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Autonomni kulturni centri (AKC) unikatan su povijesni fenomen koji je rezultirao zanimljivim individualnim radovima i neponovljivim ambijentima. Akademskih istraživanja iz perspektive povijesti umjetnosti o AKC-ovima, međutim, gotovo da i nema, a ovaj rad taj vakuum nastoji popuniti. Namjera je rada analitički pristupiti umjetnosti AKC-ova u Hrvatskoj na primjeru AKC Medike te pritom stvoriti teorijski okvir za poimanje radova u AKC-ovima općenito. Prvi je dio rada, onaj teorijski, posvećen upravo stvaranju interpretativnog okvira za čitanje radova u AKC-ovima. Prvo poglavlje nakon uvoda tako ulazi u relevantnu anarhističku teoriju, praksu AKC-ova u suvremenom anarhizmu te odnos umjetnosti i anarhizma. Drugo poglavlje analizira dominantni medij kroz koji se umjetnost AKC-ova ispoljava, medij ulične umjetnosti, te ustvrđuje da on po sebi ima prirodno savezništvo s anarhizmom gajeći istu predanost decentraliziranosti, participativnosti, DIY kulturi, nehijerarhičnosti, otporu dominantnom društvenom poretku itd. Treće poglavlje iznesenu teoriju povezuje s modernim i suvremenim teoretičarima umjetnosti poput Mieke Bal, W.J.T. Mitchella i Rolanda Barthesa, kako bi na koncu, uz pomoć Deleuzea i Guattarija te njihovog koncepta rizoma, postuliralo da se radovi ulične umjetnosti u AKC-ovima mogu čitati kao ikonografski programi. U radu se argumentira da je, unatoč manjku jedinstvenog autora, moguće ove naizgled nasumične nakupine radova čitati kao značenjske cjeline koje su povezane rizomatski, a ta se hipoteza zatim testira na primjeru AKC Medike. Četvrto poglavlje zato, držeći u vidu iznesenu umjetničku i anarhističku teoriju, dvjesto dokumentiranih radova klasificira prema tematskoj učestalosti, a zatim ove kategorije i njihovo međudjelovanje dekodira na temelju anarhističke teorije te intervjua s umjetnicima i bitnim organizacijskim akterima u Medici. Interpretacija rizomatskog ikonografskog programa Medike zaključno donosi specifičan set motiva i tema koji otkrivaju njene vrijednosti čime je teorijski dio rada postavljen na konkretne temelje, a dokumentirani su radovi uzdignuti u širi teorijski okvir. Self-managed social centres (SSC) are a unique historical phenomenon which has resulted in interesting individual works as well as outstanding ambients. Academic research from the perspective of art history about SSCs, however, is almost non-existent, and this thesis aims to fill the vacuum. The goal of the thesis is to analytically approach the art of SSCs in Croatia on the case of SSC Medika, at the same time creating a theoretical framework for understanding works in SSCs in general. The first part of the thesis, the theoretical one, is dedicated to the construction of an interpretative framework for reading works of art in SSCs. The first chapter after the introduction thus goes into relevant anarchist theory, the practice of SSCs in contemporary anarchism, and the relation between art and anarchism. The second chapter analyses the dominant medium through which the art of SSCs manifests, the medium of street art, and concludes that this medium has a natural alliance with anarchism in itself, holding the same devotion to decentralisation, participation, DIY culture, non-hierarchy, resistance to the dominant social order etc. The third chapter connects said theory with modern and contemporary art theorists such as Mieke Bal, W.J.T. Mitchell and Roland Barthes, so it could, finally, with the help of Deleuze and Guattari and their concept of the rhizome, posit that the works of street art within SSCs can be read as iconographic programs. In the thesis it is argued that, despite the lack of a singular author, it is possible to read seemingly random clusters of works as semiotic wholes connected rhizomatically, a hypothesis that is then tested on the case of SSC Medika. The fourth chapter thus, keeping in mind the presented anarchist and art theory, classifies two hundred documented works by thematic frequency, and then decodes these categories and their interaction with one another on the basis of anarchist theory as well as interviews with artists and important organisational agents in Medika. The interpretation of the rhizomatic iconographic program of SSC Medika finally yields a specific set of motifs and themes which elucidate her values with which the theoretical part of the work is put on concrete foundations, while the documented works are elevated to a wider theoretical framework.

U ovom radu istražiti ćemo umjetnost grafita, njihove korijene, tehnike, materijale i slično. Biti će prikazane dvije strane grafita, ona koju publika smatra vandalizmom i ona koju ista ta publika počinje smatrati umjetnošću. Ukratko ćemo objasniti široku definiciju ove umjetnosti, njezine grane, te događaje koji su trajno promijenili uličnu umjetnost. U radu će biti razjašnjeno tko je publika u ovoj umjetnosti, te koje se poruke prenose putem grafitne umjetnosti istoj toj publici. Govoriti ćemo o poziciji ulične umjetnosti u kulturi, te položaju grafita kao umjetnosti u kulturi danas. Također, dotaći ćemo se problematike odnosa umjetnosti grafita s dominantnom estetikom i politikom, uz koje vežemo i sustave vrijednosti koji variraju od estetike do estetike. Na kraju razjasniti ćemo pitanje mogu li grafiti i ulična umjetnost postati visoka umjetnost. In this paper we will explore the art of graffiti, its roots, techniques, materials and the like. Two sides of graffiti will be shown, the one that the audience considers vandalism and the one that the same audience begins to consider art. We will briefly explain the broad definition of this art, its branches, and the events that permanently changed street art. The paper will clarify who the audience is in this art, and what messages are conveyed through graffiti art to the same audience. We will talk about the position of street art in culture, and the position of graffiti as art in culture today. Also, we will touch on the issue of the relationship between graffiti art and dominant aesthetics and politics, to which we also associate value systems that vary from aesthetic to aesthetic. Finally, we will clarify the question of whether graffiti and street art can become high art.

Ovaj se rad bavi kronološkim razvitkom ulične umjetnosti u Splitu s naglaskom na značajnije događaje, autore ulične umjetnosti i njihova djela. Pojašnjava se problematika definiranja pojma ulične umjetnosti, povezuje se s grafitima i objašnjava se njihova poveznica. Nadalje, prati se razvoj ulične umjetnosti kroz povijest; ispočetka su to bili natpisi i crteži na javnim površinama, no nakon druge polovine 20. stoljeća dolazi do pojave modernih slikovnih grafita, te naknadno i ulične umjetnosti. Navodi se važnost festivala urbane kulture, najpoznatija djela u Splitu, te svjedočenja značajnih autora o važnosti ulične umjetnosti i razlozima njihova djelovanja. Također se propituje i fenomen antigrafita, fokusirajući se pritom na grafite navijačke skupine Torcida. Naposljetku se pojašnjava zbog čega se ulična umjetnost smatra umjetnošću, a zbog čega vandalizmom., This thesis deals with the chronological development of street art in Split, with emphasis on more prominent events, authors of street art and their work. The issue of defining the term street art is explained, it is connected to graffiti, and their connection is explained. Furthermore, the development of street art throughout history is tracked; in the beginning they were inscriptions and drawings on public surfaces, but after the second half of the 20th century modern pictorial graffiti start emerging, with street art emerging subsequently. The importance of festivals of urban culture is indicated, the most well-known works in Split, as well as the testimonies of relevant authors about the importance of street art, and the importance of their activity. The phenomena of anti-graffiti, with the emphasis being put on the graffiti of the sports fan group Torcida. Ultimately it is explained why street art is considered art, and why vandalism.

U naslovljenom radu autor analizira suvremeni pojam i teoriju slike u kontekstu urbane vizualne kulture i društvenog spektakla kojima suprotstavlja dva naizgled bitno povezana fenomena – graffiti praksu i uličnu umjetnost, odnosno street art. Cilj je uvodnih poglavlja, stoga, stvoriti pretpostavke za suvremenu i kritičku analizu obaju fenomena sa polazišta teorije slike koja se uspostavlja u drugoj polovini dvadesetog stoljeća filozofijskim promišljanjem tehnologije i kritičkom analizom društva. U oba slučaja do posebnog izražaja dolazi ontološka važnost pojma svakodnevice za promišljanje uloge slike u suvremenom dobu pa je upravo kroz teoriju slike, odnosno njenu bitnu vezu sa svakodnevnim životom moguće pristupiti analizi ponajprije graffiti prakse. Graffiti praksu autor sagledava kroz svezu sa situacionističkim teorijama i praksama koje se ujedno pokazuju presudnima za suvremeno razumijevanje društvenog spektakla i medijske kulture uopće. Upravo u tome pogledu prema zaključku rada stvorene su pretpostavke za povijesno-umjetničko sagledavanje bitnih razlika ulične umjetnosti i graffiti prakse u njihovim uvjetima i simptomima, a kako bi se u zaključku mogao ponuditi novi smjer valoriziranja graffiti prakse do sada ne zabilježene u lokalnom kontekstu promišljanja subverzivnih umjetničkih praksi na ulici te u svakodnevnom životu napose sa posebnim naglaskom na bliski kontinuitet 'alternativne povijesti umjetnosti' između situacionizma, graffitija i suvremene virtualne svakodnevice. Upravo komunikacijske i eksperimentalne kvalitete graffiti prakse možemo smatrati specifičnom i posebnom estetikom vizualnog označavanja, afirmiranja površine javnog prostora kao materijalizacije uvjeta mogućnosti dijaloga i života u zajedničkom prostoru koji se samo u praksi prostora uvijek iznova pojavljuje kao društvena cjelina. In this paper author analyses the contemporary notion and the theory of the image in the context of urban visual culture and the society of the spectacle to which he attributes two seemingly connected phenomena – graffiti and street art. With the intracoronary chapters author will create the premises for the contemporary critical analysis of both phenomena from the standpoint of the image theory which is constituted in the second half of the twentieth century through philosophical inquiry into technology and through critical analysis of society. In both cases we find the notion of the everyday life to bear substantial ontological significance in the context of understanding the role of the image in the contemporary age and it is therefore that we are able to analyze graffiti especially through the image theory and its significant bond with the everyday life. Author therefore considers graffiti a part of the situationist theory and practice which prove themselves to be crucial for the contemporary understanding of the society of the spectacle as well as media culture in general. This is exactly where – towards the conclusion of the paper – the premises are established for the critical analysis of substantial differences of graffiti and street art in their conditions and symptoms in the context of contemporary art-history. Thus, the author will be able to consider a new path of valorization for the graffiti practice that was by now not recorded in the local art history as well as analysis of subversive artistic practices on the street and in the everyday life. Conceptual highlight is given to the continuity of one possible 'alternative art history' from situationism to graffiti and the most contemporary virtual everyday practices of resistance and contestation of our post-modern culture. It is exactly the communicative and experimental qualities of the graffiti practice that are worth considering as a part of its specific aesthetic of visual signification, affirmation of the public space as surface 73 and as the materialization of the conditions for the possibility of dialogue and authentic life in the communal space that is only through recurrent practice present to us as a societal whole. KEYWORDS: Street art, situationism, graffiti, everyday life, art of the street 74