Abstract

The focus in this publication focus on identifying characteristics of elements of street art in semantic-syntagmatically space of the city. Invited to consider the practices of street art as such, which produce a special range of discursive strategies present in the General text of the city. Determined that the city acts as both text and agentin and structuralism dimension of urban space. It is recorded that street art as an artistic practice and a way of marking space has a long historical tradition, but the attention of the public and scientific community was only in the second half of the twentieth century. A number of studies that had substantive scope of study the specifics of the creation and existence of street art in the urban space are interdisciplinary in nature. Modern literature about street art are divided into several major groups. It is, first and foremost, the documentation in the book-landscape format that puts the emphasis on photos, supports and reinforces the tradition of the great names and refers to a territorial logic. Secondly, it is a monographic work on street art, the authors make an attempt to show the evolution of this phenomenon in the totality of its objectives and key parameters, locations and functions in the city to change, he suggests, is changing our ideas about the possible actions of residents in the urban environment. It is noted that in the last fifteen years, street art went from fashion urban novelty to a lasting position in the official tourist guides to the cities and special districts. This practice of inclusion in tourist routes elements of street art, which is quite common in the European area, American cities today are already represented in the Ukrainian urban field. Special attention is paid to theoretical sentences of Jean Baudrillard to consider graffiti in the context of the concept of simulacra as a phenomenon that undermines the tyranny of signs and sign systems and is associated with the appearance berrellesa and conceptual approach S. Hall regarding the encoding/decoding information, based on the basic principles of structuralism and semiotics. The main characteristics of these forms of definition of urban space as «street art», «graffiti», «mural». Emphasized that some authors propose four options for reading the graffiti, which are in complex interaction, but do not replace each other: «Tag» as a territorial marker, the «Tag» as an intervention in the media space, «the Bombing» as a revolutionary practice, «the Bombing» as an existential practice. Highlighted among the main substantive differences of graffiti and street art: authorship, content, addressee. Stated that graffiti and murals can be perceived as a means for social change, protest, or expression of the aspirations of the society. However, according to the world trend, graffiti mainly appear in the urban space unauthorized, at the same time the murals — by consent or by order of the municipal authorities and cooperation with artists and local residents. Determined that street art reflects the different forms and tactics or specific cultural practices and artifacts, specially designed and «exposed» in the urban space, focused mainly on designing public space of urban communities and, in fact, the inclusion of these communities by initiating dialogue, discussion, or provocation. An attempt was made to characterize the elements of street art in the urban space of the Dnieper river as an example of the study of modern Ukrainian cities. Clarified the substantive intentions of discursive strategies, are: objects of street-art General and aesthetic intentions; the elements of urban street art with the intention of national identity; the elements of urban street art with the intention of urban identity; elements of street art with the intention of incorporating global mass culture; elements of street art with the intention of incorporation of national cultural products.