Práticas artísticas, setor sul, Goiânia-GO: apropriação e grafitagem na fisionomia urbana de um bairro-jardim

• Ano de defesa: 2018
• Autor(a) principal: Neves, Priscila Pires Corrêa
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em Arquitetura e Urbanismo
• Palavras-chave em Português: Setor Sul; Southern Sector; Bairro-jardim; Garden district; Arte urbana; Urban art; Graffiti; Apropriação; Appropriation; Requalificação; Requalification; Arquitetura; Grafite (Arte); Apropriação (Arte); Arquitetura e cidade; Espaço urbano - Goiânia (GO); CNPQ::CIENCIAS SOCIAIS APLICADAS
• Link de acesso: https://repositorio.ufu.br/handle/123456789/23320; http://dx.doi.org/10.14393/ufu.di.2018.1438

The graffiti phenomenon still seen by many as a marginal and transgressive practice has become an important tool in favor of the redevelopment of abandoned areas and forgotten by society and public power. Through the intervention the urban artist builds in the cold and empty atmosphere, sceneries full of sayings, imagery and colors. For those who pass by those sceneries lingers in the eye contact, and for the public space is the magnet that attracts curious and contemplators of the art and of the garden-neighborhood. New sociabilities were built over the years, in the Southern Sector in Goiânia-GO. Designed by the architect Armando de Godoy and Werner Sonnenberg in the light of Ebenezer Howard’s (1902) theories about the garden-city and the urban references of Radburn (1929) and Letchworth (1905) designed by architects Unwin and Parker of organic tracings, green areas, formed by culs-de-sac, the neighborhood represents the spirituality transfigured in the desire to belong and at the same time in the contempt of its inhabitants and the public power. Waiting for changes and giving uses for the internal gardens, society in a “do-ityourself” movement has built the new urban landscape of the garden-neighborhood. Urban expressions such as graffiti dialogue with walls, poles, public telephone boxes and green areas. From the process of space degradation, the urban phenomenon, besides requalifying the place, deciphers the history of the city, art, body and politics of society. Identity and subject, according to Sartre, is what is understood by a point of reference to have a characteristic or reference. This research investigates the historical process in the Southern Sector as well as the urban phenomenon of graffiti, symbol of a process of occupation, resistance and persistence of the new social behaviors in the city, as well as the paradox of the desire of the experiences and neglect of the green areas by the residents themselves. Graffiti still faces prejudice from society because it is, in its essence, a practice of contestation and marginality. Part of society still believes that graffiti is far from what is understood as art and the graffiti walls are only a transgressive action against the city. On the other hand, urban practice plays a fundamental role for the recovery of areas that are neglected by public authorities and local residents, transforming them into a tool for voluntary redevelopment, for the people that only passes by or those who only go there for sightseeing, a scene full of sayings, imagery and colors can be found. The society able to urbanize and requalify with small costs the area that for decades did not have the appropriate attention of the public power. From a well-planned idealization to an urban atmosphere taken by art with no intention of being one. This research investigates the historical and decaying process of the green areas of the Southern Sector. The corrosive reflection of the sector is the result of the serious process of gentrification that the capital has been suffering. The urban expression appropriates these urban voids, the unwanted areas and boosts the use of the internal gardens in the Southern Sector.