Graffiti or “getting–up”:

• Autor(a) principal: Cardoso, Maria da Luz Nolasco
• Data de Publicação: 2017
• Tipo de documento: Artigo
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.25765/sauc.v3i2.83

Leitemotive - Aveiro, a Portuguese coastal city, has these marks of our contemporaneity idealized under an apex of thought and artistic graffiti gestures that cover walls, tunnels, viaducts, ceilings, arches, carriages and clusters dispersed and that carry colors and “signs” difficult to decipher, but, graffiti is also the reflection of the active life of our city. It is important to clarify the connections between public art and the artistic dimensions of graffiti in the current era of globalization. What is the discourse of public art in cyberspace and virtual territory, understood as an act resulting from digital manipulation, especially in Web 2.0. Thus, aiming to interpret urban artistic alterities, graffiti as a marginal art in relation to its forms of artistic production, even more alternating and alternative (Canclini, 2005 Cit. By Andrade, 2010: 50). It is our proposal to cross the action and the explosion of graffiti in the media and social networks. Objectively, we seek to know what has changed in graffiti with the activity generated on the Web and what the results of this kinetic visual and imaginary universe that the Web allows. This online and digital platform has made graffiti come out of its territorial isolation, moving graffiti - as an ephemeral and artistic manifestation - from a site-specific attitude, in style and painting, to a more competitive and revealing attitude towards a new statute, the dematerialization of the image, its preservation and virtual dissemination.