PERIPHERAL AESTHETICS: URBAN ART SIGNS

os signos da arte urbana

Abstract

This article will be covered he ghetto aesthetics in the cities is immersed to several considerations about the configuration of the social space, material an nonmaterial,  that submerges the class relations, race and gender. These contemporary frames cause tension and hybridism in the organization processes of urban environment, also, create questioning about the institutionalisation of culture elements, for example, related to multiples artistic languages which are developed mediated by traditional and hegemonic instances. The visual narratives to follow the nuances and the movements' of the cities are relevant signs to interpret and to trace observations about the boundaries and dichotomies between center and ghetto, citizen and outsider, based on plural discourses and relations of power. We propose in this article to analyze the codes and meanings arising from the observations of the ghetto aesthetics, as of the  reverberations of Urban Art, on which we consider arrangements and collectivity and subjectivity scriptures' that compound a complex mechanism of intervention or communication about of and with the urban. In this bias, we follow the semiotics readings of Brazilian and Latin-American researchers (NAKAGAWA R. M. O e NAKAGAWA F. S., 2020; RUSSI, 2017; SANTOS, 2017 e SEGATO, 2005) about the inhabited space in the city, also, an interdisciplinary literature of authors and artists of the Global South that supports us to comprehend the systems of the signs that are marginalized under a vast and global prism, interlaced to a located perspective, horizonted and demarcated by an epistemological territory self-referenced.

Key-words: City. Ghetto Aesthetics. Urban Art. Semiotics.