Performance, Transgressão e Cidade: estética e ética na pixação e na pichação - um estudo comparativo entre “Graffiti”, de Julio Cortázar e “O rabisco”, de Geovani Martins.
Date
2023-02-28
Authors
Reimão, Lucas Torices [UNIFESP]
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Vidal, Paloma [UNIFESP]
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Dissertação de mestrado
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Abstract
A abordagem sobre o universo artístico da pixação revela consigo uma ética e
estética, com códigos peculiares, interpelada por um circuito comunitário e ativada
por uma performance, com conceitos e comportamentos próprios dessa prática. Por
outro lado, a pichação, com ch, embora conjugue certos aspectos similares, transita
dentro de uma outra perspectiva estética e ética. Propõe-se, neste trabalho, analisar
e compreender os significados e valores destas duas modalidades de arte em suas
ações partindo de uma narrativa de experiência, em decifrar palavras pelas
edificações de São Paulo, e logo a performance artística, em análise literária, nas
narrativas dos contos “O Rabisco” (Martins) e “Graffiti” (Cortázar). A proximidade
entre a experiência e a literatura traz o estabelecimento de um circuito comunicativo
enigmático, e termos linguísticos autênticos, organização comunitária e atividade
performática e transgressora em meio à cidade. O estudo revelou a existência de um
sentido comunitário de relações, e sua ética, bem como a complexidade
performática que envolve o ato de pixar e pichar, e sua estética, em sua
transgressividade. Observou-se o caráter anárquico da atividade e constatou-se que
a arte perpetrada nos muros traz consigo um jogo interno de significados
interpretativos peculiares e performances próprias.
An approach to the artistic universe of pixação reveals an ethics and aesthetics, with peculiar codes, questioned by a community circuit and activated by a performance, with concepts and behaviors typical of this practice. However, pichação, with ch, although it combines certain similar aspects, transits within another aesthetic and ethical perspective. It is proposed, in this research, to analyze and understand the meanings and values of these two forms of art in their actions starting from a narrative of experience, in deciphering words in the buildings of São Paulo, and then the artistic performance, in literary analysis, in the narratives of the short stories “O Rabisco” (Martins) and “Graffiti” (Cortázar). The proximity between experience and literature brings the establishment of an enigmatic communicative circuit, and authentic linguistic terms, community organization and performative and transgressive activity in the city. The study revealed the existence of a community sense of relationships, and its ethics, as well as the performative complexity that involves the act of graffiti and tagging, and its aesthetics, in its transgressiveness. The anarchic character of the activity was observed and it was noticed that the art perpetrated on the walls brings an internal game of peculiar interpretative meanings and performances on its own.
An approach to the artistic universe of pixação reveals an ethics and aesthetics, with peculiar codes, questioned by a community circuit and activated by a performance, with concepts and behaviors typical of this practice. However, pichação, with ch, although it combines certain similar aspects, transits within another aesthetic and ethical perspective. It is proposed, in this research, to analyze and understand the meanings and values of these two forms of art in their actions starting from a narrative of experience, in deciphering words in the buildings of São Paulo, and then the artistic performance, in literary analysis, in the narratives of the short stories “O Rabisco” (Martins) and “Graffiti” (Cortázar). The proximity between experience and literature brings the establishment of an enigmatic communicative circuit, and authentic linguistic terms, community organization and performative and transgressive activity in the city. The study revealed the existence of a community sense of relationships, and its ethics, as well as the performative complexity that involves the act of graffiti and tagging, and its aesthetics, in its transgressiveness. The anarchic character of the activity was observed and it was noticed that the art perpetrated on the walls brings an internal game of peculiar interpretative meanings and performances on its own.