WHERE'S BANKSY?
Autor(a) principal: | |
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Data de Publicação: | 2008 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Travessias (Cascavel. Online) |
Texto Completo: | https://e-revista.unioeste.br/index.php/travessias/article/view/2866 |
Resumo: | Banksy is a graffiti and stencils authorial code name, a tag looming to the walls, to the façades, to the streets, to the squares of England since the early 90's, spreading for so many other urban spaces around the world (from Europe to Latin America, from USA to Palestine), a transit, an attitude already typical of the new British street artists – joint tribe. Kindred signature, in possible analogy, to the term bank (money, profit, consume, also cliff, support wall, obstacle, resistance). By his efficient and effective anonymity it's conjectured to hide a 34-year-old English man, Robert Banks, from Bristol. Another possibility would be the pseudonym sheltering a group of artists making an effort at the exact same plastic and conceptual reasoning (cheerful and philosophical, reflexive of the Real and the Now). Besides the street's public spaces, Banksy also operates in original interference and appropriation of other public spaces: amusement parks (like Disneyland), zoos, museums specially; in "art-intruders" which inserts his works ironically defrauding not only the surveillance, but even more the access, the selective process and the authorization. This essay probe to find him, creating – concerning to the ideology and the humor of his anonymity – an investigation, a search not for the person or the character, but for what depicts; for his art itinerary, for what it cause and impels, building a small landscape of our days and tacking a dialogue, maybe a dialectic, starting from the own sly artist words – activity target, invisible target. |
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WHERE'S BANKSY?ONDE ESTÁ BANKSY?ArteUrbanidadeGrafiteAnonimatoPolítica. Banksy is a graffiti and stencils authorial code name, a tag looming to the walls, to the façades, to the streets, to the squares of England since the early 90's, spreading for so many other urban spaces around the world (from Europe to Latin America, from USA to Palestine), a transit, an attitude already typical of the new British street artists – joint tribe. Kindred signature, in possible analogy, to the term bank (money, profit, consume, also cliff, support wall, obstacle, resistance). By his efficient and effective anonymity it's conjectured to hide a 34-year-old English man, Robert Banks, from Bristol. Another possibility would be the pseudonym sheltering a group of artists making an effort at the exact same plastic and conceptual reasoning (cheerful and philosophical, reflexive of the Real and the Now). Besides the street's public spaces, Banksy also operates in original interference and appropriation of other public spaces: amusement parks (like Disneyland), zoos, museums specially; in "art-intruders" which inserts his works ironically defrauding not only the surveillance, but even more the access, the selective process and the authorization. This essay probe to find him, creating – concerning to the ideology and the humor of his anonymity – an investigation, a search not for the person or the character, but for what depicts; for his art itinerary, for what it cause and impels, building a small landscape of our days and tacking a dialogue, maybe a dialectic, starting from the own sly artist words – activity target, invisible target. Banksy é um codinome autoral, uma assinatura de grafites e estênceis que se assomam aos muros, às fachadas, às ruas, às praças da Inglaterra desde a última década, propagando-se por outros tantos espaços urbanos ao redor do mundo (da Europa à América Latina, dos Estados Unidos à Palestina), um trânsito, uma atitude já típica da nova geração britânica de artistas do urbano em geral, grafiteiros em particular – tribo unida. Cognome aparentado, em possível analogia, ao termo inglês bank (banco, lucro, consumo, também ribanceira, muro de arrimo, obstáculo, resistência). De seu eficiente e eficaz anonimato conjetura-se encobrir um bretão de Bristol, Robert Banks, de 34 anos. Outra possibilidade estaria no pseudônimo abrigar um coletivo de artistas esforçando-se num mesmo raciocínio plástico e conceitual (bem-humorado e filosófico, reflexivo do real, do agora). Além do espaço público das ruas, Banksy também opera em original interferência e apropriação de outros espaços públicos: parques de diversões (como a Disneylândia), zoológicos, museus principalmente; em "arte-invasões" que inserem suas obras burlando ironicamente não apenas a vigilância, mas especialmente o acesso, o processo seletivo e a autorização. Este ensaio tenta encontrá-lo, criando – respeitante à ideologia e ao humor de seu anonimato – uma investigação, uma busca não pelo indivíduo ou pelo personagem, mas pelo que representa; pelo trajeto de sua arte e pela realidade que a causa e impulsiona, construindo um pequeno panorama de nossos tempos e alinhavando um diálogo, talvez uma dialética, a partir das palavras do próprio sorrateiro artista – alvo móvel, alvo invisível. Unioeste2008-04-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://e-revista.unioeste.br/index.php/travessias/article/view/2866Travessias; Vol. 2 No. 1 (2008)Travessias; Vol. 2 Núm. 1 (2008)Travessias; v. 2 n. 1 (2008)1982-5935reponame:Travessias (Cascavel. Online)instname:Universidade Estadual do Oeste do Paraná (Unioeste)instacron:Unioesteporhttps://e-revista.unioeste.br/index.php/travessias/article/view/2866/2261Copyright (c) 2008 Autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob CC-BY-NC-SA 4.0 que permite o compartilhamento do trabalho com indicação da autoria e publicação inicial nesta revistainfo:eu-repo/semantics/openAccessSchneedorf, José2020-12-08T11:43:23Zoai:ojs.e-revista.unioeste.br:article/2866Revistahttps://e-revista.unioeste.br/index.php/travessiasPUBhttps://e-revista.unioeste.br/index.php/travessias/oairevista.travessias@unioeste.br1982-59351982-5935opendoar:2020-12-08T11:43:23Travessias (Cascavel. Online) - Universidade Estadual do Oeste do Paraná (Unioeste)false |
dc.title.none.fl_str_mv |
WHERE'S BANKSY? ONDE ESTÁ BANKSY? |
title |
WHERE'S BANKSY? |
spellingShingle |
WHERE'S BANKSY? Schneedorf, José Arte Urbanidade Grafite Anonimato Política. |
title_short |
WHERE'S BANKSY? |
title_full |
WHERE'S BANKSY? |
title_fullStr |
WHERE'S BANKSY? |
title_full_unstemmed |
WHERE'S BANKSY? |
title_sort |
WHERE'S BANKSY? |
author |
Schneedorf, José |
author_facet |
Schneedorf, José |
author_role |
author |
dc.contributor.author.fl_str_mv |
Schneedorf, José |
dc.subject.por.fl_str_mv |
Arte Urbanidade Grafite Anonimato Política. |
topic |
Arte Urbanidade Grafite Anonimato Política. |
description |
Banksy is a graffiti and stencils authorial code name, a tag looming to the walls, to the façades, to the streets, to the squares of England since the early 90's, spreading for so many other urban spaces around the world (from Europe to Latin America, from USA to Palestine), a transit, an attitude already typical of the new British street artists – joint tribe. Kindred signature, in possible analogy, to the term bank (money, profit, consume, also cliff, support wall, obstacle, resistance). By his efficient and effective anonymity it's conjectured to hide a 34-year-old English man, Robert Banks, from Bristol. Another possibility would be the pseudonym sheltering a group of artists making an effort at the exact same plastic and conceptual reasoning (cheerful and philosophical, reflexive of the Real and the Now). Besides the street's public spaces, Banksy also operates in original interference and appropriation of other public spaces: amusement parks (like Disneyland), zoos, museums specially; in "art-intruders" which inserts his works ironically defrauding not only the surveillance, but even more the access, the selective process and the authorization. This essay probe to find him, creating – concerning to the ideology and the humor of his anonymity – an investigation, a search not for the person or the character, but for what depicts; for his art itinerary, for what it cause and impels, building a small landscape of our days and tacking a dialogue, maybe a dialectic, starting from the own sly artist words – activity target, invisible target. |
publishDate |
2008 |
dc.date.none.fl_str_mv |
2008-04-30 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://e-revista.unioeste.br/index.php/travessias/article/view/2866 |
url |
https://e-revista.unioeste.br/index.php/travessias/article/view/2866 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://e-revista.unioeste.br/index.php/travessias/article/view/2866/2261 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Unioeste |
publisher.none.fl_str_mv |
Unioeste |
dc.source.none.fl_str_mv |
Travessias; Vol. 2 No. 1 (2008) Travessias; Vol. 2 Núm. 1 (2008) Travessias; v. 2 n. 1 (2008) 1982-5935 reponame:Travessias (Cascavel. Online) instname:Universidade Estadual do Oeste do Paraná (Unioeste) instacron:Unioeste |
instname_str |
Universidade Estadual do Oeste do Paraná (Unioeste) |
instacron_str |
Unioeste |
institution |
Unioeste |
reponame_str |
Travessias (Cascavel. Online) |
collection |
Travessias (Cascavel. Online) |
repository.name.fl_str_mv |
Travessias (Cascavel. Online) - Universidade Estadual do Oeste do Paraná (Unioeste) |
repository.mail.fl_str_mv |
revista.travessias@unioeste.br |
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