Formation of the Street Art Discourse by private institutions: on the example of the Inloco Foundation

Kuzovenkova Yuliya Alexandrovna ORCID: 0000-0002-0085-6103 PhD in Cultural Studies Associate Professor at the Department of Philosophy and Culturology in Samara State Medical University 443099, Russia, Samara region, Samara, Chapaevskaya str., 89 mirta-80@mail.ru Other publications by this author

Introduction

The art of the twentieth century is characterized by the fact that it begins to include fundamentally new phenomena that are alien to the art of previous centuries. For example, ready-made, art brut, qualitatively new types of art appear – performance, installation. As objects of research, they are of interest not only for their aesthetic specifics, but also for the way they have traveled to become part of the field of art: what external factors allowed the emergence of qualitatively new objects of art, which agents participated in their promotion, what methods and techniques were used, etc. The process of the emergence of new phenomena takes place in our time. In this regard, the object of this study is the process of discursive formation of Russian street wave art (hereinafter – IUV) as an object of contemporary art. The subject of the study is the discursive field of IU, which forms the Inloco Foundation through the statements it produces. His projects will become the empirical basis of research. The purpose of the study is to identify the procedures by which the Inloco Foundation makes statements and forms the discursive field of IUV. The research is based on the methodology of M. Foucault, presented in the work "Archeology of Knowledge" ^[1]. This methodology has been successfully applied to the study of the formation of art brut by A. Suvorova ^[2].

Let's consider the specifics of IU through the rules of formation of objects describing the mode of their existence. We will consider "according to which non-deductive system exactly these objects were able to be located side by side and follow each other" ^{[1, p. 97]}, forming a field of IU objects. Foucault distinguishes the following triad: surfaces of occurrence, instances of differentiation, lattices of specification. If, within the framework of Foucault's research, the family, the labor collective, and the religious community became the surfaces of occurrence for objects of psychopathology, then in this case, for IU, the surface of occurrence is urban space, understood in the sense not only physical (walls of municipal and private buildings on which street artists apply their works), but also in social (a set of conventions according to the rules for the use of urban space). There is a condition associated with the surface of occurrence under which an artist can become a representative of IUV – he must have real experience in creating works in urban space, the achievements of which are presented in his gallery works (aesthetics, repetitive motifs, technique of work, etc.). In most cases, the street experience is associated with the creation of illegal works on the walls of buildings. Artists can work alone or in a team. The peculiarity of such activity is that artists are not associated with any institutions, and communication between the artist and the viewer does not involve intermediaries in the form of curators, art historians, etc.

The works of street artists made on the walls of houses attracted the attention of subjects of the art world, who began to initiate the entry of their works into the institutional space of the art world. It is the world of art that becomes an instance of differentiation for IUV. This is due to the peculiarity of the art discourse of the XX – early XXI centuries: the discourse of the art world is closed to itself, in other words, only the subjects of the art world can legitimize the penetration of new objects into the field of the art world, which is well shown in the institutional theory of art by J. Dickie ^[3]. Here we are talking about collectors, art directors of galleries and museums, curators of exhibitions, art critics, art theorists, as well as artists and artists themselves. The fact that urban space becomes the surface of emergence for new objects of art indicates the emergence of a new discursive practice in the art of the twentieth century (the rules by which discourse is formed).  The fundamental novelty of such a connection between the surface of origin and the instance of differentiation lies in the fact that the classical theory of art considered the aesthetic qualities of an object immanent to it a priory: they either are, or they are not. The theory of art of the twentieth century allows the penetration into the world of art of objects initially alien to it, extracted from other spheres, for example, from the sphere of everyday life, as in the case of "ready made". The same thing (the transition from everyday life to the world of art) is claimed by IUV. There was a rejection of the concept of the essentialist essence of art, which was reflected in a number of new trends in the art of the twentieth century. M. Tevoz, reflecting on art brut, expressed this idea as follows: "Artistic value is not an absolute quality inherent in an object, as, for example, weight is a product made of lead <...> both art and madness are related to the properties of the external environment, their definition contains a cultural component, they are variables of social function" ^{[4, p. 35]}. Thus, the changed attitudes in the sphere of art made it possible for its subjects to extract new objects from spheres that were initially alien to art.

Within the framework of Foucault's methodology, it is important to note the institutional position of the subjects of the utterance and the position from which they speak, since this determines the modalities of utterances. The institutional position of these subjects is associated with private galleries, contemporary art centers, in rare cases – with classical museums, and specialized sites covering events in the world of culture and art can also be attributed here. The position from which the subjects make a statement is related to the list of actions they perform: they select representatives of IU from the list of active street artists, collect collections of IU works, review events in this environment, organize events promoting IU as a new phenomenon of contemporary art (exhibitions, tours of the collected collections, lectures for the general public), represent IU in the Internet space (groups and channels in social networks, publications in specialized electronic publications), bring IU objects to the art market, publish books, work on understanding this phenomenon and developing scientific tools that could become the language of describing IU as a new object of contemporary art, and also create works that can be attributed to IUV. Thus, the modalities of the statement indicate that the change in street practices seeking to get into galleries and become an IUV is associated, among other things, with the emergence of an intermediary between the artist and the viewer.

The last stage of the analysis of how the object of discourse arises in Foucault is connected with the description of the specification lattices. This is primarily done by representatives of the practical sphere – employees of institutions of the art world who create the event agenda of the art world, thus, the subjects of the statement simultaneously occupy two positions - organize events and comprehend the phenomenon itself. Here you can name A. Zorya (art critic, street art theorist and IUV, curator of "Street Art storage", in the past - an employee of the "Russian Museum"), M. Astakhov (co-founder of projects that are part of the Inloco Initiative), K. Borisov (art director of the Ruarts Foundation), A. Maslyaev (curator, Head of the sector for Scientific and methodological work of the MMOMA Educational Department), M. Berezhnaya (Deputy Director for External Relations and Development of the S.M. Kirov Central Research Institute). Analytical work is carried out in two directions: firstly, the differentiation of IUV and phenomena such as graffiti, street art and public art, which also have urban space as the surface of their origin, and secondly, the search for a language to describe this phenomenon. Dealing with the issues of differentiation, both theorists and practitioners note that it was transgression (crossing street boundaries by street artists and entering the field of institutions of the art world) that led to the need to establish a new concept of "street wave art" (A. Zorya ^{[5, p. 20]}). This is what distinguishes IUV from such phenomena as graffiti and street art (also called street art), which are phenomena of street culture and have not crossed its borders. Vladey Gallery, which organizes and conducts auctions of contemporary art, adheres to this approach in determining IUV. On its website, IUV is positioned as works on canvases made by artists "whose creative path is closely connected with the development of Russian street art" ^[6]. The difference between IUV and public art is that the public art artist performs a transgressive act in the opposite direction: from the gallery/museum to the street ^{[5, p. 19]}. A. Zorya suggests highlighting the following features characteristic of IUV: "ignoring academic canons and rules; features of color, namely sharp contrast of colors, lack of pastel tones, color fills, clear contours; the inclusion of letters and text in the work; the use of specific techniques inherent only in this direction: stencil, poster, sticker art, street logo; special attention to the line; graphicity; a tendency to simplify, avoiding deep detail; works are scalable, but easily perceived from a distance; anarchic boldness of statements, rebellious style of presentation; elements of subcultural tagging" ^{[5, p. 19]}. Thus, his "genealogy" – the presence of street origins in gallery works - makes it possible to distinguish between IUV and other types of art.

According to Foucault, when they talk about the lattices of the specification of psychiatric discourse, "we are talking about a system according to which we divide, contrast, bring together, regroup, classify, derive from each other various types of "insanity" as objects of psychiatric discourse" ^{[1, p. 97]}. Foucault identifies soul, body and neuro-physiological correlations as lattices. In the case of IU, we will be talking about a system according to which different types of IU are separated, opposed, converged, etc. The formation of specification grids is just beginning here, but repeated indicators are already being drawn: "style" as a figurative system and a set of expressive means, "artistic method" as a set of creative techniques for imaginative reflection of the world, "technique" as a way of making work. M. Berezhnaya, describing the project of street artist Sasha TRUN, which was exhibited on the territory of the academic museum The museum, which is part of the S.M. Kirov Central Museum of Fine Arts (St. Petersburg), indicates that the museum staff is "forming a professional art evidence base" ^{[7, p. 191]} in order to substantiate the works of a street artist exhibited on the territory of the museum institution as objects of IUV. For this purpose, his works are described in terms of "style" and "technique". Together with the staff of the Inloco Foundation, a search is underway for the name of Sasha's artistic method TRUN. Variants of "canvas lettering" and graffiti deconstruction are offered ^{[7, p. 192]}. Within the framework of another institution that forms the event agenda of cultural life, Vladey Gallery experts highlight "current trends existing in the art of the street wave" ^[6], allowing to bring together or group the creativity of individual representatives of the IUV on the basis of trends existing in official art. In particular, abstraction (they see its roots in the Soviet avant-garde), naivety (they see its roots in primitivism), collage (a reference to the avant-garde), figurativeness (comparison with both classical tradition and surrealist manner) were attributed to current trends in IU. Thus, the specification grids perform a double function: on the one hand, they distinguish various types of objects and objects, on the other hand, they fit them into an already established system of art, but do not allow them to merge with it. It is easy to see that the specification lattices are conditioned by the instance of differentiation. Thus, the triad highlighted by Foucault allows us to conclude that the emergence of the field of objects and objects is the result of the changed discursive practice of the art world as a whole, which is expressed in the rejection of the concept of the essentialist nature of art and the transition to the understanding of the "aesthetic" as a "variable social function" produced by the subjects of the art world. Due to the fact that the grids of the specification of objects of the IU field are constructed by the subjects of the art world, the modes of formation of IU objects are determined by the specifics of the art world.

The object described by us exists within the discursive field of the art world, which is formed by statements made by the subjects of the art world discourse. We will turn to the analysis of statements produced by the Inloco Foundation in order to identify specific procedures that allow it to contribute to the formation of the IUV discourse. Analyzing the Foundation's projects, we will consider not so much the content of the projects themselves, their semantic fullness and their "syntagmas" (rules of internal construction), but rather try to identify the conditions according to which they are constructed: "a statement is what causes such sets of signs to exist and allows these rules or these forms to be actualized" ^{[1, p. 174]}. Discursive utterances, according to Foucault, have the following characteristics: they are always connected in a certain way with a correlate that has spatio-temporal coordinates ("the area of spatial and geographical localizations ... or vice versa, the area of symbolic rapprochement and hidden kinship" ^{[1, p. 180]}); the author of the utterance can only be a certain circle of subjects corresponding to a number of conditions ("he is a deterministic and empty place that can really be occupied by various individuals" ^{[1, p. 188]}); and the function of the utterance "cannot be realized without the existence of an associated area" ^{[1, p. 188]}, the utterance never exists by itself, it is always connected by various relationships with others statements. Thus, describing the statement, we will answer three questions: "what is the correlate of the statement, what is its coordinate system?", "who is the author of the statement?" and "what is the associated utterance area?". In turn, in order to describe how the discursive field of IU is formed from individual statements, we need to describe the operations that establish connections between individual statements. To do this, it is necessary to identify the forms of sequences, forms of coexistence and intervention procedures. Relying on the described methodology will allow us to see how the discursive statements made by the Inloco Foundation employees allow the integration of IUV objects into the field of contemporary art.

Research results

The Inloco Foundation (Inloco Initiative) has been supporting and promoting artists with a street background since 2018. It includes the Institute of Street Art Research (hereinafter - IISA), the Inloco Gallery (hereinafter – IG), the institution of a new format "Street Art Storage" (hereinafter – SAH) and the bureau of public art projects and socio-cultural design "Nov".

IISA explores the product of street creative activity, biographies of street artists and communities engaged in the creation of street art. The Institute addresses both legal (public art, urban sculpture, legal street art) and illegal (graffiti, illegal street art, guerrilla warfare, etc.) forms of street creative activity. IISA does not initiate creative projects, instead its employees focus on reflecting on the ways of developing street art, for which various forms are used: publishing activities, public discussions, holding a Street Art Forum (the IV Forum was held in 2023). Urban space as a topographical characteristic of the Institute's research objects and the fact that the vast majority of them exist outside the framework of any institutions of the art world does not allow us to classify IIS as subjects of the art world, in other words, the Institute does not contribute to the direct formation of the IUV discourse, but actively participates in the reflection of the environment from which by which it is born.

The activities of the Nov Bureau are implemented in several directions. Its employees conduct research on the cultural heritage of the region, which can be used as the basis for various cultural initiatives, create public art objects, develop public spaces, conduct educational events and develop sightseeing routes. As an example, we can cite a project commissioned by Tatneft, within the framework of which an Industrial Park was painted in Almetyevsk on the territory of Almetyevsk heating station No.2. Public art objects were used to decorate a public space turned into a skate park. Local street artists were attracted to create murals. The Nov Bureau, despite the involvement of street artists in the implementation of projects, is aimed not at expanding the field of contemporary art by creating monumental murals and public art objects, but at solving social issues facing administrative offices of different cities. Art works are a tool for solving social problems. In this regard, the Bureau's projects also cannot be considered as statements that create a discourse of IUV within the framework of contemporary art.

The Inloco Gallery (hereinafter referred to as IG) and Street Art Storage have the greatest subjectivity of the four above–mentioned components of the Inloco Initiative in creating the IU discourse. Within the framework of this article, an analysis of the activities of IG will be carried out. At the beginning, the activities of this organization and its projects will be considered. At the next stage, it will be determined what in its activity can be conceptualized as an utterance, and at the final stage, an analysis of how the field of these utterances is organized will be carried out.

The IG website states: "Inloco Gallery strives to promote and support street artists, fitting contemporary urban art into the broader context of contemporary art, but preserving and emphasizing its uniqueness"^[8]. In the activity of IG, two important areas can be distinguished within the framework of this study: the representation of the creativity of individual artists and the organization and conduct of collective art projects.

Consider the first direction. At the moment, the gallery is working on a permanent basis with thirteen artists: Filippo Minelli, Neda Salmanpoor, Lokher, Turben, Sergey Krasavin, Maxim Ima, Ivan Ilyinsky, Xeato, Nikita Dusto, Anton Selone, Spater, Truue, Sasha Trun. Each artist has his own page on the gallery's website, through which his works are promoted on the art market. The second direction consists of collective projects in which ten artists of the gallery took part. In total, by the time of writing, three projects had been implemented, within which the Gallery tried to combine the creative experience of artists. The first project was the art intervention "Useless Palace" (December 2022, Mleikha Desert, UAE), which was attended by Filippo Minelli, Neda Salmanpour, Lokher, Turben, Sergey Krasavin, Maxim Ima, Ivan Ilyinsky, Xeato, Nikita Dusto, Anton Selone worked as the photographer of the project. The project is an intervention by an international group of artists on the territory of an abandoned village in the Mleikha desert in Sharjah. During the artistic intervention, an exhibition was created directly on the territory of the village, the only visitors of which were the artists themselves. The artists acted as researchers of the past, a kind of archaeologists, and created works from found materials, or photo projects rethinking the surrounding landscape. The continuation of this project was the exhibition "Useless palace" (January 28 – March 30, 2023, Pop-up Gallery, Dubai), which presented works created in an abandoned village (installations, photo projects, paintings, site-specific object). The curators of the exhibition were the artists themselves. The third project is the exhibition "Welcome home / Marhaba al sah" (June 21 – August 31, 2023, Hotel Me by meli?, Dubai), in which three artists participated with their works created in an abandoned village – Filippo Minelli, Neda Salmanpour and Anton Selone. The combination of their works was aimed at exploring the theme of nomadism, the incessant search for home as the essence of human history.

Which of these can be considered statements? Based on the characteristics of the statement developed by Foucault, we can say that they are projects of each of these areas. The correlate of each of the statements, based on the goal that IG sets for itself, is contemporary art: the coordinate system of this correlate consists of the temporal characteristic "modern" and the spatial characteristic "field of art". How do Inloco projects acquire a correlate and thereby become not just projects, but statements? The gallery as an institution of the art world, by exhibiting the works of artists on their personal pages, or conducting an art project, whether in the desert or in the white cube of the gallery, thereby commits a performative act that assigns the works of artists the status of a candidate for evaluation (in the terminology of J. Dickie ^[3]), turning them into objects of the art world, since assigning the status of a candidate for evaluation sets the mode of perception of artists' works as works of modern art. In addition, the use of specification lattices borrowed from the art world also points to the latter as a correlate.

The authors of the statement are the artists themselves who create the works, and the Inloco Gallery in the person of its managers and employees who perform operations on these works. The gallery provides artists, exhibition curators, art managers, PR specialists, managers of creative industries as its subjects. The set of subjects acting as a collective author of statements indicates the orientation of the Gallery to the art market, and the selected contingent of artists (all except Neda Salmanpour have experience of artistic work in urban space) - to the niche that the Gallery wants to occupy in the art market – work with IUV. It is also possible to distinguish various positions from which the Gallery subjects make statements: they select representatives of IU from the list of active street artists, organize events promoting IU as a new phenomenon of contemporary art and bring IU objects to the art market (exhibitions and sales), represent IU in the Internet space. The Gallery's focus on the art market can be traced not only by selling artists' works on its official website or as part of exhibition projects in Dubai, but also by participating in the international exhibition of contemporary art Contemporary Istanbul 2023.  

It is also possible to identify statements with which they coexist. Due to the peculiarities of building the discourse of the art world, these statements are the works of previous artists. Art, no matter how revolutionary it may be, tends to maintain its connection with the previous stages of development for its legitimization. B. Groys notes in this regard: "a work of art in our civilization, where art is systematically collected, stored, exhibited and reproduced, is always perceived against the background of tradition" ^{[9, p. 27]}. In the works created by artists, there are often indications of parallels and precedents in the history of art. And this is not a feature only of the Russian discourse about art. Thus, G. Foster, in his work on American post-graffiti (a term that is an American analogue of the Russian term "IUV"), points out the following: in order to become recognized subjects of American contemporary art, graffiti artists needed to find the origins of their style in the previous history of art ^{[10, p. 49]}. If we consider the personal pages of artists presented on the site as statements, we will see that in the descriptions of the features of the work of some of them there are references to institutionalized trends in the art of previous eras, as well as to the work of specific artists. For example: "Spater (1993) is an artist from Samara, Russia. His practice is rooted in the creation of frescoes, letter compositions and bombing trains. Since 2020, Spater has been creating works on canvas, perfecting the techniques he acquired on the streets with spray cans, airbrushes, etc. Along with the artist's work, conspiracy theories, retro-futurism and science fiction inspire, as well as the works of Ivan Bilibin and Hieronymus Bosch" ^[11]. However, this approach to the representation of the artist is presented only on a few pages. Most of the pages describe the manner of work relevant to the artist, described through the lattice specifications discussed above ("style", "artistic method", "technique") and references to his street background are given. However, this does not exclude the overlap of his works with those works that have already entered the field of contemporary art and have compiled his anthology. In this case, we can say that the precedents of the submitted works remained unarticulated. Thus, through direct references to specific precedents in the history of art, the associated field of statements and ideas is constructed. But, since the associated statements are not articulated for all artists who cooperate with the Gallery, this field can be characterized as lacunary.

For the three implemented collective projects, the field of associated statements will be different. Projects grow out of one another and each is a study of the topic of finding a home and nomadism. For example, the first part of the "Useless palace" project, held in an abandoned village, is presented on the IG website as follows: "Just as archaeology reconstructs the past using fragments of material culture, artists, as if through a magnifying glass, examine pieces of the present and deconstruct it to significant elements" ^[12]. These projects, as artistic studies, refer to art as a form of cognition, and become a continuation of a number of studies within the art of the XX – early XXI centuries. various existential issues, phenomena of human existence. The field of associated utterances is filled not only with the works of individual authors (for example, the artistic studies of J. Kossuth), but also collective exhibition projects. Thus, the New York Museum of Modern Art in 2019, after a major renovation, presented a new concept of exhibitions. Now he sees them as a way to explore the questions that a person poses to himself. On the page of the museum dedicated to the expositions of the fifth floor, it is written: "As part of the ongoing program of frequent change of exhibitions, a wide range of works of art in new combinations will be presented – a reminder that countless ideas and stories can be explored with the help of the museum's dynamic collection" ^[13]. Thus, for IG collective projects, the field of associated statements is the projects of individual artists or galleries, museums that have already taken place, allowing both artists and viewers to raise and analyze issues relevant to them using methods available within the framework of art (for example, deconstruction). Thus, the statements of the Gallery considered by us allow us to draw some preliminary conclusions. The works of street artists acquire the status of works of contemporary art by virtue of a performative act, the authors of which are the subjects of the Gallery. This brings us back to the instance of differentiation, the subjects of which are authorized to make statements that generate objects of art. It can also be concluded that the specific configuration of the discursive formation of the art world of the XX - early XXI centuries, in which the art market begins to play a significant role, prompts the subjects of the art world to generate new art objects: in the second half of the twentieth century, art objects, along with securities, real estate and gold, turn into means of preserving and multiplying capital..

Now let's move on to the last point of the study and consider how the field that forms the IU discourse is organized from individual statements. Foucault here highlights such elements of analysis as the forms of sequences, forms of coexistence and intervention procedures. These elements make it possible to form the concept of "street wave art" within the field, thereby legitimizing the IU as a new object of contemporary art. In Foucault's understanding, the forms of sequences can be represented by the ordering of series of statements, types of dependencies of statements, a combination of groups of statements. The dependence of statements is manifested in the fact that a certain recurrent order of statements emerges. The statement that begins the chain is an artist's work exhibited on the IG website, or a realized collective exhibition. The exhibition on the website or the opening of the exhibition in this case is the assignment of the artist's work or a collective exhibition project the status of a candidate for evaluation. The following statement is the reviews of critics and reviews in publications devoted to the cultural life of the region. The IG website contains links with publications about the works of artists in such online publications as "Dubai Global News", "Arte & Lusso", "Middle East News 247", "The National", "Golf News". Such publications confirm that the works have become objects about which the subjects of the art world have made a judgment (or appreciated). Speaking about the combination of groups of statements, we note how the set of artists with whom the Gallery cooperates is selected. In particular, the above artists have a different street background. Not all authors relate directly to street artists, and not all are associated with street communities as participants. The integrating basis on which they were selected by IG experts is the experience of interaction with urban space. Due to the different background, everyone has their own experience. So, Neda Salmanpour is an architect and interior designer, in cooperation with the Inloco Foundation, she created a site–specific object called "Sandscapes", which appears in all three projects of the Foundation. Filippo Minelli is an Italian artist, a representative of institutionalized art, working on rethinking spaces and turning them into his works. Space is analyzed by him from a political, communicative and geographical point of view. The rest of the authors started their careers as street artists creating illegal drawings on the walls of buildings; Russian artists have experience in creating drawings in graffiti teams, including some of them – bombing classes. Thus, IG gathered artists with different career trajectories, but connected by their activities to a greater or lesser extent with one locus – urban space. This indicates that the Inloco Foundation does not associate IUV with the transition to galleries only of illegal street art practice developed by teenagers within the framework of the graffiti subculture. This includes street art, which includes figurative images (the work of the French street art artist Lokher), and the work of institutionalized artists working with urban space (Filippo Minelli), and even the work of a designer using natural motifs in the organization of interior spaces.

The forms of coexistence include the field of presence (rules describing the domain of normative for discourse), the field of coexistence (statements from other discourses, but acting among the studied) and the field of memory (statements related to the phenomenon being studied, but no longer valid). In the field of presence, one can single out the rule according to which modern art, in order to remain identical to itself, must constantly grow with fundamentally new objects, art grows with "non–art". B. Groys formulated this normative attitude as follows: "The only general conclusion about modern art is that it does not lend itself to generalizations. There are only differences around" ^{[14, p. 6]}. Therefore, it is fundamentally important for the field of IU presence that objects that originally belonged to other spheres, for example, everyday life, can also be endowed with aesthetic value: "New things in art arise when an artist exchanges the tradition of art for non-art" ^{[15, p. 6]}. The images and motifs first applied by artists to the walls of urban buildings are now transferred to canvases and paper and put up for sale, and everyday objects left in an abandoned village are transformed into art installations that raise the question of finding one's home as the content of human history.

The field of coexistence includes statements from the field of graffiti and the art market. The graffiti area is a source of visual images, which are reproduced by representatives of the IU in their work, which allows them to preserve their identity and not get lost among artists of other directions, to claim that the new street aesthetics introduced into the space of the white cube of the gallery is the basis for claiming the birth of a new direction in contemporary art – IUV. In addition, the background of the artist is connected with the field of graffiti as a sphere of street practice, which allows him to become a representative of IUV. Another example: due to the influence of market relations on the sphere of art, specific requirements for an artist are formed in it, affecting his success in the art market: the price of an artist's works is influenced by what projects and how long he has been involved in, in which galleries or museums there are his works, how many publications about him. This is the determining factor for the structure of the page representing the artist on the IG website, and makes it possible to establish the order of description of statements: the specifics of creativity are consistently indicated on it, photographs of works put up for sale are given, lists of individual and collective exhibitions are given, indicating the years to mark the duration of the artist's career, links to publications in electronic media about his projects, if any.

Not only the classical idea of the nature of art goes into the field of memory, as noted above, but also the criteria for evaluating works adopted in the street environment. First of all, this is due to such quality as the masculinity of the author (courage, rebellious spirit, dexterity, strength, etc.): the works of representatives of the IU are evaluated not through the inaccessibility of the place of drawing, size, as is done in the street community of graffiti artists, but through the creativity of the work, the embedded concept, the originality of the disclosure of the topic.

Intervention procedures are represented by a diverse list of manipulations aimed at shifting material from one discourse to another (in our case, we are talking about shifting material mainly from the discourse of the graffiti subculture into the discourse of IUV). In the field of utterances and speech, we distinguish the following intervention procedures: the use of the principle of morphological continuity, the reorientation of the goals of utterance, the use of specified transcription methods. The use of the principle of morphological continuity lies in the fact that the works of representatives of IUV are often performed in traditional forms of painting and sculpture for classical art, an easel, canvas, paper are used. Through formal signs, the relationship of innovation and tradition is established. This morphological continuity has been comprehended by a number of theorists and practitioners of contemporary art. For example, J. Kossuth sees the appeal to traditional forms of painting and sculpture as a mechanism for establishing a connection between his art and the art of previous eras: "the word "art" indicates the general context of my activity, while "painting" or "sculpture" attribute particular qualities to the materials that I use in the process his artistic research in order to establish a connection between his art and the preceding one at the morphological level" ^{[16, p. 33]}. The desire to establish continuity can be explained by the fact that IU objects are often represented by traditional forms of art (painting, sculpture) in traditional exhibition spaces (galleries, museums). So, ten artists with whom IG collaborates create their works on paper and canvases, take photos, moving away from the familiar surfaces of the walls of street buildings. However, there are also non-traditional forms that can be associated with the reorientation of the goals of statements. If traditional graffiti works are designed to form the identity of their author and are not aimed at reflecting on creativity itself, then through the embodiment of street experience in non-traditional forms and places, both for graffiti and classical art, objects and objects make us question the nature of art. This characteristic feature of modern art was noticed by J. Kossuth in his work "Art after Philosophy" ^[16]. The question of the nature of art is immanent in all three IG collective projects: the desert as a location for the first "Useless palace" project and the installations created by its participants, the hotel as a location for the "Welcome home / Marhaba al sah" project are designed to exclude the morphological connection of these projects with the traditions of classical art and find new grounds for including the presented objects in the art field. In addition, as noted above, both parts of the "Useless palace" project and the "Welcome home / Marhaba al sah" project were originally designed as artistic studies of the phenomena of human existence. The works are initially created by artists, and are also positioned by IG curators as a system of references to issues relevant to the artist himself or society. A complex system of references to what is beyond the limits of the created work, a wide layer of meanings, which is the conceptual basis of the work of the representative of the IU, fundamentally distinguishes these objects from those that are created within the framework of the practice of the graffiti subculture. Graffiti, first of all, is a form, while IUV is also a content rich in meanings. Thus, we can say that the purposes of statements differ in the discursive fields of graffiti and IUV. The use of specified methods of transcription of IU objects is associated with the formalization of the description language. This is clearly seen in the use of specification lattices, the reliance on which led to the description of IU objects through traditional concepts for official art.

Now it is important to establish the relationships between the considered elements, because it is not they themselves, but the connections that arise between them that characterize the discourse. Here we can distinguish the following relationships. Using the dependencies of utterances (exhibition – critic's review) Once again, he points out that artistic value is a "variable of social function" and arises as a result of what J.F. Lyotard called "language games". This allows us to consider the postmodern situation as a condition for the emergence of IUV. The field of coexistence is conditioned by the field of presence: the attitude that art grows with "non-art" allows youth subcultural practice to enter the field of art. The art market as another sphere in the field of coexistence indicates that in IU, along with aesthetic value, they begin to see the commodification potential, which in turn affects the configuration of the collective author of the statement: in addition to the artist and the curator, figures alien to art itself appear in the art institution: art managers, pr specialists. It is precisely this configuration of the collective author of the statement that we observe in the projects-statements of the Inloco Gallery.

Conclusions

IUV occurs at the junction of two fields. On the one hand, the works of specific representatives of the IU can find precedents in the history of art, thanks to the forms of execution, styles and techniques used, symbolic references, which can be observed on the personal pages of artists on the official website of the Gallery. On the other hand, the same works bring with them the developments that the artist had during his non–institutionalized street creative activity - artistic images, techniques. In other words, IUV brings to modern art what was once in the field of "non-art", was extracted from the sphere of everyday life, thereby expanding it. As part of its collective projects, the Gallery initiates the penetration of the everyday, everyday space into the aesthetic, artistic space. The gallery transforms the once inhabited space of the village into a place of inspiration, research and work for artists. It is important to note that the city, as the sphere from which the IU arises in the twentieth century, has undergone changes and from the place of production of goods has become the place of production of creative industries, its structural and functional organization is changing, for example, the concept of the so-called "third place" appears ^[17].

IUV grows as a result of the activity of subjects of the art world, who in their activities are guided by implicitly present in the space of the art world installations. The subjects of the Gallery (art managers, curators, art critics, PR specialists), conducting operations on the works of artists with a street background, integrate their works into the field of contemporary art, creating both objects and a discursive field of IUV. Integration takes place in the forms that have developed in the institutionalized art world, which indicates that the ideology of street culture practically disappears from the IU, remaining only at the formal level (images, aesthetics) and manifesting itself in the "label" that the artist is given (an indication of the street background in his creative career on the artist's personal page on the Gallery's website).