Abstract:

Discussing his 1971 urban art installation, Les Gisants de la Commune de Paris, Ernest Pignon-Ernest stated he felt it necessary for art dedicated to the Paris Commune to be created in the street. Only there could it do justice to a movement built on popular seizure of urban space. In recent years, as 'street art' has emerged as a significant artistic movement, the affinity Pignon-Ernest asserted between art in the street and the Commune has continued to make itself felt. This article discusses three Paris-based street artists who have referenced the Commune: A2, Morèje, and Rue Meurt d'Art. Their work resists the Commune's erasure from collective memory. However, their strategies sometimes risk relegating it to the past, stripping it of its political radicalism. This, combined with street art's growing commercialization and institutionalization, poses questions about urban art's capacity to engage the Commune on an ideological—not just iconographic—level.

摘要：

讨论他的1971年城市艺术装置，巴黎公社的Les Gisants，欧内斯特·皮农（Ernest Pignon-Ernest）表示，他认为有必要在大街上创作出专门用于巴黎公社的艺术品。只有这样，它才能对以普遍占领城市空间为基础的运动产生正义感。近年来，随着“街头艺术”作为一种重要的艺术运动而兴起，街头艺术与公社之间的亲密关系Pignon-Ernest继续让人感到自己。本文讨论了引用公社的三位巴黎街头艺术家：A2，Morèje和Rue Meurt d'Art。他们的工作阻止了公社从集体记忆中抹除。但是，他们的策略有时可能会将其放归过去，从而使其摆脱政治激进主义。再加上街头艺术日益商业化和制度化，提出了有关城市艺术的问题。