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Doctoral Thesis
DOI
https://doi.org/10.11606/T.27.2021.tde-26042022-114337
Document
Author
Full name
Patrícia Morales Bertucci
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2021
Supervisor
Committee
Martins, Marcos Aurélio Bulhões (President)
Martins, Ferdinando Crepalde
Rufinoni, Manoela Rossinetti
Araujo, Cristina Pereira de
Fabbrini, Ricardo Nascimento
Title in Portuguese
Origem e percurso: arte na intervenção e apropriação da cidade de São Paulo pelos grupos de arte independente a contrapelo da ditadura
Keywords in Portuguese
Apropriação do espaço
Arte de intervenção
Arte independente
Contracultura
Ditadura
Performance
Abstract in Portuguese
No final dos anos 1970, a arte de intervenção dos grupos artísticos independentes, em São Paulo, se apropriou de pontos da cidade com ações lúdicas e participativas, a contrapelo das intervenções militares, pautadas pelo funcional e pelo autoritarismo, que desconfiguraram o tecido urbano. Fizeram parte deste movimento os grupos Viajou Sem Passaporte, 3Nós3, DMagrela, GEXTU, Atelier Mães Janaina e Manga Rosa, com diferentes modalidades de ações performativas e intervenções visuais. Parto da hipótese de que esses grupos não só interviram na cidade, mas se apropriaram dela, pois os seus processos criativos levaram em conta o contexto espacial e a memória. Junto ao público, os artistas experienciaram o jogo e a festa na origem simbólica da cidade, a Praça da Sé, também em diferentes percursos, delimitados para instaurar outra ambiência urbana, mesmo em um momento de exceção política, em que as práticas democráticas haviam sido confiscadas pela ditadura. Defendo ainda que os grupos estavam dentro da abordagem das vanguardas contraculturais brasileiras, já que o seu modo de se comportar e de perceber a cidade eram uma recusa aos conservadores valores dos militares. Pautados pela ideia de alteridade, os independentes expandiram os limites do que era considerado como arte, em situações que transformaram alguns pontos da cidade em laboratórios criativos.
Title in English
Origin and walking route: art of intervention and appropriation of the city of São Paulo by independent art groups against the dictatorship.
Keywords in English
Appropriation of the Space
Counterculture
Dictatorship
Independent art
Interventionist art
Performance
Abstract in English
At the end of the 1970s, the intervention art of independent artistic groups in São Paulo appropriated points in the city with ludic and participatory actions, in contrast to military interventions, guided by functionalism and authoritarianism, which disfigured the urban fabric. The groups Viajou Sem Passaporte, 3Nós3, DMagrela, GEXTU, Atelier Mães Janaina and Manga Rosa were part of this movement, with different types of performative actions and visual interventions. I start from the hypothesis that these groups not only intervened in the city, but appropriated themselves, as their creative processes took into account the spatial context and memory. Together with the public, the artists experienced the game and the party in the symbolic origin of the city, Praça da Sé, also on different routes, delimited by walking to establish another urban temporality and build a free subjectivity, even in a moment of political exception, in that democratic practices had been confiscated by the dictatorship. I also argue that the groups were within the approach of the Brazilian countercultural vanguards, since their way of behaving and perceiving the city was a refusal to the conservative military values. Guided by the idea of alterity, the independents expanded the limits of what was considered art, in situations that transformed some parts of the city into creative laboratories.
 
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Publishing Date
2022-04-26
 
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