ABSTRACT
The original aesthetic form of graffiti and pixação – image/inscription/signature – is significantly dependent on its performative imperatives on the territory – to dribble and overcome the city’s surveillance and discipline devices. Graffiti/pixação recognition process in traditional museums and galleries, via aesthetic transliteration strategies, absorbs the dual aspect of the language, which takes place not only in the graffiti design – the image – but also in the development of the graffiti action – the performance. In this sense, urban art exhibitions elaborate curatorship projects that restore to images their agency on the territory, even if displayed in the institutional shelter, making graffiti not an alternative genre of painting, but an aesthetic transit between contemporary languages.
KEYWORDS
Urban Art; Contemporary Art; Graffiti; Aesthetic Transliteration; Curatorship