions are most often in English. In the entire Russian street art space, there is only one notable street art team that uses Russian as the main language. This is an inter-regional team "Why".

Another reason is the current lack of a legitimate status for street art in Russian society. On the one hand, street art itself, as described earlier, is an illegal art form. But, on the other hand, in the US and the West, there are areas for drawing, where artists can realize their ideas, train their skills, and there are areas in the form of galleries, where street artists can even present their work. There are no such spaces in Russia.

Moreover, there is a huge rejection of graffiti paintings, which is expressed, in particular, in how street art objects are treated further. Turning again to Western experience, I note that, despite strict sanctions for painting walls in the wrong places, the police are in no hurry to paint over the drawings made by the artists. In the UK, they even restore graffiti (though, again, the same Banksy). In Russia, tags are immediately painted over (see Fig. 4 - painting over graffiti near the Ladozhskaya metro station), while, most often, the color of the paint used to paint over a piece of wall with an image differs sharply from the original color of the wall, so there are doubts about whether that a wall with plain spots of a different color is of greater value and aesthetics than a wall with a bright image. The title of the article “In the UK, vandals painted over Banksy’s graffiti” already demonstrates the difference: in Russia, graffiti artists are called vandals, in the UK, vandal = those who cover up graffiti

Russian street art is also distinguished by the fact that the protest moment is still sharpened in it: many stickers and graffiti express ridicule and indignation at the ruling class.

And the last feature of Russian street art that I would like to note is that in the process of being included in the street art community, Russian street art goes through a certain “evolution”: only when it enters a subculture, does it gladly join various events organized “from above”, participates in the creation of mural art, and then, having become acquainted with the negative attitude of his community towards commissioned work, he goes into the shadows and prefers radically illegal ways of self-expression.

Thus, in the developing Russian street art, there are both a number of advantages (such as, for example, a protest component valuable for the original essence of street art), but also a number of problems and shortcomings.