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Juliana Abramides Dos Santos.Pdf PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Juliana Abramides dos Santos Arte urbana no capitalismo em chamas: pixo e graffiti em ​ ​ explosão DOUTORADO EM SERVIÇO SOCIAL SÃO PAULO 2019 Juliana Abramides dos Santos DOUTORADO EM SERVIÇO SOCIAL Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Doutora em Serviço Social sob a orientação do Prof. Dr. Antônio Carlos Mazzeo. 2019 Autorizo exclusivamente para fins acadêmicos e científicos, a reprodução total ou parcial desta tese de doutorado por processos de fotocopiadoras ou eletrônicos. Assinatura: Data: E-mail: Ficha Catalográfica dos SANTOS, JULIANA Abramides Arte urbana no capitalismo em chamas: pixo e graffiti em explosão / JULIANA Abramides dos SANTOS. -- São Paulo: [s.n.], 2019. 283p. il. ; cm. Orientador: Antônio Carlos Mazzeo. Co-Orientador: Kevin B. Anderson. Tese (Doutorado em Serviço Social)-- Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Serviço Social, 2019. 1. Arte Urbana. 2. Capitalismo Contemporâneo. 3. Pixo. 4. Graffiti. I. Mazzeo, Antônio Carlos. II. Pontifícia Universidade Católica de São Paulo, Programa de Estudos Pós-Graduados em Serviço Social. III. Título.I. Mazzeo, Antônio Carlos. II. Anderson, Kevin B., co-orient. IV. Título. Banca Examinadora ------------------------------------- ------------------------------------- ------------------------------------- ------------------------------------- ------------------------------------- Aos escritores/as e desenhistas do fluxo de imagens urbanas. O presente trabalho foi realizado com apoio do Conselho Nacional de ​ Desenvolvimento Científico e Tecnológico (CNPq) - Número do Processo- ​ 145851/2015-0. This study was financed in part by the Conselho Nacional de Desenvolvimento ​ Científico e Tecnológico (CNPq) - Finance Code 001-145851/2015-0. ​ Esta tese de doutorado jamais poderia ser escrita sem o contato e apoio de inúmeras parcerias. A todos os pixadores/as e grafiteiros/as e especialmente a/os entrevistados/as. Aos meus pais, uns anjos. Veja bem: Maria e José. Vocês são demais. Meus correspondentes internacionais, enviaram imagens para compor o trabalho, direto da Itália e Portugal. À minha amiga de outras vidas, mesmo. Fernanda Castanho, uma empatia e generosidade de outro mundo. Fernanda me auxiliou com o tratamento, dicas e catálogo de imagens. Querida amiga Samara Xavier, amora, chegamos ao fim do ciclo, grata pela força, sem você não venceria os impasses burocráticos. Lia, grata pelos passeios e momentos de descontração paras equilibrar o batidão intelectual. André Juarez obrigada pela força sempre e pelas fotos do México. Ao Julio Santos Rocha, meu companheiro, melhor amigo que tenta aguentar esse furacão dois mil e faz o que pode para estar presente e me apoiar; esteve comigo em parte da pesquisa de imagens pelas regiões de SP e nos momentos finais da impressão e entrega, enquanto eu assinava os papéis ele coordenava a facção de exemplares. Às inspiradoras professoras Dras. Carla Cristina Garcia, Maria Lúcia Silva Barroco, Cristina Maria Brites, Maria Lúcia Martinelli, Maria Beatriz C. Abramides e Jeanne Marie Gagnebin. Aos meus orientadores Antônio Carlos Mazzeo e Kevin B. Anderson. Arte urbana no capitalismo em chamas: pixo e graffiti em explosão ​ ​ Juliana Abramides dos Santos No século XXI, a arte mais difundida não está sendo produzida pelos grupos elitistas, burgueses e aristocráticos, mas tem sido criada por jovens e adultos que proclamam identidades territoriais enquanto fazem inscrições grafitadas e pixadas. A principal vertente plástica no mundo, hoje, é a estética da periferia e se manifesta de forma diferenciada como expressão de resistências urbana, artística e cultural ao capitalismo em ​ chamas. Palavras-Chave: arte urbana, estética contemporânea, capitalismo em chamas, pixo ​ ​ e graffiti. Capitalism on fire: pixo and graffiti in explosion Juliana Abramides dos Santos In the 21st century, the most widespread art is not being produced by the great art centers and elitist, bourgeois and aristocratic groups but has been created by young people and adults who proclaim territorial identities while marking visible surfaces. The main plastic aspect in the world today is the aesthetics of the periphery and manifests itself differently as an expression of urban, artistic and cultural resistances to the burning capitalism. Key-words: urban art, contemporary aesthetics, capitalism on fire, pixo and ​ ​ graffiti. Apresentação…………….........................………….………………….……………….………13 Introdução - Estética e Contemporaneidade: breves notas para uma discussão ……......................………….…......….......21 Capítulo I - As paredes e os muros falam.................….......……39 Caverna.....……...................………….….…...................………….…40 Tumba.....……...................………….….…...................…………….43 Inscriptiones: Graffiti e Pix.....……...................………….……..46 ​ ​ ​ Graffiti Medieval.....……...................………….……………………….49 ​ Capela Sistina.....……...................…………………………………...….….51 Muralismo Mexicano.....……...................………….……………..53 Brigadas Muralistas no Chile.....……...................….……..57 Muro de Berlim.....……....................................………….……..59 Pichos e Cartazes em Paris, 1968.....……...................……….61 Movimento Hip-Hop.....……...................…..................……….65 Graffiti - Philadelphia e New York.....……...................……..71 ​ ​ ​ ​ ​ Origens da Arte Urbana - São Paulo ....................….…..80 Praça Tahrir, Cairo/Egito, 2011....……...................…………..91 Capítulo II - Marcas Urbanas: São Paulo, Los Angeles e São Francisco..97 Pixo.....……...................………….….…...................………….………….99 Arte Urbana, Hoje..............………….….…...................…………123 Ocupação da Mulher na Cidade…...................…………129 Graffiti e Mural na Califórnia………………………..…………...135 Graffiti em Los Angeles………………………………………...……...136 Tags à beira do Rio Los Angeles………………………………...137 ​ Great Wall.....……...................………….….…...................………..141 Art District.....……...................…………………………………………..….143 Venice Beach.....……...................………….…………………………...144 Movimento Chicano - São Francisco…........................145 Capítulo III - O mundo em chamas: o capitalismo contemporâneo…...148 Burgos: Cidades Muradas.……...................………….….150 Regulação do Estado Neoliberal.……..............……..151 Moderno e Pós-moderno.……...................………….….160 O mundo está em ruínas? .……...................………….….169 `Capítulo IV - Arte no contexto da desigualdade Urbana.….…..........174 Desigualdade na ocupação Urbana..........………….…178 Ressignificação Territorial em SP..........………….…183 Precariado........………….…........………….…........………….…191 Realidade ou ilusão - Los Angeles........………........………….…195 Capítulo V: As origens históricas e os destinos políticos na arte urbana…..204 Capital Quebrado?…......................................………….…209 O não lugar…........................................................………….…213 ​ Brazil - Colônia?…........…………………………………...……….…216 ​ Imperialismo e Racismo…........………………...….…….…220 Desigualdade Global: a fome.....………….………...……225 Hibernação e a depressão.....…………...…...….…….…230 Armamento Visual Antiarte………………………….….….235 Observações e Conclusões Aproximativas.................................239 Glossário Urbano………..........................................................................................243 Referências Bibliográficas.................................................................................248 O aparecimento do tema aqui abraçado inicia-se numa tentativa de despedida da cidade onde nasci e vivi por toda minha vida. O desenrolar de uma tese é processo complexo, cheio de camadas e altos e baixos. Atividade solitária, escrever envolve a imersão na solitude, ou na solidão; por vezes, plenitude; em outros momentos, o mais completo vazio e desgaste, cansaços físico e emocional; o esvaziar de um corpo que somente se energiza depois que tudo finda. Imagino que sombras me habitam, e que o concreto paira nos céus e as delineia. Os elos de mim, ao se encontrarem, me tornam inteira. Como posso entender os elos rizomáticos que me levam a mediar a escrita? O presente trabalho acompanha a riqueza das manifestações culturais urbanas, em busca de capturar em meio às fachadas texturizadas, componentes políticos da urbe, expressos em graffitis, pixos e estêncil. Percorre ilustrativamente as expressões escritas e imagéticas expostas em muros, edifícios, terrenos baldios, casas abandonadas e em outros veículos e bens públicos, como formas de ressignificação do espaço urbano. São Paulo, Nova York, Los Angeles, São Francisco, Berlim e Lisboa são importantes centros culturais modernos, de composição urbana complexa, lugares por onde artistas urbanos desenham e escrevem o fluxo citadino. Pela profusão enorme de imagens e pessoas que percorrem o chão e as alturas, por onde nada se desvenda facilmente e nada é totalmente impenetrável, se desvela a temática desta tese. Estas formas evidenciam um conjunto de manifestações da questão social constitutivas do reflexo da desigualdade social contemporânea. Cabe-nos expor as formas simbólicas e as expressões contestatórias objetivadas nas ruas que caracterizam a tez de decomposição social da sociedade capitalista e que apontam para as necessárias transformações sociais, econômicas, políticas e culturais a serem conquistadas. As
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