Walls speak to those who pass by and give themselves time to listen, they talk through architecture and scream through street art. The latter has always been a highly controversial topic amongst the inhabitants of large cities. Graffiti, mosaics, and murals all sit in the middle between artistic expression and defacement. A mural can be celebrated in an art magazine today and then scrubbed from city walls the next day. The question that lingers is then what makes one act of painting a crime and another a cultural event and who decides it?
At first glance, the difference between what is classified as “vandalism” and what is labelled as “art” might seem quite clear. The two words, in fact, have very different and opposing connotations. “Street art” is that which appears curated, socially conscious, widely appreciated by the inhabitants of the walls on which said art is painted. On the other hand, the word “vandalism” conjures images of rebellion, crime, and intrusion. But what could one person consider socially conscious; another could consider highly disturbing, so who decides what is kept as art and what instead deserves to be eliminated? Ultimately, it all comes down to context. Namely, an image painted with permission on a random wall can be called art, but the same mural sprayed without consent will be labelled as vandalism.
In 2016, the anonymous French street artist known as “Invader” spread his works around the city of Ravenna. Initially, he had been commissioned an artwork for the Planetary of the city, but during his stay he also installed mosaic portraits of Justinian and Theodora, the Byzantine emperor and empress, on the exterior walls of nearby houses. These works were later removed as residents viewed them not as art but as an act of rebellion, created without municipal permission. Namely, somebody decided that the artist’s work on the planetary walls was worthy of being considered art, whereas that which he had added without permission on the city walls was vandalism.
Therefore, the same wall can be a crime scene in the morning and a museum in the afternoon. It depends on who painted it, and who’s watching it. It is fundamental for us to be aware of how power, perception and privilege are those who draw the line between art and vandalism and who get to decide what belongs on our streets.
I am a BEMACC student at Bocconi with a passion for storytelling and critical thinking. I see journalism as a creative outlet and enjoy writing about arts and culture, always aiming to spark discussion and offer fresh perspectives on the books I read. Excited to share my thoughts and be part of Bocconi Tra i Leoni!