“Mercado do Ouro” or “Praça das Mãos”?
Meaning-Making art experience, Salvador of Bahia, Brazil, 2013
This meaning-making art experience was carried out in the Gold Market Square in Salvador da Bahia, Brazil, on July 23, 2013 With duration of the entire day, with the participation of four artists: two soteropolitanos performers Zé Mario and Alex Simoes from Eduardo Silva, sculptor, and myself, urban artist.
My contribution consisted of the installation of plasterboard (illus. 43) in order to transform the square into a Campo Santo, seeking to arouse the curiosity of passersby and / or concentrated there waiting for public transportation. I put the plates in two different places and I realized that the biggest conurbation, which meant less comfort to realize the work also meant a greater exchange of the public who could now be seen by themselves as public.
The intervention of Ze Mario, entitled Coffee with Ze Mario (illus 44)., Was to organize, prepare, equip the cups and invite passers-by to have a coffee with him and chat. The idea is to slow the frenetic pace of life we live. The work caused some awkwardness, but also attracted some public, very interested in exchanging experiences.
The third intervention consisted of reciting poetry unexpectedly by the public, with a book in hand and putting too much force on the motion of walking (illus. 45th). This work was very interesting because at first people think they were passing in front of a madman. Then realized that what he said made sense.
The perception survey took place in three different times in one day: during the preparation of the installation of tombstones (in the morning); during the period in which the facility was ready, but nothing happened (lunchtime); and finally, during the artistic interventions that occurred in the afternoon. All the interviews seemed to indicate that:
(a) People are more curious to understand the purpose of the work and the motivations of the author of the content of the works;
(b) The search for association and linear explanation of the works is more important than your enjoyment, when respondents are faced with a question of taste, for example;
(c) There is often an association between public art and vandalism, as several interviewees worried, said that the City and its agencies would control what we were doing and could “catch” us;
(d) There is often a correlation between (unauthorized) public art and political protest, as some worried, wondering if we were criticizing the City to do nothing for that square;
(e) The curiosity for the experience that was being experienced inside the square called there bystanders who were accustomed to pass a long time, its edges, its changing use practices;
(f) works of public art are not aesthetic easy assimilation by the bystanders. Ie, do not form public quickly. Rather, the field research seems to indicate that passersby will appropriating gradually works that observe the city, coming to fruition-the unhurried, gradually bringing them to their particular aesthetic and cognitive universes.
Excerpt from Flavio Marzadro (2014) master dissertation , entitled “The public in public Arrte: presences, discourses, activations and experiences“. Federal university of Bahia, Brazil, 2014.