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A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA) 
Pavoni, A. (2019). Speculating on (the) urban (of) art: (un)siting street art in the age of neoliberal urbanisation. Horizontes Antropológicos. 25 (55), 51-88
Exportar Referência (IEEE) 
A. Pavoni,  "Speculating on (the) urban (of) art: (un)siting street art in the age of neoliberal urbanisation", in Horizontes Antropológicos, vol. 25, no. 55, pp. 51-88, 2019
Exportar BibTeX 
@article{pavoni2019_1713978582785,
	author = "Pavoni, A.",
	title = "Speculating on (the) urban (of) art: (un)siting street art in the age of neoliberal urbanisation",
	journal = "Horizontes Antropológicos",
	year = "2019",
	volume = "25",
	number = "55",
	doi = "10.1590/s0104-71832019000300003",
	pages = "51-88",
	url = "http://www.scielo.br/scielo.php?script=sci_serial&pid=0104-7183&lng=en&nrm=iso"
}
Exportar RIS 
TY  - JOUR
TI  - Speculating on (the) urban (of) art: (un)siting street art in the age of neoliberal urbanisation
T2  - Horizontes Antropológicos
VL  - 25
IS  - 55
AU  - Pavoni, A.
PY  - 2019
SP  - 51-88
SN  - 0104-7183
DO  - 10.1590/s0104-71832019000300003
UR  - http://www.scielo.br/scielo.php?script=sci_serial&pid=0104-7183&lng=en&nrm=iso
AB  - This paper addresses the current co-optation of street art into an uncritical aesthetic supplement to the process of neoliberal urbanisation, by focusing on its unresolved relation with its own site. This is done in three steps. First, via a perambulating immersion into the complexity of a specific site. Second, via a critical engagement with the form and politics of contemporary street art. Third, via a strategic speculation on the relation between the notions of art, urban and site. Street art’s current impasse, I argue, paradoxically depends on its incapacity to become properly urban. A urban-specific street art, I contend, is not a decorative veneer nor an enchanting disruption to dramatic processes of urbanisation: it is a force-field in which these processes are made visible, experienceable, and thus called into question. The ‘Olympic’ works of JR and Kobra in Rio de Janeiro, and the iconoclastic performance by Blu in Berlin, are used to illustrate and complement the argument.


ER  -