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Pixação E Grafite Como Intervenções Em São Paulo

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Pixação E Grafite Como Intervenções Em São Paulo SANDRO JOSÉ CAJÉ DA PAIXÃO O meio é a paisagem: pixação e grafite como intervenções em São Paulo Dissertação de mestrado apresentada ao Programa de Pós-Graduação em Estética e História da Arte, da Universidade de São Paulo, para a obtenção do grau de Mestre em Estética e História da Arte. Área de concentração: produção e circulação da obra de arte Orientador: Prof. Dr. Artur Matuck São Paulo 2011 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL E PARCIAL DESTE TRABALHO, POR QUALQUER MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. Catalogação da Publicação Biblioteca Lourival Gomes Machado Museu de Arte Contemporânea da Universidade de São Paulo Paixão, Sandro José Cajé da. O meio é a paisagem : pixação e grafite como intervenções em São Paulo / Sandro José Cajé da Paixão ; orientador Artur Matuck. -- São Paulo, 2011. 216 f. : il. Dissertação (Mestrado - Programa de Pós-Graduação Interunidades em Estética e História da Arte) -- Universidade de São Paulo, 2011. 1. Graffiti. 2. Arte na Paisagem Urbana. 3. Indústria Cultural. I. Matuck, Artur. II. Título. CDD 751.73 FOLHA DE APROVAÇÃO Sandro José Cajé da Paixão O meio é a paisagem: pixação e grafite como intervenções em São Paulo Dissertação de mestrado apresentada ao Programa de Pós-Graduação em Estética e História da Arte, da Universidade de São Paulo, para a obtenção do grau de Mestre em Estética e História da Arte. Área de concentração: produção e circulação da obra de arte Orientador: Prof. Dr. Artur Matuck Aprovado em:________________________________________ Banca Examinadora Prof. Dr.: _______________________________________________________________ Instituição: _____________________________________________________________ Assinatura: _____________________________________________________________ Prof. Dr.: _______________________________________________________________ Instituição: _____________________________________________________________ Assinatura: _____________________________________________________________ Prof. Dr.: _______________________________________________________________ Instituição: _____________________________________________________________ Assinatura: _____________________________________________________________ À Morena, minha filha. À Ana Carolina, por “ultrapassar o exame de mil nadas que dilaceram o coração”. À minha mãe, Dona Lindinha, por tudo. A meu pai, que me ensinou a ter apreço pelo conhecimento. Agradecimentos Agradeço a todos os professores que compartilharam comigo e com os outros alunos do Programa de Pós-Graduação em Estética e História da Arte, da USP, conhecimentos valiosos para a reflexão crítica a respeito do papel da Arte na história do mundo e nos dias atuais. Em especial às Profas. Dras. Ana Magalhães, Carmen Aranha, Dilma de Melo Silva, Jane Marques, Lizzy Salum e aos Profs. Drs. Guilherme Carboni e Carlos Ziebel. Ao Prof. Dr. Artur Matuck, meu orientador, por quem tenho profunda admiração como mestre e artista, a minha maior gratidão, por dar a mim a oportunidade de desenvolver esse trabalho de pesquisa, por compartilhar conhecimentos valiosíssimos sobre diversos temas, pelos conselhos, pela paciência, pela disposição em atender-me prontamente todas as vezes em que solicitei sua atenção, suas críticas e suas sugestões. Agradeço a todos os colegas que participaram da jornada de aprendizado na USP, especialmente Isa Bandeira, Paulo Zeminian, Olívio Guedes, Marcelo Mendes, Leila Kiyomura, Arlindo Araujo, Edileine Carvalho Vieira, Rosana Garcete, Karin Magnavita, Caroline Rocha, Fabiana Mitsue Najima, Maria Cristina Bosco, Gabriela Borges Abraços, Daniela Aquino, Tomas Vega e Guilherme Weffort Rodolfo. Agradeço aos profissionais da secretaria do PGEHA-USP, Paulo Marquezini, Joana Darc Figueiredo, Aguida Furtado Vieira Mantegna e Neusa Brandão, pela paciência e pelo esforço na solução das nossas dificuldades. Agradeço à minha família, por tudo. Agradeço a Deus, pela jornada e pela estrada. “Na noite de São Paulo há muitos bandidos à solta. Com armas, das mais diversas. Na noite há um bandido muito especial, que é o grafiteiro. O grafiteiro, ele não produz feridas, ele produz letras. O grafite é uma das modalidades mais importantes da literatura dos anos 70 e 80, nos meios urbanos do Brasil. E esse aqui é um grafite de intervenção em homenagem a todos os grafiteiros: [QUEM TEM Q.I. VAI].” Paulo Leminski “The words of the prophets are written on the subway walls And tenement halls. And whisper'd in the sounds of silence.” The Sound of Silence, Paul Simon Resumo O uso da paisagem para comunicar-se é uma prática humana que antecede o surgimento das civilizações. Os vestígios produzidos, desde épocas pré-históricas até a contemporaneidade, têm fornecido às Ciências a possibilidade de compreender a experiência do mundo por indivíduos e grupos que deixam seus sinais em áreas remotas ou superpovoadas. Este estudo aborda, historicamente, a apropriação das paisagens urbanas contemporâneas por duas formas de manifestação que, no Brasil, contrariam as interdições legais e põem em crise as noções de propriedade, direito à expressão e à livre comunicação, além de manter em discussão uma proposta de redefinição dos valores da Arte: a pichação e o grafite. Palavras-chave: arte, comunicação, grafite, paisagem urbana, pichação. Abstract The use of landscape for communication is a human practice that precedes the emergence of civilizations. The signs produced, since prehistoric period up to the contemporary era, provide to Sciences the possibility of understanding the experience of the world by individuals and groups that leave their signs in remote or overpopulated areas. This study adresses, historically, the seizure of the contemporary urban landscapes for two by two ways of artistic manifestation which, in Brazil, contradict legal interdictions and lead to put in crisis the sense of property, right to expression and free communication, besides keeping in discussion a redefinition of the Art values: pichação and grafite. Key Words: art, communication, graffiti, urban landscape. Lista das imagens: Figura 1: pichação sobre inscrições rupestres na região do Seridó, RN/PB. (Foto: Gabriela Martin; 1998). Figura 2: o ativista Faris Arouri. (Fotos: Yousef Nijim; 2009). Figura 3: peça de ocre de Blombos, África do Sul, em 2000 A.D. (Foto: Christopher Henshilwood; 2000). Figura 4: gráfico de sandália Bambara. (reprodução de imagem encontrada em MUNANGA, 2004). Figura 5: tabuletas sumérias. (Fotos: Metropolitan Art Museum; 1998). Figura 6: evolução da escrita suméria. (Gráfico: http://www.ancientscripts.com). Figura 7: hieróglifos em tábua de argila e decalque (Foto: Museu do Cairo; decalque: Tour Egypt). Figura 8: detalhe da Pedra da Roseta (Foto: British Museum) Figura 9: signos fenícios (Gráfico: http://www.citrinitas.com) Figura 10: Graffito de Alexamenos. (Foto: Museu Antiquário do Palatino, Roma) Figura 11: pixação feita a caneta. (Foto: Sandro Cajé; 2010) Figura 12: pixação na campanha política de 2010. (Foto: Sandro Cajé; 2010) Figura 13: pixação amorosa no Paço Municipal de Santo André. (Foto: Sandro Cajé; 2010) Figura 14: pixação a giz de cera e stêncil na Barra Funda. (Foto: Sandro Cajé; 2010) Figura 15: teto de bar no Centro de São Paulo. (Foto: Sandro Cajé; 2010) Figura 16: pixação em reunião da SBPC. (Foto: Centro de Mídia Independente; 2008) Figura 17: o pintor Joan Miró observa um graffito. (Foto: Brassaï; s/data) Figura 18: imagem de um animal, semelhante a um desenho rupestre. (Foto: Brassaï; s/data) Figura 19: mural com diversos tipos de representação. (Foto: Brassaï; s/data) Figura 20: menino grafita uma parede. (Foto: Brassaï; s/data) Figura 21: graffiti representando Hitler. (Foto: Brassaï; s/data) Figura 22: graffiti em Paris. (Foto: Brassaï; s/data) Figura 23: “La bouche en croisant” (Jean Dubufet; 1948) Figura 24: “Senecio” (Paul Klee; 1922) Figura 25: “Variações sobre um tema musical 1”. (Antoni Tàpies; 1987) Figura 26: Picasso segura escultura. (Foto: Brassaï; 1939) Figura 27: Zwitschermaschine (Paul Klee; 1922) Figura 28: “Retrato de Henri Michaux” (Jean Dubufet; 1948) Figura 29: "Flora di Roccia" (Paul Klee; 1940) Figura 30: "O Fantasma de um Gênio" (Paul Klee; 1922) Figura 31: pichações nazistas em estabelecimentos judeus na Eslováquia (Holocaust Research Project) Figura 32: integrantes do grupo "Weisse Rose" (Foto: autor desconhecido; 1942) Figura 33: soldado italiano grafita em parede. (Bundesarchiv; 1944) Figura 34: sinagoga pichada com suásticas em Amsterdam (Holocaust Research Project) Figura 35: remoção das placas das ruas em Amsterdam (Holocaust Research Project) Figura 36: escombros de Dresden (Wlliam Vandivert; 1945) Figura 37: pichações na entrada do Reichstag (Wlliam Vandivert; 1945) Figura 38: pichação na bomba "Little Boy" (Foto: autor desconhecido; 1945) Figura 39: panorâmica de Berlin (Wlliam Vandivert; 1945) Figura 40: Potsdamer Platz, em 1930 (Foto: autoria desconhecida; 1930) Figura 41: Muro de Berlin em fotograma de “Asas do Desejo” (Fotografia: Henri Alekan; 1986) Figura 42: Potsdamer Platz em fotograma de “Asas do Desejo” (Fotografia: Henri Alekan; 1986) Figura 43: viaduto do chá (Foto: Sandro Cajé; 2010) Figura 44: viaduto do chá um minuto depois (Foto: Sandro Cajé; 2010) Figura 45: panorâmica de São Paulo vista do Parque Dom Pedro (Foto: Sandro Cajé; 2010) Figura 46: Seu Tozinho, criador de cães da raça fila (Foto: Sérgio Sade, 1977) Figura 47: publicidade mural em Santo André (Foto: Sandro Cajé; 2010) Figura 48: propaganda de Gilberto Kassab em muro de São Paulo
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