Nesta etnografia, as práticas de graffiti de São Paulo, ao mesmo tempo em que ocuparam um lugar central enquanto foco de análise e reflexões, foram tomadas como uma janela para pensar e produzir conhecimento sobre a cidade. Partiu-se de dois objetivos centrais: investigar os usos da rua destas práticas e as possibilidades de cidades que emergem nesta interação. O trabalho de campo voltou-se, principalmente, aos processos de pintura na rua, o que colocou a pesquisa em movimento pelo espaço urbano e configurou uma etnografia multi-sited. Na escrita da dissertação, os dados etnográficos e as análises foram organizados em duas partes complementares. Na primeira, a trajetória das práticas de graffiti na cidade de São Paulo conduz as reflexões, mas sem perder de vista a relação estabelecida com outros contextos, as trocas com outras práticas de pintura na rua, as narrativas que elaboram representações distintas deste fazer e a interação complexa estabelecida com diferentes agentes e esferas do poder público. Na segunda parte, a partir da análise situacional de três processos de pintura, são apresentados modos de ler, usar e se apropriar da cidade, que são ao mesmo tempo condição e consequência de fazer graffiti, bem como produzem efeitos nos sujeitos e nos espaços urbanos. A partir desta aproximação é possível apreender as práticas de graffiti enquanto um fazer que não apenas modifica esteticamente as superfícies construídas, como também coloca em questão a eficácia de certos postulados urbanísticos e jurídicos. Esta investigação identificou uma forma de citadinidade, constituída pelas experiências de pintar na rua, que nos lembra da condição de possibilidade de fazer e praticar a cidade. / In this ethnography, the graffiti practices of São Paulo were at the same time the focus of analysis and reflection and a window to think and produce knowledge about the city. The research was based on two initial objectives: to investigate the street uses of these practices and the possibilities of cities that emerge in this interaction. The fieldwork focused mainly on the street painting processes, which put the research in motion through the urban space and set up a multi-sited ethnography. In the thesis, the ethnographic data and analyzes were organized in two complementary parts. In the first, the trajectory of graffiti practices in the city of São Paulo leads to reflections, but without losing sight of the established relationship with other contexts, the exchanges and collaboration with other practices of street painting, the narratives that elaborate different representations of this doing and the complex interaction established with different agents and spheres of public administration. In the second part, from the situational analysis of three painting processes, were presented ways of reading, using and appropriating the city, which are at the same time the condition and consequence of doing graffiti, as well as producing effects in subjects and in urban spaces. From this approach it is possible to apprehend graffiti practices as a practice that not only aesthetically modifies the surfaces but also calls into question the effectiveness of certain urban and legal postulates. This research identified a way of being and living in the city, constituted by the experiences of painting on the street, which reminds us of the condition of possibility of making and practicing the city.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-13T13:06:44Z No. of bitstreams: 1 Micaela Altamirano.pdf: 7718485 bytes, checksum: 7b8fe2142ba5c809d1965e290d0668db (MD5) / Made available in DSpace on 2018-08-13T13:06:44Z (GMT). No. of bitstreams: 1 Micaela Altamirano.pdf: 7718485 bytes, checksum: 7b8fe2142ba5c809d1965e290d0668db (MD5) Previous issue date: 2018-06-29 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / The following research aims to investigate which meaning-effects are produced from the massive presence of a visual manifestation denominated pixação (written with “x”) on buildings and monuments of São Paulo’s contemporary scenery. The general objective of the research is to understand which values are articulated in this cipher, which reveal ways of being and happening in the city, in syncretic construction with the urban space that presents the inequalities and discontinuities produced over the years of the city’s development. Considering the most relevant studies about Pixação, mainly in the study fields of sociology, urbanism and communication, we intend to detail a deepen the understanding of this manifestation from a unexplored perspective: how theirs ways of presence build new senses in the public space. The study corpus, which focuses the space analysis, embraces Sé and República boroughs,in São Paulo’s central area, which maintains the diachronic marks of its construction. To present and analyze the tactics engaged by pixadores, we collect empirical data, news from digital and printed media and videos produced by themselves. Analysing the communicational and identity processes built in the space occupied by pixação, we get in on how the manifestations correlate a part and the whole of the city, approaching the way they make the observer feel the risks and the interactions that the practice of pixação promotes, inviting to enter into their joints and build their senses together. The study is based on the theoretical premises of the discursive semiotics proposed by Algirdas Julien Greimas, with methodological procedures of meaning-generating methods, as well as Eric Landowski’s sociosemiotcs in the formulation of regimes of meaning, interaction and risk, and the postulates of Ana Claudia de Oliveira, especially regarding to semiotics of visuality. The result puts us in front of a visual manifestation of strong aesthetic value which translates the ways of living in the city from the perspective of a peripheral population, which is often marginalized, and start to compose a enunciate of the public spaces with the memory of individual and collective paths in the narratives of the city. Appropriating of the center of the megalopolis, this peripheral population reinscribes themselves as protagonists, re-signifying their invisible place in history. The research contributes, for the analysis about strategies of democratization and appropriation of public space and its patrimony / A presente pesquisa busca investigar quais efeitos de sentido são produzidos no espaço público a partir da presença massiva da manifestação visual denominada pixação (grafada com “x”) em edifícios e monumentos no cenário contemporâneo de São Paulo. O objetivo geral da pesquisa é compreender quais os valores articulados nesta escrita cifrada, que revelam modos de estar e acontecer na cidade, na construção sincrética com o espaço urbano que presentifica as desigualdades e descontinuidades produzidas ao longo dos anos de desenvolvimento da cidade. Considerando os estudos mais relevantes sobre a pixação, principalmente nas áreas da sociologia, urbanismo e comunicação, objetivamos detalhar e aprofundar a compreensão dessa manifestação a partir de uma perspectiva inexplorada: como seus modos de presença constroem novos sentidos no espaço público. O corpus de estudo que focaliza a análise do espaço abarca os distritos Sé e República, da área central de São Paulo, que mantém as marcas diacrônicas de seu edificar. Para apresentar e analisar as táticas empreendidas pelos pixadores, coletamos dados empíricos, notícias de mídias digitais e impressas e vídeos produzidos internamente ao movimento. Analisando os processos comunicacionais e identitários construídos neste espaço ocupado pela pixação, adentramos no como as manifestações aí correlacionam a parte e o todo da cidade, abordando o seu fazer sentir os riscos e as interações que essas promovem com aquele que, observando-as, adentra em suas articulações enredando-se nelas para entretecer a sua tessitura. O estudo tem como base teórica as premissas da semiótica discursiva proposta por Algirdas Julien Greimas, com os procedimentos metodológicos do percurso gerativo de sentido, assim como as da sociossemiótica de Eric Landowski na formulação de regimes de sentido, interação e risco, regimes de visibilidade, construção identitária pelas alteridades e os postulados de Ana Claudia de Oliveira, principalmente no que diz respeito à semiótica da visualidade. O resultado nos coloca diante de uma manifestação visual de forte valor estético e estésico que traduz os modos de viver a cidade sob a perspectiva de uma população periférica e muitas vezes marginalizada, que passa a compor o enunciado dos espaços públicos com a memória de seus percursos individuais e coletivos nas narrativas da urbe. Apropriando-se do centro da megalópole, essa população periférica se reinscreve enquanto protagonista ao ressignificar seu lugar invisibilizado na história. A pesquisa contribui, assim, para a reflexão sobre as estratégias de democratização e apropriação do espaço público e seu patrimônio

Submitted by Rosina Valeria Lanzellotti Mattiussi Teixeira (rosina.teixeira@unisantos.br) on 2018-05-14T18:19:04Z No. of bitstreams: 1 Maria Fernanda de Carvalho Bottallo.pdf: 2248319 bytes, checksum: 71f5b64b2f8206ed69f31c495ef6807b (MD5) / Made available in DSpace on 2018-05-14T18:19:04Z (GMT). No. of bitstreams: 1 Maria Fernanda de Carvalho Bottallo.pdf: 2248319 bytes, checksum: 71f5b64b2f8206ed69f31c495ef6807b (MD5) Previous issue date: 2018-03-28 / Quando se pensa em uma cidade que cumpre sua função social, imagina-se um local em que vias públicas, edifícios e equipamentos urbanos componham harmonicamente o cenário urbano. No entanto, essa possibilidade pode estar distante de se tornar realidade, até por que não há uma unanimidade com relação ao que seria essa harmonia. Nesse cenário, encontra-se o objeto de pesquisa dessa dissertação: a arte de rua. Essa é uma expressão artística que está sempre presente em embates sobre a sua legalidade ou ilegalidade. Para muitos, a arte de rua, corporificada no grafite e na pichação, nada mais é que poluição visual a ser punida criminalmente. Para outros, ambas manifestações fazem parte de uma expressão artística típica dos grandes centros urbanos. O nosso ordenamento jurídico aceita o grafite, desde que feito com consentimento do proprietário do imóvel em que é aplicado. No entanto, a pichação é uma conduta tipificada como crime pela Lei 9.605/1998, a Lei dos Crimes Ambientais. A presente dissertação traz uma análise do que foi e do que, atualmente, é o Direito Urbanístico. Verifica quais as principais tendências com relação à organização da paisagem urbana nas cidades de Barcelona, Berlim, Nova York e São Paulo. Investiga os instrumentos possíveis de serem usados para a gestão de cidades sustentáveis e funcionais, bem como a inclusão da arte de rua como elemento constituinte da paisagem urbana. Entre esses instrumentos, faz-se uma análise mais aprofundada do Plano Diretor Estratégico de São Paulo. Por fim, levanta algumas possibilidades do uso de espaços reservados para a prática e exposição de arte de rua, em especial do grafite, na modalidade de ZEPEC-APC, uma vez que a arte de rua faz parte da identidade visual da cidade de São Paulo. A ideia é a de se criar diversos espaços pela cidade ¿ para que abarque ao máximo a participação da sociedade ¿ na forma de Galerias de Arte de Rua. Esses espaços vão ao encontro de tendências mundiais de gestão urbana aliadas à arte e à cultura. / Thinking in a city that comply with its social function, could imagine a place where public streets, buildings and urban equipment harmoniously compose the urban scene. However, this possibility may be far from becoming reality, even because there is no unanimity in relation to what that harmony would be. In this scene, the research object of this essay is the street art. This is an artistic expression that is far from pleasing to all. On the other way, it is always present in discussion about its legality or illegality. For many, street art is nothing more than visual pollution to be punished criminally. For others, only the authorized graffiti are part of an artistic expression typical of big urban centers. Our legal system accepts the authorized graffiti, if could be prove that it is done with the permission of the owner of the property in which it is applied. However, the non-authorized graffiti is a conduct typified as a crime by Law 9605/1998, the Law of Environmental Crimes. This essay presents an analysis of what was and what is currently the Urban Law. It verifies the main trends with regard to the organization of the urban landscape in the cities of Barcelona, Berlin, New York and São Paulo. It investigates the possible instruments to be used for the management of sustainable and functional cities. Among these instruments, a more in-depth analysis of the Strategic Master Plan of São Paulo is carried out. Finally, it raises some possibilities of the use of spaces reserved for the practice and exhibition of street art, especially of the authorized graffiti, in the ZEPEC-APC modality, since street art is part of the visual identity of the city of São Paul. The idea is to create several spaces throughout the city ¿ to include society as much as possible - in the form of Street Art Galleries. These spaces are in agreement with the world trends in urban management combined with art and culture.

Utställningsrummet för gatukonst växte fram långsamt på Kronobergsgatan 35. Genom att följa utvecklingsprocessen, platsen och verken som visats undersöker jag hur väggen växer fram till en hybrid som inte bara är ett utställningsrum. Det är även centrum för urban konst i Stockholms offentliga rum. Utställningsrummet är ett ovanligt inslag i en stad som fortsatt är präglad från en långvarig nolltolerans. Curering av väggen återspeglar ett utbildningssyfte för att visa att graffiti är mer än klotter. Jag undersöker vilka aktörer som är inblandade och deras mål med väggen utifrån curating teori. Väggen har flera intressenter. Kollektivet Livet som curerar väggen har en bakgrund inom graffiti och i sitt arbete att etablera konstformen kommer de även närmare att institutionalisera den, något som går emot dess historiska roll som subkultur. I mitt arbete studerar jag var utställningsrummet placerar sig i förhållande till graffitikulturen kontra konstinstitutionen. Fastighetsägaren står för resurserna och ser mot förmodan en slags vinst i sin investering, jag har döpt denne till konsthandlaren som förmedlar konsten till betraktaren. Att konsthandlaren associerar företaget till kulturella åtaganden gynnar företagsprofilen i ansamlande av kulturellt kapital. Utställningsrummet är även starkt påverkat av dess position i Stockholms centrala offentliga rum. Det skapar debatt om vem som får ta plats i stadsrummet och vilken konst som bör finnas, en debatt som curatorn välkomnar. Det är en debatt som potentiellt involverar hela staden, där alla är potentiella konstkritiker. Görandet av plats skapas i samverkan mellan tjänstemännen som formar stadsrummet och aktörerna som verkar i det. Jag undersöker denna samverkan och hur de förhåller sig till sina motsättningar. / I have followed the process of development of Kronobergsgatan 35 as an exhibition room for street art and graffiti in Stockholms public space. By interviewing the curators and analyzing with referens to institutional- and curating theory my aim has been to investigate the surrounding circumstances for said exhibition. Stockholm has a history of zero tolerance which makes this exhibition room a rare sight. The curators has, with an educational agenda, wanted to normalize graffiti as an artform but in so doing places the exhibition somewhere between it's subcultural history and the established art institution. The wall is made possible by the contribution of the property owner. I investigate the possible purposes of this investment and how association with culture affiliations could have positive effect on a business profile by obtaining cultural capital.  As an exhibition room in public space it works with and in contrast to the official public art of the city. I investigate this relationship between official and unofficial public art and the discussion of a democratic public space.

La tesi ha come oggetto la street art italiana. Questa, sebbene comunemente associata a realtà contro o subculturali, specie nell’ultimo decennio ha visto diversi suoi esponenti percorrere una parabola che da un underground riservato a una nicchia di appassionati, li ha portati a confrontarsi tanto con il mondo dell'arte quanto con il mercato. Una parabola che, in senso diacronico, questa tesi ha cercato di ripercorrere, servendosi degli strumenti propri delle teorie della produzione culturale, analizzando quindi la molteplicità di trasformazioni sociali e culturali che l'hanno accompagnata e resa possibile. Allo stesso tempo, attraverso una metodologia “grounded”, si è tentato di dare conto, su un piano sincronico, dello scenario attuale della street art nazionale, attraversato da tensioni che, di fatto, hanno portato il ricercatore a misurarsi con il processo di crescente “individualizzazione” e “de-standardizzazione” del mercato del lavoro. La tesi si suddivide quindi in quattro macro-sezioni: la prima finalizzata alla descrizione del processo di ricerca; la seconda tesa a ricostruire l’“emersione” dei fenomeni subculturali da cui gli street artists provengono; la terza, volta alla descrizione del panorama contemporaneo della street art italiana, attraverso l'individuazione di “profili” nelle cui caratteristiche si è cercato di far luce su quello che, a tutti gli effetti, può considerarsi un modello di “socialità reticolare”; la quarta, in cui si sono messi a confronto l'attuale fisionomia agerarchica della street art, caratterizzata da una differente distribuzione di opportunità a seconda del diverso capitale sociale posseduto dai suoi protagonisti, e alcune ipotetiche “soluzioni” a tali squilibri. / Street art has always been associated with underground phenomena like sub or counter-cultures. But, especially during the last ten years, many street artists got more and more involved in the institutional field of cultural production, also working for marketing, advertising and graphic design agencies. Starting from a perspective close to the theories of cultural production, the dissertation focused on the social, cultural and economic transformations that have contributed to such an “explosion” of the street art movement. At the same time, using a “grounded” approach, it studied the contemporary world of the Italian street art, as a field crossed by my many tensions, generated by a different distribution of what Pierre Bourdieu defined “social capital”.

This practice-led research project examines some of the factors and issues facing artists working in the public domain who wish to engage with the community as audience. Using the methodology of action research, the three major creative projects in this study use art as a socio-political tool with the aim of providing an effective vehicle for broadening awareness, understanding forms of social protest and increasing tolerance for diversity. The three projects: Floodline November 7, 2004, Look in, Look out, and The Urban Terrorist Project, dealt with issues of marginalisation of communities, audiences and graffiti artists respectively. The artist/researcher is outlined as both creator and collaborator in the work. Processes included ephemeral elements, such as temporary installation and performance, as well as interactive elements that encouraged direct audience involvement as part of the work. In addition to the roles of creator and collaborator, both of which included audience as well as artist, the presence of an outside entity was evident. Whether local, legal authorities or prevailing attitudes, outside entities had an unavoidable impact on the processes and outcomes of the work. Each project elicited a range of responses from their respective audiences; however, the overarching concept of reciprocity was seen to be the crucial factor in conception, artistic methods and outcomes.

Depuis les années 2000 et particulièrement avec l’engagement contesté des troupes militaires dans la guerre en Irak et en Afghanistan, de nouvelles modalités d'expression de la société civile se sont développées en Espagne, en marge des outils institutionnels classiques. À partir de 2008, la crise économique semble consolider ces nouvelles pratiques contestataires. L'occupation d’immeubles vides, l'organisation d'ateliers dans des espaces en autogestion, la transformation en jardins potagers des friches laissées par des bâtiments démolis, tout comme les rassemblements des Indignés et le collectif Democracia Real Ya -qui ont permis de faire converger ces différentes initiatives en un mouvement plus unifié- pourraient traduire une lassitude des citoyens espagnols à l'égard des formes classiques d'engagement. L'occupation graphique de l'espace public et la présence accrue d'œuvres de street art contestataires ou revendicatives pourraient-elles constituer une autre modalité de militantisme ? Ce travail souhaite interroger la validité de l'art public engagé comme alternative à l'exercice de la citoyenneté. Pourquoi ces artistes en viennent-ils à occuper illégalement l'espace public ? Comment ces interventions sont-elles perçues par les passants ? Jusqu’à quel point ces formes ont-elles une incidence sur l’espace et la conscience publics ? Une première partie tente de définir les contours de cette pratique hybride, inspirée par différentes formes d’occupation graphique sur les murs. Dans une deuxième partie, un panorama des interventions d'art public est proposé et classé selon trois grandes catégories : le militantisme culturel, les revendications sociales et la contestation politique. Enfin, la dernière partie de ce travail présente les résultats des différentes enquêtes réalisées à Madrid entre 2009 et 2014 afin de mesurer les intentions et la portée de ces interventions d’art public. / Since the 2000s and especially with the contested military dispatch in the war in Iraq, new modes of expression of civil society have been developed in Spain alongside the traditional institutional tools. As of 2008, the economic crisis seems to consolidate these new protesters practices. Ocupation of empty buildings, workshops in self-managed spaces, transformation of wasteland left by demolished buildings into vegetable gardens, or even Indignados and Democracia Real Ya collective’s demonstrations, which have helped bringing these different initiatives in a more unified movement, could reflect a weariness of Spanish citizens against traditional forms of commitment.Could the graphical occupation of public space and the increased presence of anti-establishment and protest street art work prove to form another method of activism ? This work wishes to question the validity of engaged public art as an alternative to exercising one's civil rights. Why are these artists illegally occupying public space ? How are these interventions being seen by passersby ? To what extent do these images affect both space and public consciousness ? The first part attempts to define the outline of this hybrid custom based on different forms of graphical occupation on the walls. In the second part, an overview of public art interventions is proposed and is classified into three main categories : cultural activism, social demands and political protest. The last part of this work presents the results of various surveys conducted in Madrid between 2009 and 2014 to measure the intentions and the scope of these public art interventions.

I jakten på gatukonst har vi i detta kandidatarbete undersökt hur gatukonst kan utvecklas genom nya tekniker och hur plats och gatukonst samspelar och påverkar varandra i ett berättande. För att ta del av hur gatukonst ser ut och används i olika kulturer och miljöer valde vi att resa genom Europas städer och dokumentera gatukonst för att få ett bredare perspektiv. Genom att flyga och tågluffa har vandring och etnografi varit vår metod då vi har rest och vandrat för att kunna skapa denna undersökning. I våran gestaltning vill vi utmana gatukonst och dess gränser och har valt att göra det med augmented reality som verktyg för att skapa platsbaserad gatukonst som kan upplevas ur ett digitalt format i verkligheten. Genom augmented reality kan städer och områden ha gatukonst placerade på byggnaderna trots att det inte finns fysiskt. Det möjliggör ett alternativt sätt att utforska gatukonst genom en digital värld. / In the search for street art we’ve in this project explored how street art can be developed through new techniques and how space and street art interact and influence each other in a narrative way. To find out what street art looks like and how it’s used in different cultures and environments we chose to travel through Europe's cities to document the street art from a broad perspective. By flying, traveling and hiking we have been using walking and ethnography as our methods to create this study. In our design process we want to challenge street art and it’s boundaries and have chosen to do so with augmented reality as a tool for creating site-based street art that can be experienced from a digital format in reality. Through augmented reality, cities and areas can have street art placed on the buildings even though it does not exist physically. It enables alternative ways to explore street art through a digital world.

This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement.       The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice.       The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas.       This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today.       From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself.        Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today.

The purpose with this essay is to examine and create an understanding for what meaning graffiti and street art has for those who practice it. Furthermore, the practice of graffiti and street art is seen in relation to how urban space is produced. Five semi-structured interviews and one group interview has been made to answer the questions "What meaning does graffiti and street art has for those who practice it? Can it be seen as a way to construct identity?" "How do the artists relate to existing ideals about public space?" and "Does the artists see graffiti and street art as a resistance against the normative representation of the city, in that case, how?" The theoretical framework consists of Mitchell's ideas about public space, Tonkiss' definition of social order, Lefebvre's spatial triad, de Certeau's concept of strategy and tactics, the concept of appropriation and Castell's theory about collective identity. The results showed that the practice of graffiti and street art can be understood as a more complex practice than earlier research has shown. Four different dimensions of meaning could be distinguished. Together the four different dimensions expressed an understanding of graffiti and street art practices as a collective resistance identity. The essay also shows that street art and graffiti artists have a more including ideal about public space.