Transformation of Western Ukrainian street art in the context of production communication strategy

Abstract

The purpose of the work to is to studi the contextual changes in the category of a set of artistic practices understood as "street art" in the cities in the West of Ukraine from the 1990s to the present. Aesthetic forms and spatial locations are studiet due to their belonging to the concept of contemporari art. The methodological approach is based on the works of Raphael Schacter (2017) and Tomasz Timko (2021), which reject the knowledge of graffiti through aesthetic characteristics, declaring the effectiveness of representation, which is capable of changing the tastes of the audience. The method of socio-cultural dynamics, with the help of which the specificity of artistic interventions during the studied period was determined, became important for the research. The analysis of the system-forming connections allowed the author to form a hypothesis about street art as a whole system, to distinguish its individual levels and to determine their characteristics. For the first time, a chronological periodization of street art as an aesthetic practice is proposed, which takes into account the motivation of the artist/group of artists, the characteristics of the association, the ideology of space and the attitude to publicity, multimedia forms of collaboration. The conducted analysis of artistic practices proves that the strategies of the cities in the West of Ukraine are flexible to the introduction of the latest culture, and the tactics of artists, marked by individualism and self-assertion at the end of the 20th century, in patience acquire the features of collectivity and intermediality. The city, as a working space, is seen as open for interaction according to the creative potential of artists and the community.