Exhibition “DI” Pichar is Human

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"DI" EXHIBITION - PUTTER IS HUMAN

#DI# “Pichar is Human”, is a tribute to Edmilson Macena de Oliveira, the #DI#, considered by many as the greatest Pixador of the 90's. made innovative creations and revolutionized the concepts of graffiti and the field of arts.

#DI# thought and acted on graffiti as contemporary art, carved his calligraphy on the tops of important artistic institutions and emblematic buildings in the city, installed a concrete sculpture in front of Ibirapuera Park, wrote a letter to the Governor of the time and confused journalists.

#DI# “Pichar é Humano” brings a serious and affective research, conceived by the friend “Dino”, curated by Sérgio Miguel Franco, co-curated by Enivo, Photographs by Martha Cooper, Henrique Madeira, Engravings by Cristiano Kana and documentary directed by Bruno Rodrigues and production of Jah Jah Filmes. The show features photographs, newspaper articles, sculpture and a documentary about the artist. All material will be available for sale and the funds obtained will revert to the son of #DI#.

“Today, by formulating an individual exhibition of DI, we are also making history, but now with the prominence of the popular culture that it represents, which developed strategies to expand urban expression to reach such a scale. However, DI didn't make works to fit in the tiny space of a gallery, and it was a photographer of the artistic movement of which he was a part who conducted part of the images that allow us to get closer to his creativity.”, says Sérgio Miguel Franco, curator of São Paulo Mon Amour at Maison des Metalos in Paris (2009), Co-curator of the Berlin Biennale (2012), Master's degree from FAU-USP and PhD candidate in sociology at USP.

#‎DI# – Born in 1975, he began his first contacts with paints, brushes and walls in 1988. His first passion was rock'n roll at the age of twelve, but after his first pixos, he was completely seduced by the project of spreading his signature on walls , peaks and buildings throughout the city of São Paulo. Originally from Vila dos Remedios, West Zone, he leaves his mark on history with his humble, communicative and funny profile. Died in 1997, at 22, #DI# left his legacy to the city and to the history of art.

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The History of Art finds fights fought compared to heroic acts, engaging a new way of making art in which they install a symbolic revolution. These circumstances, are actions and discourses that are connected with their time, even though they produce irreparable damage to the guardians of established traditions, as was the case of academic art in France, which had Impressionism as its executioner, and foster discussions previously raised, such as it was Nietsche's aphorism § 174 “Against the Art of Works of Art”, made at the end of the 19th century (1880). This aphorism is categorical in the assertion that art is always a long process, and the works are just an appendix, in this understanding, the framed canvases of a tagger are a hoax, when they do not present the violent police framework that is behind many pixos.

 

However, in the medium and/or long term, these revolutions of fierce struggles gain a consecrating recognition, which can be seen at the time when pixação was invited to the 7th Berlin Biennale in Germany (2012). In this sense, the heroic carving reveals collective actions of all time, in addition to adding significant group experiences, which tend to reverberate and radiate. It was like that with Manet, gathering his co-relegionaries in the Parisian salons of his wife's family, and with every pixo rally in the DI. Even if the pixação movement was not always physically present, with an ally helping in the intervention, it was for his companions that the pixação moved, and an individual action always became collective, commented on at the point and fixed in the memory of his generation, perhaps of the coming years, however much the years after the act begin to abound.

 

In a DI intervention in downtown São Paulo, in the building that serves as a garage for the USP Faculty of Law, we are close to the point of Largo da Memória, which the movement consecrated weekly, gathering allies for the pleasure of reporting the adventures of each role. This place was not only important for the point, but also for being the stage for the oldest obelisk in the city (1814). Its ancestral visitors departed from it for the Piques road, and in it their donkeys and horses supplied themselves with water from the existing spout. In the pixo generation that frequented it in the 1980s and 1990s, it was the place to find pixadores from all over the city, and to plan rides that only pixadores did, allowing them to dominate the territory of a metropolis of 20 million inhabitants. Thus, a social sculpture was built that Joseph Beuys created in the abstraction of a concept, but he did not see it in the same way as a tagger, who applied it in practice, on the scale of an immense metropolis.

 

The paulista forged his tradition with the history of the bandeirantes, who became a historical monument without formal innovation, or generosity with the popular culture represented in it, in this sculpture by Victor Brecheret, inaugurated in Ibirapuera Park in 1954. However, the granite statue representing the heroism of the genocides was attacked in 2013 by the interventions of the graffiti, to demonstrate that their action was a devastating violence of the indigenous populations, since before colonizing the country, the bandeirantes emerged to imprison and enslave, and only after prospecting for gold and emeralds, as was the case of Fernão Dias, whose bones are found in the Church of São Bento in São Paulo.

 

Today, by formulating an individual exhibition of DI, we are also making history, but now with the prominence of the popular culture that it represents, which developed strategies expanding urban expression to reach such a scale. However, DI didn't make works to fit in the tiny space of a gallery, and it was a photographer of the artistic movement he was part of who led part of the images that allow us to approach his creativity.

 

Sergio Franco. Curator of São Paulo Mon Amour at Maison des Metalos in Paris (2009), Co-curator of the Berlin Biennale (2012), master's degree from FAU-USP and doctoral candidate in sociology at USP.

Idealization: DINO / Curatorship: Sérgio Franco / Co-Curator: Enivo / Art Direction: Bruno Rodrigues / Photography: Henrique Madeira , Martha Cooper / Video: Jahjah Films / Prints: Cristiano Kana / Exhibition: Michel Onguer / Support: Jerry Batista, Tché Ruggi, Alexandre Enokawa, Jamile Santos. / Communication: Carol Pires, Mariana Belmont

 

Photos: Henrique Madeira

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