Starting with the 70’s, the “Graffiti” movement became the embodied form of art’s desire to capture public areas. The most obvious quality of this movement was its will to prevent the imprisonment of art in “sterilized” areas, therefore making it possible for a larger part of the society to become active participants and viewers. This was the only way for art in being free, back in the day; to be separated from material relationships in terms of value or insignificance.

Performance movements and plastic/ visual interventions such as graffiti and stencils started to appear in this era as ways to defy governments, or in other cases, as manifestations of such intents.

These movements of free spirit, belonging to the street, intended to grab our attention in every part of our lives. Finally now, they intend to carry on with their influence within galleries of artistic essence. What could be the meaning of replacing such a rebellious act indoor? Isn’t this relocation in conflict with these movements’ very reason of being or existence? Maybe one should recall how deep the governing power’s influence penetrates within the public life when trying to answer these questions?

OUTSIDEin is a new initiative searching for brand new possibilities in aesthetics, beyond mere usual sociological engagements. It is an exhibition project where eight artists of international reputation perform interventions in a single street through a single art gallery.

http://www.contemporarystreetart.com/

http://www.facebook.com/outside.in.istanbul