Mitja Velikonja – författare
2 244 kr
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752 kr
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This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media.
Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience.
It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.
752 kr
Läs direkt efter köp
This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media.
Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience.
It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.
656 kr
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377 kr
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217 kr
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194 kr
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Just a game? This intriguing visual title looks deep into the underbelly of football (soccer) fandom, featuring a vast photographic archive of fans'' graffiti and street art captured by a pioneering ‘graffitologist’. At the intersection of the street and sport we find themes of the day: how racial, ethnic, and class tensions play out in visual culture.
On the fringe of sports culture are the Ultras, the football fans whose pyrotechnics, chants, wildly creative stunts, and hooliganism are infamous. Using selections from his archive containing hundreds of photographs of Ultras' street art and graffiti, including everything from elaborate murals to stickers to “scratchitto” incisions and spray-paint duels, award-winning author Mitja Velikonja introduces readers to the visual iconography of a fascinating underworld.
The Ultra subculture is built by “no-bodys,” the anonymous (primarily) men whose attachments to their teams, specifically in Europe and post-socialist states, sometimes cross the lines into nationalist sentiments and militaristic “Blood and Soil” extremism. After examining general themes and trends in street art and tifo club graffiti, Velikonja embarks on a case study of fans from his native Slovenia and touches on the roles of neighboring football fans in the Balkan Wars. He continues with an analysis of political and socially progressive graffiti, local trends and circumstances, as well as its role in the United States. As he peels back layers of misinformation and misrepresentation, he cues our understanding of factional mindsets within histories of political instability, arguing for dissensus being a critical element to democracies. In the end, we understand that while always under siege, the ultra-fans require nothing less than fidelity and devotion, but precisely to what can be determined — it''s anyone''s game to call.
286 kr
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242 kr
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Ukraine at war in a unique chronicle that examines expressions of the Ukrainian people on the street, in graffiti, murals, and quotidian life.
On his travels to wartime Ukraine, where even the feeling of relaxation is dangerous, Mitja Velikonja observed thousands of images of the culture of war in what he saw on the street and everyday life, from bakeries, road signs, billboards and murals, to unsanctioned graffiti. This street iconography, invested with a patriotic vocabulary, was also informed by his conversations with people, the scenes of destruction, misery, and above all, the strong will to resist, from which everyday heroism emerges.
The author went twice to the war zones of Ukraine and took more than 3,000 photographs of the street iconography of the state of war. Although all nationalists are equally foreign to him, when he talks to people, he asks himself how he would feel in their shoes, how he would react. When war creeps up to our front door, it affects everyone: leftists and right-wingers, nationalists and pacifists, patriots and those who don''t care what flag they live under.
"Thus, while driving or waiting anywhere, I took a small test: how long does it take to come across images of war, warrior iconography, vocabulary of emphatic patriotism, the sound of a national awakening song, footage from battlefields. Mostly it was a matter of seconds."
Through these pieces of the culture and a people holding themselves together against an invader through a self-defensive nationalism, Velikonja sees that nationalism hides poverty — the more severe, the bigger the flags. In Ukrainian Vignettes, Velikonja compiles the images, words, impressions and voices of everyday life in war, to help us understand how clearly politics and ideology are displayed directly on the street. His philosophical approach of essays as vignettes allows him to have a critical eye even as he struggles to understand tragic events, and despite his affection for those closest to him. The author remains critical of both sides in his analysis, despite his sympathy for those closer to him.