Maps and Contemporary Artists

This thesis examines certain map art and mapping projects by Tiffany Chung, Tintin Wulia and MAP Office within a framework called “traumatised topologies” and shows how these three artists counter-map by layering onto their map art specific psychic “subjectivities” related to two geographical constructs: (1) war-related trauma as experienced by survivors as depicted within war-torn topologies and battle zones of the Vietnam War; and (2) “states of alienation” as experienced by the Vietnamese refugee, the Filipino migrant worker and the Hong Kong resident whose political future is uncertain as depicted within the idea of Hong Kong as a “border” construct.  These various psychic subjectivities are shown to yield specific geographical-art understandings concerning: (1) the nature of trauma for the survivor, opening up an affective empathic pathway for the spectator who encounters map art depicting trauma; and (2) illustrate from three different perspectives the sense of being “unhomed” and its influence on claims of belonging, territorialisation and identity as they relate to Hong Kong as “border.”

Two quotations within the opening pages of Else/Where: Mapping capture the essence of this intriguing book. The first, taken from chapter twelve of Moby Dick (1851), states: “It is not down in any map; true places never are” (pp. 2-9).  In a work commissioned by Else/Where: Mapping, artist Jeremy Wood recreates Herman Melville’s provocative line through a personal journey.  Wood travelled the shape of each letter on a walk through London, thereby constructing the complete sentence with each additional step. Using a Global Positioning System (GPS) device, he recorded this journey and projected the results onto aerial photographs that map the area.  As Wood explains in his essay, “Can’t Be Elsewhere When GPS Drawing” (pp. 274-275), our personal navigation is evolving from looking up at the stars to looking down at handheld devices mediating information from satellites.

Significantly, the ground Wood “wrote” his journey upon follows two carefully chosen meridian lines. The Greenwich Meridian Line was established as a world standard in 1884 and is known as Greenwich Mean Time (GMT); the World Geodetic System 1984 (WGS84) Meridian Line was adopted one hundred years later as an international convention to enable GPS tracking. The gap that exists between these two lines, arbitrarily imposed upon the earth, represents “the edges of maps that do not meet up” (p. 274). Conceptually, these maps suggest a range of agreement, or perhaps a lack of it, between local and worldwide systems, because “…between them are places that don’t exist” (p. 274).

This paper considers the relationship between truth and fiction as it is manifested, through the process of storytelling, within the gallery's aesthetic experience. Storytelling effectively integrates both truth and fiction in order to arouse the imagination in the subject which has a need for fantasy. The meaning of storytelling lays in its establishment of the right to intensity, thus transports man from the aesthetic domain into that of ethics. Storytelling's form of rhetoric, that can adequately propel such movement, departs from the rhetorical work of Aristotle. This hypotheses-based form of rhetoric presents potential truths or things that exist in ambiguousness. Though somewhat illogical, it nonetheless identifies a rational core (the concept of proof) in its structure, with its main purpose to be a (special kind of) persuasion. The kind of potential truth that persists (even with its precarious status of truth-fiction) is aesthetic truth. Aesthetic truth (and therefore knowledge and understanding within art) presents a unique fiction-based process of truth-telling that is a guiding force which transports man towards an imaginary-ethical experience. Thus, within the aesthetic experience, a different kind of knowledge and understanding emerge that include error, precariousness and speculation. This type of knowledge is vital to man's involvement in realm of ethics.

Nowadays, new speculative and experimental ferments on analog and digital mapping are variously infusing both "insiders" (geographers, cartographers, urban planners, GIS scientists) and "outsiders" (Art historians and creative practitioners)' work. To properly evidence and discuss the excitement of mapping that is emerging through a wide range of visual and aesthetical contributions, it is important to contextualize and compare such unconventional practices of map-making in terms of reflexivity and transitivity of geographic knowledge production. This means respectively to distinguish different roles assumed by geographers, cartographers and GIS scientists in the interpretation and application of new theories and practices of mapping , but also to take seriously into consideration the creative mapping culture which is becoming visible outside of their discipline, for example in the artistic domain. In this report, I focus on the " reflexive " stance, by giving a personal, thus not exhaustive, overview of the creative trajectories on mapping currently explored in carto/geography. After emplacing the theory and experimentation on maps and geospatial data within the context of academic geographic production, I discuss three projects where geographers and GIS scientists are at the forefront of the concurrent rethinking of the map as a deforming and multidimensional tool for spatial analysis.

To explore the shifting status of the street in contemporary mapping culture, this chapter attends to two map-based walking performances by US-born artist Jeremy Wood, who uses Global Positioning Systems to transform grounded mobility into a means of cartographic inscription. Whereas Michel de Certeau describes cartography as an elevated visuality, regimenting urban practice from above, my argument stresses how Wood’s mappings conflate lived mobility and synoptic cartography. Extending mapping to the street, his practice exemplifijies digital mapping’s expansion beyond institutional domains. To close, however, I show how Wood’s art also exposes slippages and pretentions of existential security in digital mapping’s worldview of securely calculated locations, which are recast as ghostly projections in a universe without essential orientation.

After an overview concerning the various forms of city mapping, both in a historic light and in the formulation of Denis Wood’s Critical Cartography, this paper examines that polysemic form of representation of the city called “Creative Cartography”, which, starting from subjective maps (in the wake of the Kevin Lynch’s urban studies), investigates the relationship between the individual and the urban space, taking into account topics such as memory, affection, perceptions and relationships.
The survey of a number of recent case studies (in magazines, exhibitions, nonfiction, literature, blogs, etc.) aims at demonstrating how Creative Cartography has undergone an increased diffusion in the last years even among the non-professionals. In its various articulations, combining advanced digital tools with freehand drawing, Creative Cartography relates the act of drawing the city to its role as an interpretative medium as well as a powerful agent for developing and supporting hypothesis and proactive designs related to the territory.

As its first-ever summer course, ON MEDIATION (AGI, University of Barcelona) presents EUTOPIAS, a theoretical-practical course exploring the relationships between contemporary art and utopia. Based on experiential research, EUTOPIAS takes place over four days of living together in the Nectar farmhouse. The programme is aimed at artists, art historians, curators, and other cultural workers.

In the book which coined the term “utopia”, Thomas More proposed a double etymology for a word that can be read in the sense of ou-topos (no place) and as eu-topos (good place). The meaning of the utopian has always moved between these two opposing poles of the impossible and the desirable. Through a historical account made up of various case studies, the EUTOPIAS course will explore the meaning of this dichotomy within art, focusing on production since the 1990s. Using the utopian as a watchtower from which to observe the world in a critical way, we will see how utopia functions as a theoretical tool for better understanding our societies.

Dates: July 19 (arrival), 20, 21, 22, 23 and 24 (departure) 2017
Summer Course: 20-23 July (inclusive)
Application deadline: June 20
Send your CV together with a motivation letter to eutopias.summercourse@gmail.com

This article focuses on the current processes of representation of contemporary landscape and examines the case study of L'incompiuto siciliano:
an artistic project that articulates the transitional stage of the dialectic between building site and ruin to make it at the same time a vector of a poetic images, a device for social denunciation and an instrument for enhancing the forgotten landscapes of Italian territory.

In 1838 The Society for the Diffusion of Useful Knowledge issued its first engraving of the islands forming New Zealand. The preceding year my ancestors had come ashore on these same islands, creating the starting point for this journey. In this article, I have traversed a tiny section of the terrain around mimesis from which I have fashioned maps that chart interweaving conversations, one of which is a reflection on the participatory project, My Personal Cloud (2016). Focusing on concepts that hover between mechanical and sensory understanding I have considered the notion of yielding-knowing as a means of letting go of established learning strategies. I aim to draw attention to sympathetic magic's educational potential. In doing so, I have scuffed the surface of a number of ideas leaning into the poetic and notions of being inhabited. These lungs suffuse with the taste of clouds; I allow sensing to replace seeing as my words yield to the unspeakable.

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Mapping the Gap
Visual Multidisciplinary Paper
by Multidisciplinary Feminist Artist and activist Shira Richter
for
Mamsie M(o)ther Trouble: An International Conference on Feminism, Psychoanalysis and the Maternal  2009

The Mother Daughter and Holy Spirit
Art Project: Photography, and Phototext

The sentence describing Mamsie's vision "Mapping Maternal Subjectivities, Identities and Ethics" Describes my 2005 project in which I created topographical-photographic "maps" from the uncharted left -over skin territory on my mid-body after giving vaginal birth to twins.

At the beginning I named the project In Limbo – because I felt as if I was existing in an unexisting  unacknowledged -unnamed space –or planet, between identities. A gap opened between what I felt and what everyone else around me was telling me I should feel. “This collision between expectation and reality creates a kind of statelessness for many women of my generation…” writes Naomi Wolf in her own account “Misconceptions”. So I went about searching to “fill the gap”, to “solidify” my experience into form and words. To visibilize the invisible. “The Mother Daughter and Holy Spirit” is the name of one of the photographs.
Living in Israel, a state based on a religion, speaking in Hebrew, made me painfully aware of the famous biblical prophecy:  “In sorrow ye shall bear sons”. I was consciously angry the only “formal” reference to such a huge complex transforming event in my life was a punishment, a  negative curse, of a male god. Not a blessing, miracle or achievement. There is no ceremony honoring the humongous physical mental and emotional effort of the woman, or the shift of the couple into parenthood. The name “Mother Daughter and Holy Spirit” invokes a female divinity. And also the name “The Father, Son and Holy Spirit” which creates,  by way of gestalt, in one’s thought, a duality, or a double trinity, of male and female. The act of creation is never solitary the  way our “hero” monogod culture pretends. Another reason for the name has to do with the complex relationships between mothers and daughters, between one woman to another. When you are not told the truth by those closest to you, those who traveled before -you feel betrayed. The women closest to me- personally and professionally, almost all lied. I wanted to create a large scale subjective monument in honor of this transition and transformation.

Per chi condivide l’assunto che il dovere della geografia sia quello di «liberare le parole e le idee dalla prigione dei luoghi comuni; di farle interagire con le cose, traslando il loro significato da un contesto a un altro, generando rivolgimenti e contrasti» (Dematteis, 2021, p. 10), la cartografia è certamente il terreno più indicato per attuare degli sprigionamenti complessi e avvincenti. L’immagine cartografica è, infatti, il risultato di una tensione tra logica e poetica, tra il desiderio – e spesso la necessità pratica – di imprigionare e controllare il territorio per poter agire su di esso e l’impulso contrario a scompaginarlo per far sì che questo possa accomodare spazialità complesse e mutevoli. Le due anime, matematica e umanistica, astratta e vissuta, classificatoria e narrativa si rincorrono, si sovrappongono e collidono continuamente nella storia della geografia e, di riflesso, della cartografia. All’interno del pensiero cartografico, tale coesistenza potrebbe ravvisarsi persino nell’ uso “antropologico” di due dei suoi termini più caratteristici: mappa e carta geografica. Tali nomenclature, aldilà di una distinzione in termini di scala di riduzione, ben concretizzano le suddette pulsioni: ci riferiamo, quasi inconsciamente, alle mappe per evocare una dimensione locale, materiale, multisensoriale, intima e visionaria dello spazio, mentre ci affidiamo alle carte per costruire uno spazio geometrico, operativo, oggettivo e informativo. Inevitabile, dunque, che un progetto che ambisca a sprigionare i sensi molteplici delle immagini cartografiche debba anche sconfinare in ogni possibile direzione: spaziale, temporale e disciplinare. Il progetto a cui si fa qui riferimento, e che sarà oggetto delle seguenti riflessioni, è Treviso Contemporanea, una piattaforma espositiva nata dal sodalizio tra la Fondazione Benetton Studi Ricerche e la Fondazione Imago Mundi.

https://rosa.uniroma1.it/rosa03/semestrale_di_geografia/article/view/18041

SCAR Scientific Committee on Antarctic Research History, Humanities and Social Sciences Workshop 2015.
Maps tell Antarctica’s multilayered story from its history, geology, politics and more. Names reveal the human experiences of Antarctic discovery, as well as its wild and changing topography and aesthetic beauty.
A critical tool for navigation, maps are also the archive of human activity and of entities discovered. The Antarctic continent itself, charted symbolically, is the archive of life on earth.

(Adapted from the conference programme for the Manchester Metropolitan HSSR Symposium 13th May 2016): The spatial turn in the humanities allowed for dynamic ways of thinking; for literary scholars, particular geographical concerns opened up new ways to think through the microcosms of everyday life (de Certeau,1988; Lefebvre 2002) and on how space, and place, is experienced and understood (Tuan, 1977; Lefebvre, 2002; Massey, 2005). In tandem to these interdisciplinary opportunities in the arts and humanities, the cultural turn in the social sciences has opened up creative ways of " doing " geography. My PhD research uses geographical concepts to explore creative-critical responses to the literary geographies of Rochdale, a metropolitan borough of Greater Manchester in the United Kingdom. My research has a threefold approach to how we can understand place: through reading the literary texts of Rochdale, looking at how Rochdale is mapped, and exploring how Rochdale could be written. This paper concentrates on the middle process – how place is mapped and how meaning and myth are generated – the " real " and " imagined " geographies of Rochdale. The first part of the paper draws upon the history of critical cartography and posits that maps are " texts of place " that are open to critique. The second part of the paper argues how ongoing creative-critical and collaborative responses to the cartographies of Rochdale can offer new, more democratic, ways of considering how place can be made and remade. Weaving between these, and using theories and methods discussed, are to case studies. The first builds upon ideas of critical cartography to analyse a map of Rochdale. The second case study is a map that has been created using experience and the senses: a sound map of Rochdale. Underpinning this phenomenological approach is my personal and professional background as a writer and educator: reflecting upon this learning (Boud et al., 1985), and exploring the potential to share this " engaged pedagogy " (hooks, 1994). Both these maps make meaning and myth so the problems, and potentialities, of each will be discussed.

500words paper submission for Perspectives in Art & Cultural Theory 2 part of the Master of Contemporary Art course at the VCA (lecturer N.Loeffler).

Taking the medium specific term to a more abstract level entails the clarification of what has come before, the death of previous definitions, and contemporary applications of the same discipline to existent and variable art forms.

Invited by ARTL@S Bulletin as visual artist, France Languérand opted for a first-person text introducing her artworks—which develop into the digital sphere, questionning their own sustainability— and recounting the evolution of her relationship the digital space. This walkthrough is guided by her current thoughts about numbers and coding system as creative tools. Languérand’s pieces are only partially visible in the physical world but exist entirely in the digital space.

Texto del catálogo de la exposición individual "AEnciclopedia" de Luis Romero (Caracas, 1967);  realizada en el Museo de Arte Contemporáneo del Zulia -MACZUL, Maracaibo, julio-noviembre 2016.
_Publicado con imágenes en:
*Artishock: http://artishockrevista.com/2016/08/03/saberes-imperfectos-aenciclopedia-luis-romero/
*Tráfico Visual: http://www.traficovisual.com/2016/08/09/saberes-imperfectos-aenciclopedia/
* MACZUL: http://maczul.org.ve/exposiciones/2586/

Pennine Street is a cartographic art experiment, twinning High Street 2012 in London with the Pennine Way, a long-distance footpath running between the Peak District and the Scottish Borders.

The project involved three walks in April, May and June 2012.

Seeking to ape some of the procedures of cartography, it is now also a written piece of work, a fiction made of quotations of many authors, in the form of a guide book such as one might take on a long walk in the Pennines.  It is an account of a journey, a walk, that becomes a procession of characters, authors, critics, poets, gaining some sort of revolutionary momentum in the progression eastwards.  For me, it is a meditation, and a painful and hopeful one, on the struggle to live in capital, as it reorganises our homes, our places, our social relations and our intimate inner lives; on how I might understand ‘my’ country, ‘my’ city, who I am now, and the terrible, vital question, ‘what is to be done?’

The intersections between art and cartography go far beyond the notions of design and illustration, since mapmaking invariably has multiple cultural, social, and political dimensions. Considering this broader perspective, this entry provides a review of these different contemporary intersections, by exploring three main types of relationships: 1) cartography influenced by artistic practices; 2) map art or maps embedded in artistic practices; and 3) cartography at the interface between art and places. These will be discussed in detail following a brief overview of the main historical markers from which these types of relationships between art and cartography have emerged.

http://gistbok.ucgis.org/bok-topics/cartography-and-art

O artigo trata de explicar o conceito de “artista errante” em um mundo que exige produção constante e adaptação às exigências do sistema da arte. Neste contexto, o relato do artista, errante ou não, se manifesta como ferramenta cartográfica legitimadora, que marca o artista no mapa e facilita a leitura de seu trabalho. O artigo traz alguns fragmentos de discursos de artistas que ensaiam uma defesa de nossa teoria.

Mineral compounds, as pigments and therapeutics, appeared regularly in the technical and medical texts of the Greco-Roman (G-R) world. We have referred to them as ‘G-R medicinal minerals’ and we suggest that despite their seeming familiarity, there are actually many unknowns regarding their precise nature and/or purported pharmacological attributes. Earth pigments are part of that group. This paper presents a brief overview of our work over the past twenty years relating to: a. the attempt to locate a select number of them in the places of their origin; b. their chemical/mineralogical characterization; c. the study of their ecology via the identification of the microorganisms surrounding them; d. their testing as antibacterials against known pathogens. In the process, and to fulfil the above, we have developed a novel methodological approach which includes a range of analytical techniques used across many disciplines (mineralogy, geochemistry, DNA extraction and microbiology). This ...

Mineral compounds, as pigments and therapeutics, appeared regularly in the technical and medical texts of the Greco-Roman (G-R) world. We have referred to them as ‘G-R medicinal minerals’ and we suggest that despite their seeming familiarity, there are actually many unknowns regarding their precise nature and/or purported pharmacological attributes. Earth pigments are part of that group. This paper presents a brief overview of our work over the past twenty years relating to: a. the attempt to locate a select number of them in the places of their origin; b. their chemical/mineralogical characterization; c. the study of their ecology via the identification of the microorganisms surrounding them; d. their testing as antibacterials against known pathogens. In the process, and to fulfil the above, we have developed a novel methodological approach which includes a range of analytical techniques used across many disciplines (mineralogy, geochemistry, DNA extraction and microbiology). This ...

This article attends to the work of Dutch artist Gert Jan Kocken, one of the foremost arts practitioners to have drawn on geographical mapping for formal and thematic substance in recent years. Discussion focuses on his series the Depictions, in which found maps, made in pursuit of conflicting ideologies during the Second World War, are combined digitally into composite representations of cities such as Amsterdam, Berlin and Rome. Layering together hundreds of different cartographies, the artworks provide a concentrated exploration of the connections between maps, states and warfare. To grasp these connections, I read the Depictions in conjunction with Zygmunt Bauman's conception of the modern state as a 'gardener' of society and space. In doing so, I highlight Kocken's vivid demonstrations of not only the transformative potential released in state military mapping but also unevennesses and dialogic complexities with which even apparently totalising state gardening projects are fraught. My study of the Depictions builds an image of modernity as a contested garden; the article concludes by suggesting the commensurability of this vision with the social present.

Interdisciplinarity in the field of visual arts with the contribution of different disciplines including technology is a dynamic and constantly evolving reality with the potential of diverse implementations. This research presents educational activities in the field of visual arts in the context of personal and collective design initiated from network structures. The presented activities were realised with students of Architecture, Fine Arts and Education departments. Based on the concept of the network, a variety of visual arts creations were constructed with diverse media. Through the synthesis and analysis of these creations, the network turns out to be a component of the self, the space and the environment, but also a means to enhance collectivity and democracy both at the level of visual (co)creation and at the social level through reinforcing relations among the participants.
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Η διεπιστημονικότητα στο πεδίο των εικαστικών τεχνών με τη συμβολή διαφορετικών επιστημονικών πεδίων και της τεχνολογίας αποτελεί μια δυναμική και συνεχώς εξελισσόμενη πραγματικότητα με δυνατότητες ποικίλων εφαρμογών και διασυνδέσεων. Στην εργασία αυτή παρουσιάζονται εικαστικές εκπαιδευτικές δραστηριότητες στο πλαίσιο προσωπικών ή συλλογικών σχεδιαστικών και πλαστικών αναζητήσεων με αφετηρία δικτυακές δομές. Οι εκπαιδευτικές δραστηριότητες πραγματοποιήθηκαν από φοιτητές/τριες Αρχιτεκτονικών Σχολών, Σχολών Καλών Τεχνών και Παιδαγωγικών Τμημάτων. Με βάση την έννοια του δικτύου δημιουργήθηκε μια ποικιλία εικαστικών δημιουργιών ανάλογα με το μέσο που χρησιμοποιήθηκε. Μέσα από τη σύνθεση και την ανάλυση των δημιουργιών αυτών, το δίκτυο αναδεικνύεται σε συστατικό στοιχείο του εαυτού, του χώρου και του περιβάλλοντος αλλά και σε μέσο για την ενδυνάμωση της συλλογικότητας και της δημοκρατίας τόσο σε επίπεδο εικαστικής (συν)δημιουργίας όσο και σε κοινωνικό επίπεδο μέσα από τις σχέσεις μεταξύ των συμμετεχόντων. Λέξεις-κλειδιά: δίκτυο, χώρος, εικαστικές τέχνες, εκπαίδευση, δημοκρατία

Books reviewed:
• Alastair Bonnett, Off the Map: Lost Spaces, Invisible Cities, Forgotten Islands, Feral Places, and What They Tell Us About the World, Aurum Press, London, 2014; 310 pp.: 978 1 78131 257 5, £16.99 (hbk)
• James Cheshire and Oliver Uberti, London The Information Capital: 100 maps and graphics that will change how you view the city, Particular Books, London, 2014; 240 pp.: 978 1 84614 8477, £25.00 (hbk)
• Paul Knox (ed.), Atlas of Cities, Princeton University Press, Princeton/Oxford, 2014; 256 pp.: 978 0 691 15781 8, £34.95 (hbk)
• Inga Mueller-Haagen, Jörn Simonsen and Lothar Többen, Die DNA der Stadt: Ein Atlas urbaner Strukturen in Deutschland, Verlag Hermann Schmidt, Mainz, 2014; 264 pp.: 978 3 87439 852 7, €68.00 (hbk)
• Reinout Rutte and Jaap Evert Abrahamse (eds), Atlas of the Dutch Urban Landscape: A Millennium of Spatial Development, Thoth, Bussum, 2015; 304 pp.: 978 90 6868 690 6, €69.50 (hbk). Originally published in Dutch as: Atlas van de verstedelijking in Nederland: 1000 jaar ruimtelijke ontwikkeling, Thoth, Bussum, 2014; 335 pp.: 978 90 6868 615 9, €69.50 (hbk)

Mineral compounds, as pigments and therapeutics, appeared regularly in the technical and medical texts of the Greco-Roman (G-R) world. We have referred to them as ‘G-R medicinal minerals’ and we suggest that despite their seeming familiarity, there are actually many unknowns regarding their precise nature and/or purported pharmacological attributes. Earth pigments are part of that group. This paper presents a brief overview of our work over the past twenty years relating to: a. the attempt to locate a select number of them in the places of their origin; b. their chemical/mineralogical characterization; c. the study of their ecology via the identification of the microorganisms surrounding them; d. their testing as antibacterials against known pathogens. In the process, and to fulfil the above, we have developed a novel methodological approach which includes a range of analytical techniques used across many disciplines (mineralogy, geochemistry, DNA extraction and microbiology). This ...

Mineral compounds, as pigments and therapeutics, appeared regularly in the technical and medical texts of the Greco-Roman (G-R) world. We have referred to them as ‘G-R medicinal minerals’ and we suggest that despite their seeming familiarity, there are actually many unknowns regarding their precise nature and/or purported pharmacological attributes. Earth pigments are part of that group. This paper presents a brief overview of our work over the past twenty years relating to: a. the attempt to locate a select number of them in the places of their origin; b. their chemical/mineralogical characterization; c. the study of their ecology via the identification of the microorganisms surrounding them; d. their testing as antibacterials against known pathogens. In the process, and to fulfil the above, we have developed a novel methodological approach which includes a range of analytical techniques used across many disciplines (mineralogy, geochemistry, DNA extraction and microbiology). This ...

This research upholds the Designer’s mediator role in the representation of places and drawing as its privileged tool. In this sense, we question if each place demands its own representation, maps ‘tailor made’ to the body of places.

 We have adopted a method of research through art and design. The different scopes of intervention and their implications have been mapped regularly through diagrams (mind maps). Afterwards, design strategies have been applied, in the representation of places.

 The aim is to identify strategies for a significant and different representation of places that can be put into practice by other designers, elsewhere.

 The observational drawing emerges as an experience enhancer, and it is not dictated by the cartographic representation codes. The intervention areas are the following: freedom of choice, the significant experience of drawing in situ, and the place that dictates its own image.

 It goes from drawing as a representational medium, to drawing as a way of knowing places.

Spatial and locative media, Internet archives and on-line and interactive maps using positioning and cartographic visualization technologies allow a migration of urban art, from which often nothing remains except in the memory of the web. This migration makes the invisible in all cities visible, by determining a reduction of the boundaries between local/global and central/peripheral. Just think, for example, of the Flickr image galleries, artists’ websites, blogs, collaborative social networks, experiential mapping and Google's platforms for geo-location and geo-annotation. This contribution proposes a reflection on two topics: first, on the transformation of the consumption patterns of art in the urban space, and second, on the role of Internet archives in the selection and organization of the memory (Certeau 1980, Ricoeur 2000) of artistic interventions subject to processes of deletion, deterioration and over-imposition. It does so through the analysis of some exceptional cases: Rome Street Art Map Project, M.U.Ro. (Urban Art Museum of Rome) Map and The Google Street Art Project. It aims to reflect on the practices of communication and on the effects of meaning in the examples where Urban Art acquires greater visibility and where the nature of the work is subject to the transition from a local dimension to a plausible more global dimension selecting the fragments of existing materials, in analogy to the concept of bricolage (Lévi-Strauss 1962).