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Publication
Dos murais do século XX aos murais contemporâneos: um diálogo sobre o poder político do muralismo
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Advisor(s)
Abstract(s)
Esta pesquisa tem como objeto de estudo o ressurgimento e a difusão da Street Art, especificamente do murais, após um período histórico dominado estética e politicamente pela rejeição da arte figurativa. Demonstraremos que este movimento retomou o debate sobre as relações entre a arte e ativismo. Demonstraremos também que, tal como ocorreu no passado, esforços foram mobilizados para institucionalizar a Street Art, resultando, em muitos dos casos, no esvaziamento de seu significado original como voz dos marginalizados. Para ilustrar o processo histórico marcado pela intervenção política na produção e receção artística no século XX, estudaremos os movimentos artísticos conhecidos como Muralismo, Realismo Social e Expressionismo Abstrato. Discutiremos, através deles, a dinâmica e as contradições históricas que influenciaram o surgimento e a difusão de cada movimento. Analisaremos, especialmente, o ressurgimento do muralismo como instrumento para justiça social no século XXI. Nosso objetivo é aprofundar a discussão sobre a função da arte no que diz respeito a sua instrumentalização pelo Estado, pelo capital privado e como “arma” para a realização de desiderato da justiça social. Dividimos nossa pesquisa em três áreas: O muralismo e a arte engajada que gerou o Realismo Social nas décadas de 1920, 1930 e 1940; o surgimento ou a criação da primeira escola de arte americana a ganhar reconhecimento internacional e sua relação com as políticas governamentais durante a Guerra Fria; e, finalmente, o aparecimento da Street Art nos anos 60 como movimento de contracultura e seus significados, desdobramentos e implicações político-sociais atuais através da análise de projetos como o Wynwood Walls, Soho, Porto Maravilha e Mending Walls.
This research focuses on the resurgence and diffusion of Street Art, specifically murals, following a historical period aesthetically and politically dominated by the rejection of figurative art. We will demonstrate that this movement has reignited the debate on the relationship between art and activism. We will also show that, as in the past, efforts have been made to institutionalize Street Art, which in many cases has led to the depletion of its original meaning as a voice for the marginalized. To illustrate the historical process marked by political intervention in the production and reception of art in the 20th century, we will study the artistic movements known as Muralism, Social Realism, and Abstract Expressionism. Through these movements, we will discuss the dynamics and historical contradictions that influenced the emergence and diffusion of each movement. We will particularly analyze the resurgence of muralism as a tool for social justice in the 21st century. Our goal is to deepen the discussion on the role of art in relation to its instrumentalization by the state, private capital, and as a "weapon" for achieving the aims of social justice. We have divided our research into three areas: Muralism and the engaged art that gave rise to Social Realism in the 1920s, 1930s, and 1940s; the emergence or creation of the first American art school to gain international recognition and its relationship with government policies during the Cold War; and finally, the rise of Street Art in the 1960s as a countercultural movement and its meanings, developments, and current socio-political implications, through the analysis of projects such as Wynwood Walls, Soho, Porto Maravilha, and Mending Walls.
This research focuses on the resurgence and diffusion of Street Art, specifically murals, following a historical period aesthetically and politically dominated by the rejection of figurative art. We will demonstrate that this movement has reignited the debate on the relationship between art and activism. We will also show that, as in the past, efforts have been made to institutionalize Street Art, which in many cases has led to the depletion of its original meaning as a voice for the marginalized. To illustrate the historical process marked by political intervention in the production and reception of art in the 20th century, we will study the artistic movements known as Muralism, Social Realism, and Abstract Expressionism. Through these movements, we will discuss the dynamics and historical contradictions that influenced the emergence and diffusion of each movement. We will particularly analyze the resurgence of muralism as a tool for social justice in the 21st century. Our goal is to deepen the discussion on the role of art in relation to its instrumentalization by the state, private capital, and as a "weapon" for achieving the aims of social justice. We have divided our research into three areas: Muralism and the engaged art that gave rise to Social Realism in the 1920s, 1930s, and 1940s; the emergence or creation of the first American art school to gain international recognition and its relationship with government policies during the Cold War; and finally, the rise of Street Art in the 1960s as a countercultural movement and its meanings, developments, and current socio-political implications, through the analysis of projects such as Wynwood Walls, Soho, Porto Maravilha, and Mending Walls.
Description
Tese de Doutoramento em História na especialização de Representações, Poderes e Práticas Culturais, apresentada à Universidade Aberta
Keywords
Ativismo Expressionismo abstrato Street art Gentrificação e muralismo geográfico África Activism Abstract expressionism Street art Gentrification Muralism