Block party at Minhocao in Sao Paulo. Preliminares end their 10 days program of workshops, art interventions and social mobility.
Preliminares Movement in Sao Paolo - happens now.
(Source: vimeo.com)
Poro Collective: Urban Interventions.
(Source: vimeo.com)
Sesc Pompéia, Sao Paolo
Sesc Pompéia
Lina Bo Bardi: Sesc Pompéia
“I Write Because Nobody Listens” from Bratislava, Slovakia.
Museum on the Seashore, Brazil, 1951 (Project) Lina Bo Bardi
via deseopolis via fuckyeahbrutalism
The urban monster and the citizen: Monstro Chamado Cidade. The city is regarded as the monster, threatening the individual. Notice that high rise buildings equivalent the monster’s teeth. Cleverly done.
The piece is found somewhere in between Vila Madalena and Pacaembu in Sao Paolo.
Street artists have always been the masters when it comes to site-specific expressions. The wall for this piece is so perfectly chosen - the portrait of the woman fits perfectly in between the trees and the piece thus creates an exotic, hidden and mysterious atmosphere in the middle of the urban concrete jungle.
From Pompéia, Sao Paolo.
Vila Pompéia, Sao Paolo.
In Sao Paolo, contrary to Copenhagen for instance, street art is still a critical practice, directed against gentrification processes. Here a piece from Rua Capital federal in Pompéia, Sao Paolo.
Ranciere on art and emancipation
“An art is emancipated and emancipation when it renounces the authority of the imposed message, the target audience, and the univocal mode of explicating the world when, in other words it stops wanting to emancipate us” (Ranciere 2007, 58).”
— via hollmanlozano via iswearthisisluggy
Research equipment #The Bike. Biking, running and walking are all mobile ways navigating the city - all suitable for an affective urban methodology. Inspired by the Situationist psychogeography I experiment with various affective methods for understanding urban geography, social production and cultural assemblages.
Don’t blame Le Corbusier: Vanstiphout on what makes a sucsessful city
“So it is not so much Le Corbusier who is to blame, but it is the Le Corbusier in us who is to blame. Because if you say that something is a successful city, meaning that you speak about cities as business plans. If it’s in the red it’s a failure, if it’s in the black it’s good. And this is ridiculous! It’s like talking about people as successes or failures depending on how money they make - which of course we actually do - but we don’t think that it’s a good thing.”
—
The Historian of the Present | Wouter Vanstiphout in conversation with Rory Hyde Future Practice: Conversations from the Edge of Architecture (via ryanpanos)
