El problema del concepto como antecedente para una historiografía del arte callejero en Chile

Abstract

One of the challenges facing the study of street art in Chile is the absence of a historiography capable of reconstructing its trajectory within the field of visual arts, a gap that has resulted in fragmented approaches, predominantly sociological focus, and with limited access to sources that would allow its development to be understood as part of a long-term historical process. Unlike traditional visual arts in Chile, street practices have not succeeded in consolidating a tradition that articulates their origins, transformations and disputes, partly due to the difficulty of incorporating expressions that exceed already canonised frameworks. In response to this absence, this article offers a double diagnosis: first, the urgency of advancing towards a historiography that recognises street art in its artistic dimension rather than solely as a sociopolitical phenomenon, second, it examines the multiplicity of terms —graffiti, muralism, urban art, public art or street art, among others— used to describe these practices, assessing their scope and limitations in order to justify the use of “street art” as a broad conceptual category for their analysis, valuation, and eventual incorporation into a historical tradition.

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