A cidade como suporte artístico: uma observação das obras de xadalu no centro histórico de Porto Alegre
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Tipo
Artigo
Classficação
Nível teórico
Data
2022
Título do Períodico
Travessias
ISSN
1982-5935
Página(s)/e-location
127-144
Idioma(s)
pt
Fonte
Fonte
Cascavel, PR
16
1
jan./abr.
16
1
jan./abr.
Coleções
Resumo
Este trabalho busca compreender como o artista Xadalu utiliza a rua como suporte artístico ao levar suas obras, que representam povos originários, para o Centro Histórico de Porto Alegre, capital do Rio Grande do Sul. As obras do artista são fixadas em diversos elementos urbanos. São usados, principalmente, o sticker e o lambe. Inicialmente, é apresentado breve resumo da trajetória de Dione Martins da Luz, nome de registro de Xadalu. Esta etapa da pesquisa tem como consultas fundamentais o livro “XADALU: Movimento Urbano” (ZIMOVSKI; JONER; MARTINS, 2017) e artigo de André Venzon (2018). Em seguida, busca-se compreender como a Cidade apresenta-se e sugere possibilidades enquanto suporte artístico. Para tal, são estudados autores como Raquel Rolnik (1995), Lucrécia Ferrara (2018), Henri-Pierre Jeudy (2005) e Wagner Barja (2011). A metodologia adotada considera que este artigo pode ser definido como uma pesquisa baseada em arte (PBA), o que o torna facilmente adequado à cartografia (DIEDERICHSEN, 2019). Inicia-se com reflexões da cartografia sentimental de Suely Rolnik (2011), tendo em vista a relação afetiva com a pesquisa, e escolhe-se o método cartográfico de Walter Benjamin (1984), a partir de Rita Veloso (2018), que aproxima as constelações benjaminianas do pensamento sobre a Cidade e o urbano. Por fim, são apresentados os registros fotográficos de dois dias distintos pelo centro de Porto Alegre. A partir dessas imagens, é possível analisar a rua como suporte artístico para as obras de Xadalu, que produz a reterritorialização do indígena no espaço urbano através da demarcação de territórios pela arte urbana.
This article aims to understand how the artist Xadalu uses the street as an artistic support when taking his works, which represent native peoples, to the Historic Downtown of Porto Alegre, capital of Rio Grande do Sul/BR. The artist's pieces are fixed in various urban elements. The sticker and the street poster are mainly used. Initially, a brief summary of the trajectory of Dione Martins da Luz, birth name of Xadalu, is presented. This stage of the research has as fundamental consultations the book “XADALU: Movimento Urbano” (ZIMOVSKI; JONER; MARTINS, 2017) and the article by André Venzon (2018). Then, we seek to understand how the City presents itself and suggests possibilities as an artistic support. To this end, authors such as Rolnik (1995), Ferrara (2018), Jeudy (2005) and Barja (2011) are studied. The methodology adopted considers that this article can be defined as an art-based research (PBA), which makes it easily suitable for cartography (DIEDERICHSEN, 2019). It begins with reflections on the sentimental cartography of Suely Rolnik (2011), in view of the affective relationship with the research, and the cartographic method of Walter Benjamin (1984) is chosen, based on Rita Veloso (2018), which approaches the benjaminian constellations of thought about the City and the urban. Finally, the photographic records of two different days in Porto Alegre’s downtown are presented. From these images, it is possible to analyze the street as an artistic support for the works of Xadalu, which produces the reterritorialization of the brazilian native peoples in the urban space based on the demarcation of territories through urban art.
This article aims to understand how the artist Xadalu uses the street as an artistic support when taking his works, which represent native peoples, to the Historic Downtown of Porto Alegre, capital of Rio Grande do Sul/BR. The artist's pieces are fixed in various urban elements. The sticker and the street poster are mainly used. Initially, a brief summary of the trajectory of Dione Martins da Luz, birth name of Xadalu, is presented. This stage of the research has as fundamental consultations the book “XADALU: Movimento Urbano” (ZIMOVSKI; JONER; MARTINS, 2017) and the article by André Venzon (2018). Then, we seek to understand how the City presents itself and suggests possibilities as an artistic support. To this end, authors such as Rolnik (1995), Ferrara (2018), Jeudy (2005) and Barja (2011) are studied. The methodology adopted considers that this article can be defined as an art-based research (PBA), which makes it easily suitable for cartography (DIEDERICHSEN, 2019). It begins with reflections on the sentimental cartography of Suely Rolnik (2011), in view of the affective relationship with the research, and the cartographic method of Walter Benjamin (1984) is chosen, based on Rita Veloso (2018), which approaches the benjaminian constellations of thought about the City and the urban. Finally, the photographic records of two different days in Porto Alegre’s downtown are presented. From these images, it is possible to analyze the street as an artistic support for the works of Xadalu, which produces the reterritorialization of the brazilian native peoples in the urban space based on the demarcation of territories through urban art.
Descrição
Palavras-chave
Arte urbana, Cidade, Xadalu, Constelações, Urban art, City, Xadalu, Constellations
Citação
ENDRES, Gisele de Azevedo; CRUZ, Luana Silva da; KERR, Michael Abrantes. A cidade como suporte artístico: uma observação das obras de xadalu no centro histórico de Porto Alegre. Travessias, Cascavel, PR, v. 16, n. 1, p. 127-144, jan/abr. 2022. https://doi.org/10.48075/rt.v16i1.28530. Disponível em: https://e-revista.unioeste.br/index.php/travessias/article/view/28530. Acesso em: 2022-08-31