Andrea Baldini

Dans le cadre d’une recherche plus vaste sur les origines françaises du débat italien sur la raison d’État à la fin du XVIe siècle, Enzo Baldini étudie les liens étroits des deux livres de Giovanni Botero et de René de Lucinge. L’auteur montre comment le dialogue que les deux hommes entretinrent durant les années 1580 fut décisif non seulement pour le traité que Lucinge consacra à la Naissance, durée et chute des Estats, mais aussi pour la réflexion de Botero sur la « raison par laquelle on gouverne un État »

In this paper, I critically discuss Riggle’s definition of street art. I argue that his definition has important limitations, and is therefore unsuccessful. I show that his view obscures a defining feature of street art, that is, its subversive power. As a significant consequence of ignoring that essential aspect, Riggle is incapable of fully understanding how street art transforms public space by turning one corner of the city at the time into contested ground. I also suggest that, when appreciating street art's subversiveness, its challenge against the Modern separation of art and life appears more radical than Riggle foresees.

By discussing a selection of socially engaged street artworks from the Frankfurt-based project ‘Under Art Construction’, this essay sheds light on street art’s possibilities as a form of resistance against the power of globalizing finance. The author argues that through the use of carnivalesque strategies of irony and appropriation, street art can challenge the pretense of rationality of recent policies of austerity in the eurozone. Such a challenge exposes the contingency of spending cut programs. He finally suggests that, in debunking the myth of economic rationality, street art can change people’s experience of finance, while opening up a space for imagining alternative economic scenarios.