Bruno V.V., Ardelyanova Ya.A., Rozhkov A.Yu., Volchenko N.N., Kalalva S.A. Graffiti: the phenomenon of visual communication in an urbanized space. In: Youth of our city: subcultures, movements, ideologies and practices (sociological guide). 2nd edition, revised. ...

Abstract

Graffiti as a phenomenon of street visual culture has undergone significant evolution – from a marginal practice associated with vandalism and deviance to a recognized form of artistic expression, and in some cases – an instrument of cultural policy. As a means of self‑expression, a sign of protest, a style game, and a way of symbolically occupying space, graffiti remains one of the most vibrant and controversial ways for young people to interact with the urban environment. There are many definitions of the term “graffiti,” but all of them are based on the etymology of the Italian words “graffiare” (to scratch) and “graffito” (scratched, plural — “graffiti”), which denoted a technique of wall painting in ancient Egypt and ancient Greece. One of the most famous collections of graffiti was discovered during the excavations of Pompeii. If earlier this term was used by archaeologists, then gradually it became a “commonplace” in the life of a modern large city. An expanded understanding of graffiti encompasses both illegal forms (tags, bombing, political inscriptions, deviant graffiti) and legal and semi‑legal practices (murals, festival projects, commissioned street art). At the same time, it is important to distinguish between graffiti and street art (street art), despite their visual similarity. The aim of this study is to conduct a comprehensive analysis of graffiti as a subculture and a form of visual expression in the urban environment, with a focus on the years 2010–2025. The objectives of the work included: identifying the key directions in the evolution of graffiti, analyzing the internal organization of the subculture, the everyday practices of its participants, and the subcultural codes. Special attention is paid to the socio‑demographic and psychological profile of the participants, as well as their motivational attitudes. Graffiti is a subcultural practice that has developed within the community, based on underground dynamics, internal hierarchy, street reputation, and, most often, the illegal nature of the actions. His language is primarily understandable to “his own kind” – other writers, but at the same time it can also be a form of public statement directed outward. Street art, by contrast, is initially oriented towards an external audience and includes both critical and decorative practices. It is often carried out with the permission of the authorities or as part of festivals. This work focuses primarily on graffiti as a subculture, but in some cases it also touches upon the overlaps with institutionalized forms of street art, especially in the context of the legalization and aestheticization of the urban environment. The methodology is based on an interdisciplinary approach that combines cultural, sociological, visual‑anthropological, and psychosocial analysis.