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Los estudios sobre performance han proliferado de manera excepcional a lo largo de las últimas décadas alentados por el “giro corporal” de las ciencias sociales. A las investigaciones antropológicas y sociológicas se le suma la llamada de atención que desde la teoría del arte se desarrolla a razón de las correspondencias y antagonismos de la acción creativa en los espacios públicos. En esta estela discursiva se imbrican experiencias que se soportan a través de lo corporal, resignificándolo y operando como un nuevo modo de autorreconomiento individual y colectivo. Este artículo trata de proponer una mirada reflexiva hacia el espectro de éstos estudios a través de las experiencias que el artista Nel Amaro ha desarrollado a fin de visibilizar y señalizar cómo las prácticas estéticas intervienen en lo común, en los modos de hacer y habitar.

La polémica que reviste actualmente al tema del graffiti incide en no percibir con plenitud y detalle la complejidad social y cultural que contiene. Su consideración como un subproducto y una tara urbana no ha impedido que se hable sobre él, pero con frecuencia ha influido en que se plantee de un modo inadecuado. Incluso, los intentos por reconsiderar su valía cultural incurren también en generar una imagen excesivamente romántica y situar el debate entre la falacia del graffiti como arte o como vandalismo. No obstante, primero conviene, para comprender lo que representa, observar su dinámica histórica y su estrecha relación con la evolución de la ciudad como ente social.

La performance poética que Batato Barea realizó en la presentación de la galería del Rojas, en 1989, para inaugurar la muestra de Liliana Maresca Lo que el viento se llevó colocó en primer plano aquello que Mladen Dolar (2007) denominó como “política de la voz”. El uso paródico que hizo el clown-travesti-literario respecto de la historia de la declamación de poesía estableció diferentes modos de fuga de aquella corporalidad rígida, proveniente de los procesos de homogeneización de la lengua de comienzos del siglo XX y reiterada como emblema del disciplinamiento de los cuerpos durante el período dictatorial. El poema recitado, -“Sombra de conchas” de Alejandro Urdapilleta- y la performance de Batato Barea hacían entrar, a través del repertorio gestual histórico de la declamación de poesía, nuevos posicionamientos sobre la subjetividad, teniendo como horizonte la puesta en primer plano de la teatralidad en distintas artes durante la posdictadura argentina. Paralelamente, junto a la escucha de esta voz paródica, puede rastrearse, en las performances del clown y del grupo Las coperas, un registro ambivalente, que absorbía los tonos imaginarios que la literatura ya había volcado sobre sí para ese entonces.

Una biblioteca con libros de historia, ilustraciones, colecciones de VHS, cartucheras de DVDs, compilaciones periodísticas, testimonios, revistas literarias, fotografías, grabaciones sonoras, filmes. Un exhibidor de objetos, disfraces, instrumentos musicales, muñecos. Solicitadas en diarios, invitaciones a eventos, reconstrucciones de espacios, mapas de ciudades, circuitos virtuales en 3D. La imaginación es capciosa, ya que aun cuando efectivamente la reproductibilidad técnica hubiera podido hacer una copia y un registro absoluto, la performance tampoco estaría allí. Su ausencia se distingue de la ruina; el acontecimiento no regresa, no simplemente porque haya pasado el tiempo, sino porque no estaba hech para perdurar.

The new digital and electronic media force us to redefine the contrasting notions of orality and literacy, which now move into cyberespace. These technologies are memory machines which help to preserve knowledge, and increase its productivity by means of multimedia codes capable of generating manipulable works which could not be accomplished by the classic media. Those works are often defined by their open and fragmentary nature, allowing interactive and open access, and teamwork in different locations. This article concentrates on digital poetry and its movement back to orality, subverting systematic, rule-bound, linear and ordered spaces in writing.

INTRODUÇÃO / 01 1° Capítulo: Percursos Urbanos na Arte de Rua / 06 1.1 O Berço da Arte de Rua / 07 1.2 Filhos dos Guetos / 12 1.3 Passos para a Fama / 16 1.4 Guerra de Estilos / 18 1.5 A Expansão nas Mídias / 24 1.6 O Mercado do Graffiti / 27 2° Capítulo: 2 Ato Transgressor: O Artista na Rua / 32 2.1 O Risco Vale a Pena / 33 2.2 “Declare o Seu Amor à Cidade, São Paulo 450 anos” / 34 2.3 Caminhos na Contramão / 38 2.4 XARPI, Profissão Perigo / 42 2.5 A Pixação pela Porta da Frente / 50 2.6 Escrita Urbana / 57 3° Capítulo: 3 Circuitos Locais / 60 3.1 Graffiti Made in Brasil / 61 3.1.1 Artistas do Graffiti / 64 3.2. O Graffiti com Sotaque Carioca / 70 3.2.1. Graffiti de Periferia / 75 3.3. Antídoto Contra a Pixação / 77 CONSIDERAÇÕES FINAIS / 84 APÊNDICES / 90 Circuitos Locais - Galeria de Fotos / 91 REFERÊNCIAS BIBLIOGRÁFICAS / 102 *** Resumo Este estudo tem como objetivo contribuir para a compreensão da origem das intervençõesurbanas através do grafite contemporâneo, sua expansão no Brasil e de que forma aporta aocircuito das instituições oficiais da arte. Orientamos o escopo de nossa pesquisa no sentido deacompanhar a expansão do fenômeno do grafite como arte de rua no Brasil desde anos 1970 até o presente momento; o processo de crescimento dos dois vieses do grafite (pichação egrafite) nas cidades de São Paulo e Rio de Janeiro; de que forma o grafite se consagra comoum novo gênero artístico junto ao circuito institucional; e como o ensino do grafite vem sendovinculado a projetos sociais. Partindo desse recorte recorremos à análise da origem desse movimento nos Estados Unidos; a expansão da pichação nas grandes cidades brasileiras apartir de um contexto urbano, e o grafite como uma expressão juvenil que se impõe nessecenário; assim como aspectos e características da pichação em São Paulo e os processos demidiatização e hibridação cultural. Partindo de uma pesquisa documental, bibliográfica e decampo, buscou-se verificar as diferenças e contrastes entre a pichação e o grafite; quais osmétodos de intervenção, técnicas, materiais e estilos; a análise histórica dos artistas pioneiros no grafite na década de 1970 em São Paulo; assim como, o início do grafite no Rio de Janeironos anos 1980. Por fim, procurou-se entender o propósito de iniciativas que visam a oferta decursos e oficinas de grafite em projetos destinados aos jovens de comunidades de baixa rendano Estado do Rio de Janeiro. Abstract This study aims at contributing to an understanding of the origin of the urbaninterventions through the contemporary graffiti, its development in Brazil, and how itcontributes to the circuit of the official institutions of Art. We have decided to carry out ourresearch in order to monitor the expansion of the graffiti phenomenon as a street art in Brazilfrom the 1970s up to the present time, the process of the growth of the two types of graffiti(writings and picture graffiti) in São Paulo and in Rio de Janeiro; how graffiti has establisheditself as a new artistic genre within the institutional circuit; and how the teaching of graffitihas been connected to social projects. Considering the information collected, we have done ananalysis of the origin of this movement in the United States; the expansion of the graffiti inbig Brazilian cities from an urban context, and the graffiti as a youth expression which hasimposed itself in this scenario; as well as aspects of the writings ( pichação)in São Paulo, andthe processes of mediatization and cultural hybridization. From a documental, bibliographicaland field research, we have attempted to point out the differences and contrasts betweenwritings and picture graffiti; which were the intervention methods, the techniques, thematerials, the styles; the historical analysis of the pioneer artists in the 1970s in São Paulo; aswell as the beginning of graffiti in Rio de Janeiro in the 1980s. Finally, we have tried tounderstand the purpose of the initiatives which aim at offering courses and workshops aboutgraffiti in projects for young people from low-income communities in the state of Rio deJaneiro.

He is the outlaw who has been dragged reluctantly, but relentlessly, ever closer to the art establishment. He is the artist who mocked museums and art galleries alike. Yet he chose to mount his first major exhibition in one of the crustiest museums imaginable – amidst the stuffed animals and the antique pianos of Bristol City Museum and Art Gallery – and made a huge success of it. When, in 2010, Time magazine selected him for its list of 100 most influential people in the world, along with the likes of Barack Obama, Apple’s Steve Jobs and Lady Gaga, he supplied a picture of himself with a paper bag (recyclable of course) over his head. For he is an artist unique in the twenty-first century: famous but unknown. He claims he needs this anonymity to protect himself from the forces of law and order. This was true in the past, but at this stage in his career most cities would welcome a new Banksy on the wall. The argument would be how best to preserve it, not how to lock up its creator. This book does not attempt to unmask him. Tales of scuttling around his home town of Bristol trying to convince childhood friends to reveal his identity would not make for very interesting reading. More important is the fact that fans, followers and even those who are just vaguely aware he exists, don’t want to know who he is. The New Statesman critic who derides it all as ‘ostentatious anonymity’ is very much in the minority. We all enjoy the mystery of the man who has somehow managed to get himself described as ‘Robin Hood’ even though he is hardly robbing the rich to feed the poor. What this book does do, however, is to follow his upward spiral from the outlaw – just one of many – spraying the walls of Bristol in the 1990s to the artist whose work commands hundreds of thousands of pounds in the auction houses of Britain and America. The outsider who has become an insider.

La Realtà Aumentata è una nuova forma di comunicazione sempre più diffusa che permette di sovrapporre contenuti digitali, resi visibili attraverso la videocamera di dispositivi mobile come smartphone o tablet, al mondo reale. Il volume vuole essere uno strumento d'informazione per conoscere la nuova frontiera della comunicazione digitale basata sulla georeferenziazione e sui contenuti aumentati. Fino ad oggi, infatti, l'informazione stava altrove rispetto ai luoghi e ai tempi in cui effettivamente era necessaria. Con la nuova tecnologia dell'Augmented Reality, al contrario, è possibile mettere in atto strategie di comunicazione in grado di portare i contenuti giusti al momento e nel luogo opportuno. Nelle aree ormai più varie, dalla formazione alla sanità, dagli spazi commerciali ai beni culturali, si racconta attraverso le esperienze internazionali più significative come le nuove Realtà Aumentate stanno riscrivendo le modalità di ibridazione fra reale e virtuale.

Resumo A presente dissertação se desenvolve acerca de uma das formas de arte característica da paisagem urbana contemporânea, o graffiti1. O fenômeno analisado remete tanto ao registro do cotidiano urbano na Antiguidade, como à ação subversiva de grupos marginais na década de 1970, em Nova Iorque. Além de apresentar uma breve abordagem histórica, caracterizando o graffiti como uma arte da rua, que vem ocupando espaços oficiais de exposição, este estudo, baseado em pesquisa desenvolvida na cidade de Vitória, capital do Estado brasileiro do Espírito Santo, analisa a inserção do graffiti na paisagem do lugar, como um fenômeno urbano insurgente. O estudo reconhece, então, a amplitude crescente da difusão da estética inerente ao graffiti em ambientes e mídias diversos, optando, porém, por abordá-lo em seu meio original: o espaço urbano, com destaque para seu aspecto transgressor. A pesquisa envolve identificação, classificação e análise das manifestações de graffiti estampadas no espaço urbano de Vitória a partir de percurso marcado por intensos fluxos cotidianos. O registro do graffiti por meio de levantamento cartográfico e fotográfico foi adotado como o principal suporte para analisar a inserção do fenômeno na cidade. Em caráter complementar, contribuíram para a compreensão da atividade artística em questão entrevistas realizadas com seus praticantes. O resultado do estudo reconhece no graffiti, entre outros aspectos, uma outra urbanidade que insurge a partir de um dos modos de vivenciar a cidade, deslocado das práticas oficiais urbanas, embora gradativamente cooptadas. Abstract This dissertation takes as its subject one of the most characteristic art forms on the contemporary urban landscape: graffiti. The topic in question deals as much with the depiction of daily urban life in the age of antiquity as the subversive actions of marginal groups in 1970s New York. Beyond presenting a brief historical overview, portraying graffiti as an art of the street which has come to occupy established exhibition spaces, this study, based on research carried out in Vitória, the capital city of the Brazilian state of Espírito Santo, analyses the placement of graffiti in the landscape of its locale, as an insurgent urban phenomenon. The study thus acknowledges the growing amplitude of the dissemination of the aesthetic inherent within graffiti in diverse platforms and mediums, opting however to explore it in its original environment: the urban space, with focus on its transgressive aspect. The research involves identification, classification and analysis of the manifestations of graffiti stamped upon the urban space of Vitória via a route marked by intense daily activity. The registering of graffiti by means of cartographic and photographical study was adopted as the principal support to analyse the presence of the phenomenon in the city. Complementing this, interviews carried out with graffiti artists further contribute to the comprehension of the artistic endeavour. The outcome of the study recognises in graffiti, amid other aspects, another urbanity which comes from one of the ways to experience the city, displaced from yet gradually integrated into official urban practices.

This book explores the themes of displacement, exile and migration in the work of the most important Argentine poets since the 1950s. The book outlines the poetry of key authors in the second half of the twentieth century as well as writing by younger poets at the turn of the century. It includes generous selections of the original poems with new translations into English by the author.

A medio camino entre el centro barroco de La Habana y las playas situadas al este de la ciudad que anteceden al esplendor de Varadero, la barriada de Alamar forma parte del municipio de La Habana del Este: una ciudad dentro de la ciudad, separada de La Habana Vieja por un túnel tras el cual empieza un mundo que el yuma (término despectivo del argot callejero que designa al turista o al extranjero) tiene pocas posibilidades de contemplar como no sea por la ventanilla de uno de esos taxis que recorren sin paradas el espacio comprendido entre el centro y la costa. Cien mil habitantes divididos en veinticinco barrios construidos entre los años setenta y la mitad de la década de los ochenta. Alamar es la antítesis de esa Habana Vieja disneyficada, con sus calles coloniales y su flujo ininterrumpido de turistas: un tiempo y un espacio dilata-dos, edificios racionalistas separados por unas fluidas arterias que conectan los diferentes barrios, espacios agrícolas, un río, vastas áreas militares en desuso, una decrépita y decadente fachada litoral cubierta de hormigón desde la que se vislum-bran las diferentes áreas y etapas de la zona. Una zona que es la plasmación física del diseño y del fracaso de la Utopía, una vasta Unité d'habitation reproducida a gran escala y en la actualidad deshaciéndose poco a poco por la falta de mantenimiento, infraestructuras, servicios comunitarios, comunicaciones y transporte. Una metáfora perfecta de las paradojas y singularidades de Cuba: la instalación abstracta del modelo socialista (y de su fracaso) en una realidad caribeña hecha de lentitud, relaciones y mestizaje. La expansión urbana de la capital cubana llegó a su culmen y al máximo de su decadencia en esta zona, construida por las Microbrigadas, unos grupos de hombres traídos por el gobierno para edificar uno de los proyectos de urbanización de viviendas sociales más imponentes del país. Un periodo constructivo que quedó interrumpido por la crisis econó-mica que siguió a la caída del Muro de Berlín y a la disolución de la URSS (Periodo especial').

First of all, PICHACAO; is not graffiti. It is something distinct that only happens in Brazil. What a subversion is to sign the city with your own made-up name, especially a city that seems not to be projected for you? Lights, Ca...

Este trabajo se propone señalar las prácticas de poesía ligadas a la performance y la teatralidad en la región del Río de la Plata durante los procesos de finalización de la dictadura y comienzos de la democracia, hacia finales del siglo XX. Menciona brevemente una historia del género y los problemas metodológicos que presenta la investigación. Desarrolla, además, la emergencia de formas de la teatralidad en las producciones artísticas y políticas de comienzos de 1980 en Argentina, período marcado por la transición democrática, para ubicar en este marco la producción del poeta y dramaturgo Emeterio Cerro.

During the twentieth century, two movements in Cuban art played a critical role in creating an expanded space for societal debate and cultural expression: the artistic avant-garde and the Afro-Cuban movement. Initially flourishing in the late 1920s and early 1930s, these collective efforts took on new forms in the changed environment after 1959. After the Revolution, conditions for cultural production changed with the official position that art should serve ideological functions, but both avant-garde and Afro-Cuban production continued, at the risk of conflict with the state. In the face of a restrictive state that sought to control such expressions, the Afro-Cuban movement and avant-garde art collectives developed along parallel, and sometimes intersecting, lines.

After centuries of symbolic and political oppression, Galicia has been recognized by the Spanish constitution as a historic nationality. However, despite a certain degree of political autonomy, Galician identity is threatened by increasing homogenization in the economic, social, cultural and linguistic fields. In the early 1990s the aesthetic movement Bravú constructed an aesthetic community, sustained by an ideological project, and with the aim to, on the one hand, prevent Galician culture from becoming folklore stuck in a time warp and, on the other hand, to validate Galician identity. The Bravú artists refused the historically inherited outsider position and contributed to a reinvention of Galician identity and of a political ideal within a cosmopolitan, internationalist framework and by reversing social stigmas through their works and performances.

Centred around Antonio Gramsci's concept of hegemony, this paper employs a critical globalisation theory framework to argue that the 1990s notion of ‘changing the world from below', understood as resistance to capitalist globalisation through a ‘transnational civil society', requires re-theorisation in the light of the contemporary developments in Our America. I make a methodological case for a neo-Gramscian approach to argue that ‘counter-hegemony', together with an adequate theorisation of the state and power, should be the preferred concept over the inherently apolitical and under-theorised ‘alter-globalisation'. Whilst the alter-globalisation movement's ideational and normative challenges to hegemony (captured in ex-British prime minister Thatcher's There-Is-No-Alternative-Doctrine, TINA) are undisputed, the transformation of the global geographies of power through local actors alone has remained illusory. Rather, the experience of the Bolivarian Alliance for the Peoples of Our America - Peoples' Trade Agreement (ALBA-PTA) strongly suggests that counter-hegemonic globalisation theory will have to consider the roles of both the ‘state-in-revolution' and the ‘transnational organised society'. This will be shown through the analysis and theorisation of the ALBA-PTA as a multi dimensional inter and transnational counter-hegemonic regionalisation and globalisation project that operates across a range of sectors and scales.

The concept of ‘resistance' has turned into a critical tool in different areas of political, philosophical and sociological thought. At the same time, the notion seems to be as productive as it is diffuse. ‘Resistance' is used in very specific contexts in scientific or technical disciplines, and with extreme flexibility in social and cultural studies. In the latter two areas, the concept is often used without prior reflection on its characteristics and limitations. In What is Philosophy?, Deleuze provides a possible framework for conceiving cultural and political practices of resistance as positions of force, when he defines contraction as ‘a contemplation that preserves the preceding in the following'. The purpose of this article is to understand political ecologism in its activist and poetical dimensions, in light of a Deleuzian interpretation of resistance.

Professionalization and political engagement are usually placed as incompatible in the case of journalism and the mainstream press, resulting in an identification of cultural resistance exclusively with alternative/amateur vehicles. I will use the concept of journalistic field as introduced by Pierre Bourdieu to review these assumptions and discuss a form of political resistance that acts in one's own area of knowledge, is not overtly political and whose effects are not immediately accountable for. Drawing examples from my research on two literary newspapers published in the 1950s in Brazil and Uruguay, this paper will focus on the implications of didacticism for literary criticism as a genre of newswriting. The analysis of these newspapers will lead to a reflection on two main issues: a) the conflict between the professionalization and democratization of literature; and b) the definition of resistance as necessarily an action that is against something. The article will reconsider education in journalism as a form of resistance, taking into account its risks of becoming political indoctrination and commercial manipulation, but emphasizing its potential as a way of expanding access to literature.

This article offers a pragmatic and relational analysis of the controversial heuristic of cultural resistance and presents some of the problems that affect the production and distribution of the poetic discourses of resistance and emancipation. To that end, it focuses on the incorporation of the historicity and the historic contingency of conflict as key elements of the subjectification constituted by the poem of resistance as “poem for the political”. It also explores the applicability of certain notions common to the contemporary critical tradition, as developed by scholars such as Badiou, Mouffe, Rancière, Bal and Žižek.