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O que se ganha, o que se perde : arte pública e gentrificação em duas cidades das américas
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Abstract(s)
Articulando noções da história das cidades, história da arte pública, morfologia urbana e urbanismo crítico, este artigo tem como objetivo investigar as respostas de dois artistas a processos de requalificação urbana e de gentrificação, apartados no tempo e no espaço. No caso do brasileiro Guga Ferraz, a cidade do Rio de Janeiro do começo do século XX, enquanto o estadunidense David Hammons responde às fortes transformações da cidade de Nova York nas últimas décadas. A metodologia se orientou por uma pesquisa de natureza exploratória, lastreada na revisão da literatura, em investigação arquivística em torno da obra dos dois artistas, além de observações críticas a partir da visita à estrutura de Hammons instalada em Nova York. De acordo com o que pudemos observar, tanto neste estudo como em outras pesquisas relacionadas, as reações de artistas a processos de requalificação de áreas urbanas e de sua reconfiguração social, impulsionados por interesses do capital, parecem oscilar entre a invisibilidade (Ferraz) e a instrumentalização perpetrada por forças que pretende enfrentar.
Abstract : Articulating notions of the history of cities, the history of public art, urban morphology and criti-cal urbanism, this article aims to investigate the responses of two artists to processes of urban requalification and gentrification, separated in time and space. In the case of the Brazilian Guga Ferraz, the city of Rio de Janeiro at the beginning of the 20th century, while the American David Hammons responds to the strong transforma-tions of New York City in recent decades. The methodology was guided by exploratory research, based on a literature review, archival research into the work of the two artists, as well as critical observations based on a visit to Hammons' structure in New York. According to what we were able to observe, both in this study and in other related research, the reactions of artists to processes of requalification of urban areas and their social reconfiguration, driven by the interests of capital, seem to oscillate between invisibility (Ferraz) and instrumentalization perpetrated by forces that they intend to confront.
Abstract : Articulating notions of the history of cities, the history of public art, urban morphology and criti-cal urbanism, this article aims to investigate the responses of two artists to processes of urban requalification and gentrification, separated in time and space. In the case of the Brazilian Guga Ferraz, the city of Rio de Janeiro at the beginning of the 20th century, while the American David Hammons responds to the strong transforma-tions of New York City in recent decades. The methodology was guided by exploratory research, based on a literature review, archival research into the work of the two artists, as well as critical observations based on a visit to Hammons' structure in New York. According to what we were able to observe, both in this study and in other related research, the reactions of artists to processes of requalification of urban areas and their social reconfiguration, driven by the interests of capital, seem to oscillate between invisibility (Ferraz) and instrumentalization perpetrated by forces that they intend to confront.
Description
Keywords
Arte Transformações urbanas Gentrificação Guga Ferraz David Hammons Art Urban transformation Gentrification
Citation
OLIVEIRA, Luiz Sérgio de (2024) - O que se ganha, o que se perde : arte pública e gentrificação em duas cidades das américas. Convergências : Revista de Investigação e Ensino das Artes. ISSN: 1646 - 9054. Vol. XVII,nº. 34, p. 145-155.- DOI: 10.53681/c1514225187514391s.34.233
Publisher
IPCB. ESART