The dissemination of culture promoted by the Sustainable Development 2030 Agenda and the permeation of the action plan prefigured at all levels – socio-cultural, techno-productive, economic-commercial – propose to reach every human experience to pursue the 17 Goals, within time expiration and anywhere in the United Nations (ONU) perimeter. Art is certainly an important testing ground; one that is done on the street and spreads involuntarily is a formidable mass communication tool as evidenced by the experiences that have interpreted the ethnocentric and collective protests, changing in space and time. A first discernment concerned graffiti writing, street art and post-graffitism, between the United States, Europe, and Italy, in the belief that they coexist and are different expressive forms that intertwine and are enriched with contents, techniques, attendance. I wanted to investigate of this context a recent thematic experience that realizes in the works of post-graffitism the synthesis between artistic expression and the 17 Sustainable Development Goals for 2030 Agenda. Projects managed by no-profit organizations, financed by commercial brands or crow founding, welcomed and supported by the Municipalities, have filled Italian cities with colour, from the Center to the suburbs. The sustainability found in the works is certainly important for social growth but not always adequate for environmental quality, as the material choices adopted derive from “operational” habits that are difficult to eradicate. Although the technical solutions have multiplied, the interpretation of the 17 Goals (SDGs) does not always leads to renouncing the synthetic matrix of aerosols and paints. A search for green proposals, for a coherent implementation in respect of the ecosystem, characterized the continuation of the study by crossing thematic and material sustainability. Economic dynamics, the third pillar of sustainability, are difficult to interpret as this form of art passes from underground to art galleries and the extended reality (XR).

I post graffiti ecologici : una simbologia evocativa, un segno sostenibile Eco friendly post graffiti: an evocative symbology, a sustainable sign

Ornella, Fiandaca
Primo
2022-01-01

Abstract

The dissemination of culture promoted by the Sustainable Development 2030 Agenda and the permeation of the action plan prefigured at all levels – socio-cultural, techno-productive, economic-commercial – propose to reach every human experience to pursue the 17 Goals, within time expiration and anywhere in the United Nations (ONU) perimeter. Art is certainly an important testing ground; one that is done on the street and spreads involuntarily is a formidable mass communication tool as evidenced by the experiences that have interpreted the ethnocentric and collective protests, changing in space and time. A first discernment concerned graffiti writing, street art and post-graffitism, between the United States, Europe, and Italy, in the belief that they coexist and are different expressive forms that intertwine and are enriched with contents, techniques, attendance. I wanted to investigate of this context a recent thematic experience that realizes in the works of post-graffitism the synthesis between artistic expression and the 17 Sustainable Development Goals for 2030 Agenda. Projects managed by no-profit organizations, financed by commercial brands or crow founding, welcomed and supported by the Municipalities, have filled Italian cities with colour, from the Center to the suburbs. The sustainability found in the works is certainly important for social growth but not always adequate for environmental quality, as the material choices adopted derive from “operational” habits that are difficult to eradicate. Although the technical solutions have multiplied, the interpretation of the 17 Goals (SDGs) does not always leads to renouncing the synthetic matrix of aerosols and paints. A search for green proposals, for a coherent implementation in respect of the ecosystem, characterized the continuation of the study by crossing thematic and material sustainability. Economic dynamics, the third pillar of sustainability, are difficult to interpret as this form of art passes from underground to art galleries and the extended reality (XR).
978-88-492-4558-5
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11570/3242351
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