Post Factum Salvador Ladeira da Montanha
Salvador of Bahia, Brazil, 2013
Flavio Marzadro (curator)
Post–Factum Ladeira da Montanha, in Salvador da Bahia, Brazil, poetically sought dialogue with the ways in which different social groups come and territorializam the Ladeira da Montanha, as present in the imaginary city.
Together, artists set out to delve into the collective memories that lie there to bring out the genius loci of this territory, laden with meanings, fears, anxieties, pleasures, lyricism and everything that shapes us.
All performances poetically discuss relations between public who performs (the artists) and public performances (audience); between public art and art to the public, as bodies under discussion that recreate new public spaces, noting that urban situations are also human situations.
One of the performances was performed by Alex Simoes, an urban poet, who created the poem Soneto à Ladeira da Montanha, and wrote it on transparent tape, glued in two different walls of the beginning of the Ladeira da Montanha and solemnly recited in among the performances.
During the experience, I interviewed with each of the participating artists, both those who had been directly invited, as with those who appeared at the site and also sought to intervene with their gear. The average interview time was 6 minutes. Two questions were asked: (a) What is the city in his art? (b) What are the possible relationships between art and the city?
About the first question, “What is the city in his art,” the answers that single out the significant set of thoughts / feelings expressed were:
- [city encourages me] do differently to create an area of questioning, of difference, rant, questioning, action.
- [stimulates me] dialogue between city, nature and the passer; […] Leaves less chaotic city.
- In my art I always end up seeing a city, much depends on the look and the work to which I am devoting myself. For example, in the work that is motivating me lately pervades a little bit of violence; […] Is quite violence, which sets it apart from other times.
- The city is [my] means, device, inspiration, experience, persistence, existence. Resistance.
- The city is a great source of inspiration. […] I am a passionate person by the city. Increasingly, I think it is ingrained in me, in my perception. All I walk down the street, on foot, by car, everything I want to do involves art in the city.
- The city informs us, restores us. She talks all the time, [the] playing a lot of stuff that we can not fully absorb. […] And with that, we can play it back to her, to give another answer, another meaning to it all.
- The city is the gift for a possibility of landscape composition […] and, for me, I work with the composition of the everyday moment, [with] the present time, [with] experience, [with] the relationship with the other, the city is key for me.
About the second question, “what were the possible relationship between art and the city“, the answers more singularizaram the total set were:
- The city could be more human with art.
- The art saves the chaos of urbanism, however, there is an absence of art in the city.
- Relations are political.
- Has many [possible relations], because art is political, even when it is not […] And then the city is the scene of this expression of thought, […] art is communication, and that communication is more alive .
- Art and the City is inseparable, because the city is made by human beings […] and art is a manifestation. So there is no way to separate.
- The city is the space where people move, is the space where art happens already […] there’s no telling what a graffiti is not an art form […] then is mixed. Where is human, art has always […] So how humans run into the city, it is hard not mix one thing with the other […] ends up by osmosis. The art located in the city and the city located in the art […] I think art came first! .
With these partial results, in general, the interviews seem to indicate that artists / performers:
(a) point to a relationship of dialogue with the city, taking it as a living social fact, in constant transformation;
(b) commit to their own action an intimate need to leave their homes and propose new dialogues with a non-public individual, responding to the city;
(c) believe that the majority of citizens are in town without seeing it or understand it without seeking or being in the city seeking to understand it or even be the city, and that their art seeks to transform this relationship;
(d) Despite the strong relationship between the artists and the city, its arts are also territorialized, as occur in well-defined places and not in any part of the city. The city thus remains in its fragmented understanding and, often, these artists get to know other parts of the city by means of enjoyment or interest in the works of other artists.
Excerpt from Flavio Marzadro (2014) master dissertation , entitled “The public in public Arrte: presences, discourses, activations and experiences“. Federal university of Bahia, Brazil, 2014.