Barcelona’s Prohibited Art Museum is set to host a debate exploring the origins of graffiti and its emergence as one of the world’s most significant art movements. Some argue that graffiti represents the largest artistic shift since the Renaissance.
While many young people recognize the works of Banksy, fewer may be familiar with the masterpieces of Caravaggio. Although individuals of all ages might have experimented with spray paint, not everyone is eager to pick up a traditional paintbrush and easel. The fact that graffiti is often illegal may enhance its appeal, particularly among youth.
Canadian artist Louis Pierre Boivin has identified the subtle yet profound ways in which graffiti has influenced the broader art world, coining the term “trasgraffiti” to describe this phenomenon. He distinguishes it from the overt impact of artists like Banksy, emphasizing that trasgraffiti reflects the integration of graffiti techniques into various art forms rather than simply replicating urban art in galleries.
“It’s about incorporating graffiti into contemporary art in nuanced ways,” Boivin explains. “Unlike urban art, which directly translates street works into gallery settings, trasgraffiti signifies a deeper cultural influence.”
At 40, Boivin, originally from Quebec and now based in Barcelona, will participate in a discussion about trasgraffiti at the Museu Art Prohibit on October 30, alongside international artists like Martí Sawe, Alsino Skowronnek, Bertrand Main, and cultural curator Marc Mascort Boix.
Urban Art Backlash
Banksy, arguably the most recognized graffiti artist globally, maintains an anonymous identity while commanding millions at auctions. Despite his popularity, Boivin notes a lingering stigma against urban art, often perceived as lower-class.
“There’s still resistance to urban art,” he says. “Trasgraffiti represents a more sophisticated application of graffiti techniques in art, demonstrating the significant impact graffiti has had across culture, particularly in art.”
Boivin believes that the cultural perception of graffiti in various cities speaks volumes about their artistic landscapes. “In Barcelona, graffiti tourism thrives, reflecting the city’s vibrant cultural scene,” he adds, highlighting the ongoing artistic legacy of local icons like Picasso, Miró, and Dalí.
The term “trasgraffiti” itself draws from the Spanish word tras, meaning “through,” signifying “art through graffiti.” Boivin cites American artist Jason Revok, who incorporates 1970s graffiti symbols and spray paint into minimalist works.
British anthropologist Rafael Schacter recently explored graffiti’s role as ephemeral art, questioning why only artworks with monetary value are accepted in urban aesthetics. “While street artists like Banksy face fewer consequences, graffiti writers in the UK are still imprisoned for tagging public spaces,” he wrote in The Guardian.
Boivin envisions a trasgraffiti exhibition at the Prohibited Art Museum, a fitting venue given its focus on art deemed forbidden. Despite some viewing graffiti as mere vandalism, he believes it’s crucial to acknowledge its societal influence.
“Understanding graffiti’s impact is essential,” Boivin states. “It has its downsides, but it also enriches culture. Institutions, especially city councils, need to recognize its significance, as graffiti has been part of urban life for over fifty years and shows no signs of disappearing.”
Artist Marc Mascort Boix agrees that naming this movement helps to convey its importance. “Identifying it as ‘trasgraffiti’ allows for better understanding. Just as terms like ‘Impressionism’ or ‘Cubism’ did, we need a framework to discuss it.”
He recalls graffiti artist Lady Pink’s assertion that graffiti is the most important art movement since the Renaissance, emphasizing its capacity to engage a broader audience. “My daughter knows Banksy but not Caravaggio,” he remarks.
Boivin concludes, “The sheer joy of graffiti, the act of picking up a spray can, is undeniable. Its presence in our cities is something we cannot ignore.”
