The city as a support: graffiti on the threshold between criminalization and consecration
The recognition of graffiti as an artistic manifestation is recent and goes back to the concepts of public art and urban art. There are many challenges faced by this artistic manifestation that is on the threshold of consecration and infraction, public and private, marginalization and social and ins...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2023 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Pós (Universidade Federal de Minas Gerais. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:periodicos.ufmg.br:article/45484 |
| Acceso en línea: | https://periodicos.ufmg.br/index.php/revistapos/article/view/45484 |
| Access Level: | acceso abierto |
| Palabra clave: | arte urbana grafite criminalização CURA arte urbano graffiti criminalización urban art criminalization |
| Sumario: | The recognition of graffiti as an artistic manifestation is recent and goes back to the concepts of public art and urban art. There are many challenges faced by this artistic manifestation that is on the threshold of consecration and infraction, public and private, marginalization and social and institutional legitimation. Reflecting on this, this paper presents as a case study two graffiti works that were the subject of controversial lawsuits, Híbrida Ancestral – Brazilian Guardiã, by the artist Criola, and Deus é Mãe, of the artist Robinho Santana, both part of the Circuito Urbano de Arte (CURA) of Belo Horizonte and examples of the social, political and legal complexity that involves graffiti in Brazil. |
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