Em nome do pixo : a experiência social e estética do pichador e artista Djan Ivson

• Autor(a) principal: Silva, Gustavo Lassala
• Data de Publicação: 2014
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
• Texto Completo: http://dspace.mackenzie.br/handle/10899/25833
• topic: pixação; pichação; pixador; arte; biografia; art; biography; CNPQ::CIENCIAS SOCIAIS APLICADAS::DESENHO INDUSTRIAL::PROGRAMACAO VISUAL

Type of illegal urban intervention native of Sao Paulo, pixação is perpetrated by young people in outlying areas, which – in search of notoriety – they risk this modality to climb buildings to stamp their mark in places of high visibility. In its historical development, the practice has undergone a partial acceptance process in the arts district, resulting in social and aesthetic legitimacy of some of his characters. One is Djan Ivson Silva, selected as a subject focus of this research. With unusual personality, he holds a significant collection of documents and a great knowledge about the history of pixação. Djan was leading the groups in which he served and primarily responsible for bringing his practice to a field traditionally occupied by the intellectual elites. Defined by the media as an “artist / pixador” personal situation Djan expressed Ivson the ambiguity of the current character of this cultural manifestation that lies between the social and artistic phenomenon. This thesis – divided into three chapters, each subdivided between the description of the character’s personal history and the interpretation of the transformations of pixação – articulates the communicating vessels between the individual and collective levels, and gives a glimpse step by step how a young offender engages the periphery to the discussion of contemporary art without losing ties with their social base.