“Art has been saying with more and more intensity: the nature of the painting has become less interesting than the nature of the relation of painting to society.”
Norman Mailer, The Faith of Graffiti

Forty years after the birth of the language of graffiti, it would be legitimate to refer to a form of popular art which has been codified for some time now. However, although galleries and museums have absorbed graffiti artists from different generations on several occasions, it comes as a surprise to what extent, even today, graffiti retains the power to become part of an antisocial system: the same language, evoked commercially and sold as an advertising tool, has also contributed to extending the media presence of a phenomenon that has a destabilising effect on graphic artists, municipal councils and shopkeepers who fight for or against the cause. It is precisely this pendular relationship, which swings between unconditional rejection and fatal attraction, that forms the basis of the project All City Writers, offering a traumatic and fascinating overview of contemporary metropolises.