STREET ARTISTS IN EUROPE - Fondazione Fitzcarraldo

Street Artists in Europe
from their audiences; some feel very like ‘theatre without walls’, others use the surrounding
environment or architecture very deliberately to enhance the effect of their message.
Into this category may also be added small intimate shows that are hidden in courtyards and
down alleys, in quieter spaces in parks or on water, in tents or booths and using unusual spaces
and buildings. In towns like Aurillac in France, the audience has to travel a fair distance to reach
some shows, as there are not enough appropriate spaces closer than a taxi ride.
In many peoples’ opinions, there are not enough of these theatrical experiences:
‘We need to have new writing, more focused and innovative shows and performances. Most of
the shows created now are lightweight, made so for economic imperative. Too often they are
designed to appeal to all, so they sell easily. Very few large scale productions are made.’
(Belgium)
4.1. Visual and media installation arts
In addition to performance work, there are a growing number of companies from a visual arts
tradition who are finding outlets through the street arts festival circuit. Festivals commission
artists to create environments, decorations, temporary outdoor sculptures and interactive games,
light- and sound-scapes. They may be self-standing, of hung in on and from buildings, trees and
street furniture. Festivals that use a special area (parks or courtyards separate from the daily
passage of pedestrians through town) are more likely to develop this area of work.
Additionally, some festivals work directly with shops and other commercial premises,
introducing artists to design shop windows thematically linked to the festival, or encouraging
shops to take part themselves. One year at x.trax in Manchester, shops and businesses were
encouraged to ‘paint the town red’ – over 60 organisations got involved. Angers transforms their
town into an imaginary world each year - under the sea, ‘la vie en rose’, the city streets
transformed into a garden, sprouting grass. Installations are sometimes made for courtyards,
riverbeds and ruined castles, where these form part of a festival.
4.2. The Number of Companies
The H/C questionnaire asked respondents how many street companies exist in their country.
Many had no idea, or directed me to their cultural ministry (who also did not know in some
cases!) Some claimed that the number fluctuates rapidly with variable funding, several claimed
that it was hard to know what was to be included:
‘Please let us define first what … a 1 man juggler busker show: is it street art or not? I do not
have an idea about all these small shows. Or although I am pretty well informed, I might have
missed some young newcomers doing their first show’.
‘Here a question: What is professional street art company? Is there a certain level of training or
education, or practical experience or just the fact that you get your living out of your art?’
There was also not a clear distinction between professional and amateur companies, especially
as many young groups work in other fields, in order to be able to earn a living. Only in France
and Belgium are there financial support mechanisms for a number of intermittent/seasonal
entertainers.
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PE 375.307