MURAL AS A POLYLOGUE IN PUBLIC SPACE: THE COMMUNICATIVE POTENTIAL OF UKRAINIAN CONTEMPORARY MONUMENTAL ART
DOI:
https://doi.org/10.18623/rvd.v23.n4.4683Palavras-chave:
Mural, Muralism, Street Art, Public Art, Communication, Community, Cultural Polylogue, Ukrainian ArtResumo
The article attempts to systematically analyze the communicative potential of Ukrainian muralism. Mural is considered as a form of monumental painting that exists in public space on the border of fine art, social expression, and urban intervention. Researchers trace the origins of muralism back to cave art, but only in the 20th century did murals become a socio-cultural phenomenon that expresses social, political, cultural, environmental, and other ideas. Ukrainian mural art is an integral part of world muralism, and today Ukraine, and in particular Kyiv, is one of its centers. Muralism in recent years, and especially during the Russo-Ukrainian war, has become an important tool of cultural policy, cultural exchange, and public communication. An analysis of the communicative aspects of muralism, conducted in the article, allows highlighting its social functions and mechanisms of influence on large human communities, and investigating why this type of monumental art represents a significant node of social interaction.
Referências
1. Bitaeva, H. (2022). Mural art as a dynamic artistic phenomenon of modern Ukrainian society. Artistic Culture. Current Problems,18(1), 79–86.
2. Bulkina, I. (2019, June 24). Oleg Sosnov: Street art as a social gesture. In Kyiv. https://inkyiv.com.ua/2019/06/oleg-sosnov-strit-art-kak-socialnyy-zh/
3. Caliskan, O. (2021). Mural as public art in urban fabric: An attempt to link configurational approach to perceptual morphology. Journal of Design for Resilience in Architecture and Planning, 2 (special issue), 147–170.
4. Cywinski, A., & Karyn, A. (2024). Mural as a Living Element of Urban Space: Seasonal Dynamics and Social Perception of “The Four Seasons with Kora” in Warsaw. Arts: 13, 117. https://doi.org/10.3390/arts13040117
5. Dumasenko, S., Tatarova, I. (2016). Mural art in the context of art theory. Arcadia, 1(46), 44–48.
6. Frankova, V. (2024). Walls that speak: Murals by foreign artists as a voice of support for Ukraine. May Studies: History, Political Science, International Relations. Proceedings of the VI International Scientific Conference of Students and Young Scientists (pp. 101–103).
7. Нavrylash, I. (2018). Murals and graffiti in modern Ukraine: Features and differences. Culture if Ukraine, 62, 235–244.
8. Havrylyuk, B. (2022). Muralism by Alexey Bordusov “Aec” and Volodymyr Manzhos “WaOne”, “Interesni Kazki”. Current Issues of Humanities, 49(1), 61–70.
9. Havrylyuk B. (2018). Ukrainian Mural Art in the Context of World Art. Bulletin of the Lviv National Academy of Arts, 37, 241–254.
10. Kolisnyk, O. V. & Ponomareva, N. S. (2019). Murals as a means of social communication. Comparison of world experience. Art and Design, 2, 62–73.
11. Kuryshko, D. (2015). From art to stains: how murals are perceived in Kyiv. BBC News Ukraine. https://www.bbc.com/ukrainian/ukraine_in_russian/2015/12/151216_ru_s_mural_kyiv
12. Kuzmenko, J. (2023). Discussion around a new mural on a historic building in Kyiv: where it all started. Suspilne culture. https://suspilne.media/culture/575605-diskusia-navkolo-novogo-muralu-na-istoricnij-budivli-kieva-z-cogo-vse-pocalos/
13. Lacy, S. (1994). Mapping the Terrin: New Genre Public Art. Bay Press.
14. Leahy, E. L. (2024). State Murals, Protest Murals, Conflict Murals: Evolving Politics of Public Art in Ukraine. Arts 13, 1.
15. Lubynska, M. (2023) Kyiv murals of the 21st century as a practice of transcultural dialogue in the context of the influence of world globalization processes on visual culture. [PhD dissertation]. Institute of Contemporary Art Problems of the National Academy of Arts of Ukraine.
16. Masenko, V. (2023, October 24). The 10 best murals in Kyiv according to The Village Ukraine readers voting results. Village. https://www.village.com.ua/village/city/murals/344603-10-naykraschih-muraliv-kieva-za-versieyu-chitachiv-the-village-ukrayina-rezultati-golosuvannya
17. Masenko, V. (2023, October 25). The 10 worst murals in Kyiv according to The Village Ukraine readers voting results. Village. https://www.village.com.ua/village/city/murals/344635-10-naygirshih-muraliv-kieva-za-versieyu-chitachiv-the-village-ukrayina-rezultati-golosuvannya
18. Mazzucotelli Salice, S. (2010, October 15). The Place of Public Art in Social Change. ESA Research Network Sociology of Culture Midterm Conference: Culture and the Making of Worlds. https://doi.org/10.2139/ssrn.1692696
19. Mendelson-Shwartz, E., Mualam, N. (2025). Murals and the City. A Comparative Perspective on Practices, Policies, and Regulations. Routledge.
20. Niziołek, K. (2015). Czy street art jest sztuk˛a społeczn˛a? Kulturotwórczy i obywatelski sens sztuki ulicznej w perspektywiekoncepcji społecznych enklaw. Pogran. Stud. Społeczne, 6, 49–74.
21. Osadcha, L. V., Churina, D. K., & Grygoryshyn, D. S. (2024). Actualization of the hero archetype during the Ukrainian military resistance of 2014–2024 using the example of Kyiv murals. Culturological Almanac, 4, 355–362.
22. Otrishko, M. (2023). City murals as a form of informational resistance to Russian aggression. Ukrainian Information Space, 11, 264–276.
23. Ospischeva-Pavlyshyn, M. (2021). Changes in the themes, aesthetics, and functions of public images in Kyiv due to the influence of socio-cultural processes in society in the 1990s–2010s. Contemporary Art, 17, 183–194.
24. Parselis, V. (2020). Palimpsestos Urbanos: Función del Arte y Espacio Público. Index, Revista de Arte contemporáneo, 9, 140–145.
25. Pawłowska, A., Gralińska-Toborek, A., Gryglewski, P., Sleptsov, O., Ivashko, O., Molodid, O., & Poczatko, M. (2023). Problems of expositions and protection of Banksy’s murals in Ukraine. International Journal of Conservation Science, 14(1), 3–18.
26. Perzycka-Borowska, E., Gliniecka, M., Kukiełko, K. Parchimowicz, M. (2023). Socio-Educational Impact of Ukraine War Murals: Jasień Railway Station Gallery. Arts, 12, 112.
27. Petroniene, S., & Juzeleniene, S. (2022). Community Engagement via Mural Art to Foster a Sustainable Urban Environment. Sustainability, 14, 10063.
28. Trajtenberg, G. (2021). Widening the margins of political participation: The political effect of street art on civil society. Journal of Civil Society, 17, 238–55.
29. Shemeneva, Y. (2021). Murals of Ukraine in world street art: form formation, plastic modeling, artistic and figurative features [PhD dissertation]. National Academy of Culture and Arts Management.
30. Shylo, O., & Ivashko, O. (2016). Monumental art and street art in modern urban space. National Bulletin of Construction, 2, 74–78.
31. Soviet mosaics in Ukraine. https://sovietmosaicsinukraine.org/
32. The procedure for applying monumental paintings (murals) in Kyiv (2024, July 4). Kyiv City Council. https://kmr.gov.ua/sites/default/files/1654-9620.pdf
33. Zabawa-Krzypkowska, J. & Groń, K. (2020). Art in the Public Space, Different Aspects of Artistic Activities in Architecture. IOP Conference Series: Materials Science and Engineering, 960, 1-10.
34. Zhou, W. (2022). The Application and Development of Mural Art in Urban Public Environment Landscape Design. Journal of Environmental and Public Health, 2022, 1–9.
Downloads
Publicado
Como Citar
Edição
Seção
Licença
Submeto (emos) o presente trabalho, texto original e inédito, de minha (nossa) autoria, à avaliação de Veredas do Direito - Revista de Direito, e concordo (amos) que os direitos autorais a ele referentes se tornem propriedade exclusiva da Revista Veredas, sendo vedada qualquer reprodução total ou parcial, em qualquer outra parte ou outro meio de divulgação impresso ou eletrônico, dissociado de Veredas do Direito, sem que a necessária e prévia autorização seja solicitada por escrito e obtida junto ao Editor-gerente. Declaro (amos) ainda que não existe conflito de interesse entre o tema abordado, o (s) autor (es) e empresas, instituições ou indivíduos.
Reconheço (Reconhecemos) ainda que Veredas está licenciada sob uma LICENÇA CREATIVE COMMONS:
Licença Creative Commons Attribution 3.0
