ufajournalФольклор и антропология городаUrban Folklore and Anthropology2658-38952782-1757The Russian Presidential Academy of National Economy and Public AdministrationCTYZNPufajournal-85Research ArticleАКТУАЛЬНЫЕ ИССЛЕДОВАНИЯCURRENT RESEARCHРусский путь уличного искусстваThe Russian way of street arthttps://orcid.org/0000-0002-2467-9535ПетровНикита ВикторовичPetrovNikita V.petrov-nv@ranepa.ruhttps://orcid.org/0009-0004-0221-4528НистратоваАнна АлександровнаNistratovaAnna A.thefreshlayer@gmail.comРоссийская Академия народного хозяйства и государственной службы при Президенте РФ; Российский государственный гуманитарный университетРоссияRussian Presidential Academy of National Economy and Public Administration; Russian State University for the HumanitiesRussian FederationИнститут исследования стрит-артаРоссияInstitute for Street Art ResearchRussian Federation20263003202681Уличное искусство и паблик-арт2291Copyright © Петров Н.В., Нистратова А.А., 20262026Петров Н.В., Нистратова А.А.Petrov N.V., Nistratova A.A.This work is licensed under a Creative Commons Attribution 4.0 License.https://ufajournal.ranepa.ru/jour/article/view/85

В статье предлагается интерпретация российского стрит-арта как «русского пути» уличного искусства, складывающегося на пересечении позднесоветского визуального подполья, постиндустриальных городских ландшафтов и локальных традиций народного искусства и фольк­лора. Опираясь на развернутое интервью с Анной Нистратовой, куратором и исследовательницей уличного искусства, авторы выстраивают аналитическую рамку, в которой граффити и стрит-арт рассматриваются одновременно как формы современной текстовой и визуальной культуры и как разновидность folk art, вписанная в региональные режимы наследия и дореволюционное крестьянское прошлое. Теоретическая часть статьи помещает концепты Нистратовой в поле российских и международных исследований уличного искусства, городской антропологии и heritage studies, сопоставляя ее интуиции с работами Х. Абарки, Л. Номейкайте, Н. Самутиной и О. Запорожец, В. Кумара, Р. Шактера и др. Особое внимание уделяется нескольким связкам: стрит-арт как форма наследования «длинного» народного прошлого и художественных промыслов; уличные практики как терапевтический ресурс, позволяющий работать с травматическими разрывами памяти; логоцентричность российского стрит-арта, где слово, текст выступают ключевыми носителями смысла. Интервью с Нистратовой анализируется как перформативный жанр, в котором практика и теория взаимно поддерживают друг друга: голос практика и теоретика становится инструментом переосмысления уличного искусства между вандализмом, креативной индустрией и наследием. Дополняющий тексты комментированный словарь терминов уличного искусства выполняет методологическую функцию, соединяя субкультурные термины с академическими категориями и делая видимой внутреннюю эпистемологию сцены. «Русский путь уличного искусства» — это исследовательский сюжет о том, как стрит-арт в постсоветском городе одновременно переписывает пространство, производит локальную идентичность и восстанавливает прерванные линии культурной памяти, встраиваясь в режимы наследия.

This article proposes an interpretation of Russian street art as a distinct ‘Russian way’ of street art, emerging at the intersection of late Soviet visual underground, post-industrial urban landscapes, and local traditions of folk art and folklore. Drawing on an extended interview with Anna Nistratova, curator and researcher of street art, the authors develop an analytical framework in which graffiti and street art are considered simultaneously as forms of contemporary textual and visual culture and as a variety of folk art embedded in regional heritage regimes and pre-revolutionary peasant heritage. The theoretical section situates Nistratova’s concepts within the fields of Russian and international street art studies, urban anthropology, and heritage studies, juxtaposing her insights with the works of H. Abarca, L. Nomeikaite, N. Samutina and O. Zaporozhets, V. Kumar, R. Schacter, among others. Particular attention is devoted to several nexuses: street art as a form of inheriting the ‘long’ folk past and artistic crafts; street practices as a therapeutic resource enabling engagement with traumatic ruptures in memory; the logocentric character of Russian street art, where words and texts serve as key carriers of meaning. The interview with Nistratova is analysed as a performative genre in which practice and theory mutually sustain one another: the voice of practitioner and theorist becomes an instrument for reconceptualising street art between vandalism, creative industry, and heritage. The accompanying annotated glossary of street art terminology fulfils a methodological function, connecting subcultural terms with academic categories and rendering visible the internal epistemology of the scene. ‘The Russian pathway of street art’ is a research narrative about how street art in the post-Soviet city simultaneously rewrites space, produces local identity, and restores interrupted lines of cultural memory, embedding itself within heritage regimes.

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The authors declare that there are no conflicts of interest present.