Claire-Anaïs Boulanger (p), Annick Castiaux

Artur Ochojski

see extended abstract

Maria Tartari (p), Sabrina Pedrini

Adam Polko

In the last decade, the role of street art within the public space and their controversial relationship has been broadly investigated. European urban policy-makers increasingly utilize street art practices as planning tools to foster social change and urban renewal in peripheral areas with the aim of improving the quality of life of its inhabitants.
The shared sentiment within the academia sheds light mainly on the inclusive nature of these interventions, focusing on the successful results rather than seeing the big picture of such a complex scenario.
The present work aims to re-think on this debate extending the analysis on the harmful social impacts that artistic practices might have on local hyper-diverse communities. Urban space and its commons, when manipulated for the sake of social order and control through the work of top-down commissioned creative agents, might twist from relational goods born in its space to club goods with exclusionary effects. The commodification of public spaces in fact can lead to brutal forms of exclusion and false forms of participation.
Relying upon the analysis of national and international cases, we read an Italian case of commissioned street art that took place in an emerging peripheral multi-ethnic area, in the light of The Loss of Place Identity theory. Hence, we assess how negative spillovers, such as marginalization and social conflicts, artistic intervention deployed.
We therefore advance behavioural patterns of integration and inclusion between public art practices and local communities in culture-based regeneration initiatives that can enter and shape the discourse on local policies.
'see extended abstract'

Adam Polko (p), Artur Ochojski (p), Malgorzata Czornik, Piotr Gibas

Claire-Anaïs Boulanger

see extended abstract