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[ES] El presente artículo pretende realizar un acercamiento a los modos de funcionamiento y organización del artivismo feminista en la República Argentina, específicamente en la región de Cuyo, compuesta por las provincias de San Juan, Mendoza, San Luis y la Rioja, ubicadas geográficamente al oeste del país. Para el desarrollo de la investigación se han seleccionado colectivas y grupos de artistas y activistas feministas de cada una de las provincias, las cuales son: Ni Una Menos (San Juan), Las Malonas (Mendoza), el Colectiva Feminista Comechingona (San Luis) y Ni una Menos (La Rioja). Al principio el artículo analiza las distintas concepciones que posee cada grupo artístico en torno al significado de la palabra ¿artivismo¿ y desde qué postura artística-político-filosófica lo interpreta y actúa. Más adelante se exploran los modos de funcionamiento (dinámicas) y actividades (música, pintura, escultura, performance, teatro, fotografía, etc.) que realiza cada colectiva. Además, se analizan las principales modalidades de comunicación interna de las colectivas, sus redes digitales y las plataformas mediante las cuales organizan y difunden sus acciones políticas-artísticas. [EN] This paper aims to approach to the operation modes and organization of the feminist artivism in the Argentine Republic, specifically in the region of Cuyo, composed of the provinces of San Juan, Mendoza, San Luis and La Rioja, located geographically in the west of the country. For the development of the research, there have been selected some collectives and groups of artists and feminist activists from each one of the provinces, which are: Ni Una Menos (San Juan), Las Malonas (Mendoza), the Colectiva Feminista Comechingona (San Luis) and Ni Una Menos (La Rioja). At the beginning the article analyzes the different conceptions that each artistic group has about the meaning of the word ¿artivism¿ and from which artistic-political-philosophical position they interpret and act. Later, it explores the modes of operation (dynamics) and activities (music, painting, sculpture, performance, theatre, photography, etc.) carried out by each group. It also analyses the main internal communication modes of the collectives, their digital networks and the platforms through which they organise and disseminate their political-artistic actions.

In a global context in which society has become spectacle, everything turns into representation (Debord 1967). The phenomenon of nation-states fortification emerges in a problematic way with respect to the neoliberal capital-work relationship (Mezzadra e Nielson 2013). The need to build walls, in fact, is a mode of representation that is exploited for a strategic construction of alterity. The aim of this research is to highlight the “naturalization” of stereotyped imagery, prompted by mediatic and political discourses concerning the migratory phenomenon. Starting from a recognition of the critical thinking of scholars such as Michel Foucault and Louis Marin, the goal of this paper is to take stock of the relationship between the concepts of ideology, representation and power in a border crossing context. By combining the theory of arts with a semiotic approach, I will focus on the specific case of the practice of artivism as counter-narratives, realized by the street artist JR on the border between Mexico and the United States. This case study is recognizable as a syncretic work developed in two phases. The first is attributable to the piece Giants. Kikito - Border Mexico (2017) that JR created after the executive order signed by Donald Trump to complete the construction of the wall; the second consists of an artistic practice which is rather recognizable as an ongoing performance: Migrants. Picnic across the border (2017). The importance of reading these two works in dialogue with each other lies in the intrinsic power of the images (Bredekamp 2010). In fact, the effects of meaning underlying the project, want to undermine the idea of the wall as a self-legitimizing object of the “natural world”. The issue of the critical construction of the gaze, that is to say of a point of view, is the key to understand the semiotic efficacy of artistic work in analyzing social discourses. Thanks to JR’s work it will be possible to reveal the construction and remodulation of the concept of otherness. The latter is in fact based on a specular principle (Stoichita 2014) whereby the encounter between two entities is both proof of the other and strengthening of the same., ECHO, N. 2 (2020): Semiosi della colonialità e dinamiche culturali al tempo della mobilità globale

RESUMEN: El propósito general de esta tesis es describir y analizar en profundidad un proyecto de investigación social desarrollado bajo un enfoque de investigación participativa y conectado con el artivismo social. El objetivo principal del trabajo es explorar las posibilidades de la investigación participativa en un estudio de caso con participantes de un Centro de Inserción Social. En el proyecto los participantes (en un equipo mixto de investigación) elaboran colaborativamente un documento audiovisual como investigación-denuncia sobre las condiciones de las comunicaciones con familiares en prisión. Los resultados confirman que se verifican la mayoría de los rasgos identificados como característicos de una investigación participativa y que incluyen no solo las fases de diseño e implementación del proyecto, sino, de forma muy principal la difusión a diferentes audiencias y en múltiples formatos. ABSTRACT: The general purpose of this thesis is to describe and analyse in depth a social research project developed under a participatory research approach and connected to social artivism. The main aim of the work is to explore the possibilities of participatory research in a case study with participants from a Social Integration Centre. In the project, the participants (in a mixed research team) collaboratively produce an audiovisual document as a research-denouncement on the conditions of communications with relatives in prison. The results confirm that most of the features identified as characteristic of a participatory research are verified and that these features include not only the design and implementation phases of the project, but, very mainly, the dissemination to different audiences and in multiple formats.

This article examines the conceptualisation of materialities in feminist theory through two paradigmatic examples: (French) materialist feminism and new materialisms. What can be interpreted as an opposition between different paradigms can also be disrupted as long as we define what matters as a relation or a process rather than a substance or a lost paradise to which we should return. New materialisms indeed help to investigate aspects such as corporeality, human/non-human interaction and textures, but the role of feminist materialism is invaluable in highlighting the social structures of power relations; more than ever, it makes a decisive contribution to the understanding of domination, such as the social relations and hierarchies implied in femosecularism conceptualised in this article. Ultimately, the tool of hybridised materialisms aims to articulate the theoretical perspective of materialist feminism with that of the new materialisms – in order to avoid the binarism between materiality and culture.

Resumo Neste artigo pretendemos analisar as intervenções artísticas politicamente engajadas de Miguel Januário, na última década, caracterizada pela premência de uma severa crise económica, financeira e social em Portugal. Ao trabalho que aqui apresentamos encontra-se uma finalidade assente num princípio heurístico primordial: o de demonstrar que a street art constitui matéria e objeto de intervenção social, demarcando um espaço próprio, definido e específico na denúncia e revelação de problemáticas sociais; multiplicando e questionando, assim, as formas e conteúdos das artes urbanas. Abstract In this article we intend to analyze Miguel Januário’s politically engaged artistic interventions, in the last decade, characterized by the seriousness of a severe economic, financial and social crisis in Portugal. The work presented here underlies a purpose based on a primordial heuristic principle: to demonstrate that street art is a matter and object of social intervention, demarcating a specific space in the denunciation and revelation of social issues; also, multiplying and questioning, thus, the forms and contents of the urban arts.

This paper presents some strategies on the productive inclusion of visual and literary arts in an attempt to contribute to the debate concerning Creative Economy's relationships against the neoliberal landscape in which the culture market is embedded. For this purpose, we have initially used some examples of actions taken by Brazilian and foreign artists, sensibly shifting towards the social-political context of artivism, until we reach the management of personal experiences.

Artivism is a movement inclusive of art and activism that has flourished through the United States for decades. Multiple forms of artivism are responsible for initiating dialog amongst demographica...

Take a walk in my shoes by allowing yourself to shed your defences and put your underwear on the line … SA's Dirty Laundry is an artivism (art plus activism) campaign that took the call for re-introduced and re-viewed forms of protest to heart, by using art to bring awareness to the issue of rape.The artivism: 3600 pairs of underwear hang on a washing line of 1.2 km, over the city of Johannesburg's Maboneng precinct – used underwear donated by people across the country as a means to share their story or support of surviving rape. A womxn puts her body on the line by stripping off the layers of clothing that en-role her as an object because of her gender, taking off layer after layer of soiled white panties until she stands in the street, naked, with only a childhood panty as covering. Visual artist Jenny Nijenhuis and performance artist Nondumiso Lwazi Msimanga respectively collaborated to host, with SoMa Art + Space, an exhibition plus street performances under the title The Things We Do for Love...

This article looks at the practice of combining art and activism—‘artivism’—by feminist activist groups around the world. It argues that who tells the story matters fundamentally, that it is crucial that women, girls, and trans and intersex people represent their own experiences, and that the use of art for political advocacy can reach new audiences in new ways, opening up eyes, hearts and space for dialogue. The article argues that it is urgent that funders resource artivist work and recognize the value it has in effecting political change.

This article presents a research done with young people in the city of Cali-Colombia and investigates their ways of being together, their forms of recognition and their intersubjectives relationships that underlie the experience of inhabiting a certain park. The affective turn of cultural studies and Spinoza’s affective theory are those that illuminate the work that corresponds to a comprehensive study with an ethnographic approach and takes up the narratives of young people to describe the topophilia or room experience. The main results of the research point to the affective communities as the new forms of grouping of young people, the language of affection, the mixing of expressive languages with those that weave their communicative ties and perform their practices of resistance in defense of place, which is not only a place to be but is constituted instead of being.

This article compares the practice of slam performance poetry in the peripheries of some European countries with slam performances in Brazil. We note the contiguous concerns of marginalized communities and how they express poetically their way of occupying a place in the world. Based on concepts such as the third diaspora (Guerreiro, 2010) and artivism (Debord, 1997), among others, this article analyzes how these communities affirm their alterities in the dynamics of migration and post-colonization, as well as their claim for alternative versions of the official narrative and its inscription in the present., Este artículo trata, de manera comparada, de la práctica de la poesía performática slam presente en las periferias de algunos países de Europa y Brasil. Se observan las preocupaciones contiguas de las comunidades marginadas y la manera como expresan de modo poético su forma de ocupar un lugar en el mundo. Basado en conceptos como la tercera diáspora (Guerreiro, 2010) y el artivismo (Debord, 1997), entre otros, el artículo busca comprender cómo estas comunidades afirman sus alteridades en las dinámicas de las migraciones y post-colonizaciones, así como reclaman versiones alternativas a la narrativa oficial y su inscripción en el presente., Este artigo trata, de maneira comparada, da prática de poesia performática slam presente nas periferias de alguns países da Europa e o Brasil. Observam-se as preocupações contíguas das comunidades marginalizadas e como exprimem de modo poético sua forma de ocupar um lugar no mundo. Apoiado em conceitos como terceira diáspora (Guerreiro, 2010) e artivismo (Debord, 1997), entre outros, o artigo busca entender como essas comunidades afirmam suas alteridades nas dinâmicas das migrações e pós-colonizações, assim como reclamam versões alternativas à narrativa oficial e sua inscrição no presente.

Movimentos sociais organizados de novas formas estão debatendo a intersecção de diferentes marcadores sociais ou eixos de opressão, como gênero, sexualidade, classe e raça, problematizando normas sexuais e de gênero. Utilizando uma abordagem etnográfica e métodos qualitativos como entrevista e observação, o presente artigo pretende responder à pergunta: o que significa aos ativistas da Revolta da Lâmpada fazer ativismo usando o artivismo como método, em um coletivo com inspiração interseccional que tem o corpo livre como denominador comum de luta? O coletivo de São Paulo, Brasil, se entende como uma plataforma com horizontes interseccionais, criando um denominador comum – o “corpo livre” – entre diferentes grupos identitários sem a hierarquização de suas agendas e a deslegitimação de seus espaços exclusivos. Através da celebração de seus corpos ocupando espaços públicos, elasusam diversas expressões artísticas para fazer ativismo, o que tem sido chamado de artivismo. New forms of organizing social movements are debating the intersection of different social markers or axis of oppression, as gender, sexuality, class and race, problematizing sexual and gender norms. The collective A Revolta da Lâmpada, in São Paulo, Brazil, claims to be a platform with intersectional horizon, creating a common denominator – the free body – among different identity groups without the hierarchization of agendas and delegitimization of its exclusive spaces. Through the celebration of their bodies occupying public spaces, it uses diverse artistic expressions to do activism, what is being called artivism. The study highlights how the collective goes beyond the debate on identity politics and uses the intersectional inspiration together with the body – and its emotions – as site of resistance, celebration and means of exploring artistic forms of doing activism.&nbsp

Digital artivism is an artistic practice with increasing penetration in social media and, consequently, in the lives of the people who connect and interact through them. It is, however, a practice that goes far beyond the creation or dissemination of memes, photographs or remixed videos, and may relate to collective and / or participatory artistic creation. In order to study the effectiveness of the introduction of artivism as a tool for civic development in the school environment, an artistic installation was used, with defined contours in the universe of artivism, populated with intertwining themes - art, environmental and speciesism activism and, consequently, the life of all beings on the planet. Its creation implied the collaboration of several people and its exhibition in school environments, complemented by polls and questionnaires, was also a collaborative work. It is this experience the present article depicts.

Responding to geography’s digital and political turns, this article presents an original critical synthesis of the under-examined niche of networked geographies of public-art practices in today’s politicised digital culture. This article advances insights into digital public art as politics, and its role in politicising online public spaces with foci on: how digital technologies have instigated do-it-yourself modes for the co-creation of art content within peer-to-peer contexts; the way art is ‘stretched’ and experienced in/across the digital public sphere; and how user-(co-)created content has become subject to (mis)uses, simultaneously informed by digital ‘artivism’ and a new global politics infused with populism.

Stemming from Grosfoguel&rsquo, s decolonial discourse, and particularly his enquiry on how to steer away from the alternative between Eurocentric universalism and third world fundamentalism in the production of knowledge, this article aims to respond to this query in relation to the field of the art produced by Latin American women artists in the past four decades. It does so by investigating the decolonial approach advanced by third world feminism (particularly scholar Chandra Talpade Mohanty) and by rescuing it from&mdash, what I reckon to be&mdash, a methodological impasse. It proposes to resolve such an issue by reclaiming transnational feminism as a way out from what I see as a fundamentalist and essentialist tactic. Following from a theoretically and methodological introduction, this essay analyzes the practice of Cuban-born artist Marta Mar&iacute, a P&eacute, rez Bravo, specifically looking at the photographic series Para Concebir (1985&ndash, 1986), it proposes a decolonial reading of her work, which merges third world feminism&rsquo, s nation-based approach with a transnational outlook, hence giving justice to the migration of goods, ideas, and people that Ella Shohat sees as deeply characterizing the contemporary cultural background. Finally, this article claims that P&eacute, rez Bravo&rsquo, s oeuvre offers the visual articulation of a decolonial strategy, concurrently combining global with local concerns.

This chapter examines anonymous street artists who use social media to promote their artivist (artist+activist) ideologies. Through their work, they create a discourse of resistance that is able to cross not only the demarcated boundaries of cities and countries, but also divisions of gender, race, class, and religion. For these anonymous street artists, anonymity allows them to use the internet to promote their work while subverting the collection of data and the monitoring of their true identity. In this way, their actions become a twofold political statement against social injustice and the omnipresent force of technological agency.

Resumen:Este trabajo aborda la relación entre el arte, las imágenes mediáticas y el artivismo. La investigación analiza las posibilidades de dicho vínculo para la creación de contradiscursos visuales que vengan a cuestionar los relatos de los medios de comunicación y a plantear una serie de transformaciones de índole social y política. El objetivo general es investigar qué estrategias artísticas se han desarrollado en el campo del activismo artístico y cuáles son sus modos de operar en lo social y en lo mediático. Para ello, se establece una muestra de propuestas artísticas activistas seleccionadas en función de su impacto, pertinencia y actualidad, que permiten, a partir de su análisis, visualizar los nodos de conexión con las imágenes mediáticas y el activismo. Los resultados determinan una serie de estrategias comunes en las prácticas artivistas contem poráneas, estrategias que permiten cartografiar las transformaciones de las formas y modos de acción de dichas prácticas. Abstract:This article examines the relation between art, mass media and artivism through an analysis of how this interaction generates the potential for creating visual counterdiscourses that question media representations and propose a series of social and political transformations. The primary of objective of this work is to examine the artistic strategies developed in the field of artistic activism (artivism) and how these are employed in society and mass media. To this end, a selection of art-activist proposals is established in view of their impact, relevance and topicality in order to visualize the nodal points that connect media imagery and activism. The results of this study reveal a series of common strategies in contemporary artivism, thus allowing us to map out the changes in their form and modes of action.

A partir de textos, vídeos e de duas entrevistas – com João das Neves e com Ileana Diéguez – este trabalho traz um panorama das características marcantes nas encenações do artista, das quais participei como atriz e como atriz idealizadora, produtora e/ou coautora, e uma reflexão sobre pontos de ressonância e dissonância entre a chamada arte engajada, tal como ele a entendia e praticava, e o que hoje chamamos artivismo.

This article addresses how the concept of ‘Action Art’, which came mainly from the anti-cultural movements of May 1968 in Europe, has been transformed into the term Artivism. The main hypothesis is that it is a succession of committed and protest art, transformed by two fundamental elements: the emergence of social networks and the exposure of a very young audience to artistic creation through this network. This type of creative action has acquired an urban character that is strongly linked to civil protest movements. In the second part, this article discusses how both terms circulate as Instagram hashtags in this delocalized world of networks. The terms are used to show that, beyond transcending national territories, new, significant geographies are continually being reconstructed.

War is a highly visual and sensual affair—as is a prison sentence—yet the testimonies of those who have experienced both are rarely disseminated in aesthetic forms. In their contribution the authors start from the premise that the experiences of the convicted veteran require new forms of thinking and analysis. Drawing on the recent video production of The Separate System (2017)—produced jointly by professional artists and veterans-prisoners—they stress the importance of thus co-produced artworks in the field of artivism (or activism through art) with veterans of warfare. Artivism produces images—in a wide variety of shapes and forms—that could have the potential to significantly and directly affect the bodies of their (un)intended spectatorships and audiences by sharing some (however little) of the veterans’ experience. Moreover, the artivist process itself, which involves veterans and artists working together on the artwork, may have healing or restorative potential: in mobilising the body and in engaging and communicating with others working through and expressing past experiences, veterans and artists alike are inevitably required to take into account of the outside world (i.e. the destination of the images that they are producing), to make communicative connections, to make ‘experiencing together’ possible, to reconstitute communal life, and to actually ‘build world’.

La investigación se realizó con la colaboración de tres universidades: Universidad de Murcia (Facultad de Educación), Universidad de Lisboa (Centro de Investigación, CIEBA Centro de Investigación de Estudios en Bellas Artes de La Universidad de Lisboa, Portugal) y Universidad de Granada (Facultad de Ciencias de la Educación). Los diferentes proyectos fueron desarrollados por alumnado del Grado en Educación Primaria. Desde el año 2014 hasta el 2018., Este proyecto nace del reto que plantea una sociedad que exige cada vez más personas flexibles, críticas e innovadoras, situación a la que consideramos que necesita adaptarse el sistema educativo desde todos los niveles y en este caso, el universitario. De ahí la necesidad una Investigación Educativa de carácter artivista Basada en las Artes, que proporcione a los alumnos/as las habilidades que se le requieren y les permita expresarse, evaluar críticamente el mundo que les rodea, participar de forma activa en la construcción del conocimiento y a su vez cuestionar la realidad. En este contexto, se ha realizado una Investigación Educativa Artística desde el enfoque de la Educación Social en la que el Arte es mediador en las problemáticas que están surgiendo, como objetivo de formación y propuesta "pedagógica mesoaxiológica" (Touriñan, 2016), ya que el instrumento con el cual se ejerce es el arte, este requiere un estudio específico e influye en la toma de decisiones educativas de una manera directa. De ahí el interés en este trabajo de relacionar la educación artística y educación cívica con unos problemas reales en materia de diversidad, identidad, igualdad, sostenibilidad, etc. La educación artística, en tanto que es sustantivamente educación, no trata de formar profesionales de un arte, sino de contribuir a la formación común de las personas desde las artes., El capítulo recoge resultados de diferentes investigaciones realizadas: Proyecto 1. Título: Educación: Instalación artística y performance como espacios de reflexión, concienciación y sensibilización ciudadana (Universidad de Murcia, 2014/2015. https://tv.um.es/videos?serie=13511) Proyecto 2. Título: Educación para la inclusión través de proyectos artísticos: narrativas audio-visuales y plásticas contemporáneas para el desarrollo holístico a nivel socio-emocional (Investigación Universidad de Lisboa, 2015/2016). Investigación supervisada por el profesor Doctor Joäo Paulo Queiroz, realizado desde el 1 octubre al 30 de diciembre de 2015. En el Centro de Investigación, CIEBA (Centro de Investigación de Estudios en Bellas Artes de La Universidad de Lisboa) Lisboa, Portugal. Proyecto 3. Título: Arte contemporáneo y fotoeduca-acción para la inclusión social: espacio relacional (Universidad de Granada, 2017/2018. https://canal.ugr.es/noticia/estudiantes-ugr-espacio-acoso-escolar/).

The shortcomings in public policies related to homelessness require alternatives to be sought that turn homeless people into active agents rather than treating them as passive subjects caught up in excessive bureaucracy and dependent on handouts. This paper describes the logics, achievements and challenges of a research and artivism project developed over the course of a decade with homeless people in Seville (Spain). The aim was to understand and help to reverse their situation of exclusion, and particularly the institutionalization of homeless people in care centres. Framed as Participatory Action Research, the project articulated two methods: on the one hand, Collective Theatrical Creation; and, on the other, Ethnography, understood as a practice of coexistence, dialogue and experimentation. The original proposal has enabled certain obstacles experienced by homeless people to be problematized, communicated and deconstructed, generating spaces for creativity, education and action research,through the creation, performance and reception of theatrical productions, as well as their promotion on the internet and social media. The results are empowering and enabling homeless people, very identified with a process of creation established through mutual learning of the ontological, epistemological, axiological and emotional assumptions of scientists and homeless people. Las deficiencias de las políticas públicas con el sinhogarismo obligan a la búsqueda de alternativas que conviertan a las personas sin hogar (PSH) en actores y no solo en sujetos pasivos, asistencializados y burocratizados. Este artículo describe las lógicas, logros y retos de un proyecto de investigación y artivismo desarrollado durante una década con PSH en Sevilla, con el objetivo de comprender y contribuir a revertir su situación de exclusión, y muy particularmente la institucionalización de las PSH en centros de acogida. Enmarcado como investigación-acción-participativa, el proyecto se ha articulado con dos métodos; por un lado, la Creación Colectiva Teatral (CCT), y por otro, la Etnografía, entendida como práctica de con-vivencia, diálogo y experimentación. La propuesta ha permitido la problematización, comunicación y deconstrucción de ciertos obstáculos experimentados por las PSH, y ha generado ámbitos de creatividad, educación e investigación-acción, tanto en la gestación, representación y recepción de las obras teatrales, como en su difusión en Internet y las redes sociales. Ello ha alentado el empoderamiento y la capacitación de las PSH, notablemente identificadas con un proceso de creación basado en el aprendizaje mutuo de los presupuestos ontológicos, epistemológicos, axiológicos y emocionales del científico y las PSH.

MEMOIRS - Children of Empires and European Postmemories (648624) Este artigo trata, de maneira comparada, da prática de poesia performática slam presente nas periferias de alguns países da Europa e o Brasil. Observam-se as preocupações contíguas das comunidades marginalizadas e como exprimem de modo poético sua forma de ocupar um lugar no mundo. Apoiado em conceitos como terceira diáspora (Guerreiro, 2010) e artivismo (Debord, 1997), entre outros, o artigo busca entender como essas comunidades afirmam suas alteridades nas dinâmicas das migrações e pós-colonizações, assim como reclamam versões alternativas à narrativa oficial e sua inscrição no presente. This article compares the practice of slam performance poetry in the peripheries of some European countries with slam performances in Brazil. We note the contiguous concerns of marginalized communities and how they express poetically their way of occupying a place in the world. Based on concepts such as the third diaspora (Guerreiro, 2010) and artivism (Debord, 1997), among others, this article analyzes how these communities affirm their alterities in the dynamics of migration and post-colonization, as well as their claim for alternative versions of the official narrative and its inscription in the present. Este artículo trata, de manera comparada, de la práctica de la poesía performática slam presente en las periferias de algunos países de Europa y Brasil. Se observan las preocupaciones contiguas de las comunidades marginadas y la manera como expresan de modo poético su forma de ocupar un lugar en el mundo. Basado en conceptos como la tercera diáspora (Guerreiro, 2010) y el artivismo (Debord, 1997), entre otros, el artículo busca comprender cómo estas comunidades afirman sus alteridades en las dinámicas de las migraciones y post-colonizaciones, así como reclaman versiones alternativas a la narrativa oficial y su inscripción en el presente.

This chapter focuses on small cultural collectives and interventions that have emerged in Spanish cities after the 15M with the objective of recovering the “public” in public space. Saltzman characterizes the diverse forms of grassroots activism (from those that have a fixed space to those that are nomadic) and shows how they organize themselves and operate in rhizomatic ways (Deleuze and Guatarri). Subsequently, she zooms in on one nomadic intervention in particular—#femPlaca [#LetsMakeThePlaza], which occurs monthly in a gentrified plaza in Barcelona. Without obtaining the required municipal permission, the participants (activists, random passersby, immigrants and children) practice everyday activities together (eating, drinking, sitting and playing) to raise awareness about the social cohesion, diversity and history that are lost with the neoliberalization of public space.

Waste pickers have, historically and across the globe, been one of the most marginalized urban subjects. Fortunately, in the last decades, we’ve witnessed their growing mobilization. This chapter explores the ways in which a collaborative project of urban intervention forged between graffiti artists and waste pickers, has, thanks to crowdfunding, expanded across Brazil and its borders, taking on the status of a ‘movement.’ I examine the ways in which the viral effect of this project has effectively helped to destigmatize the image of the catador in the city of Sao Paulo while re-signifying graffiti art. More specifically, at the core of my inquiry lies the question: What are the various cultural, political, and material factors that have allowed ‘Pimp My Carroca’ (Pimp My Cart) its longevity, expansion, and popularity? And what is the role of the catador in sustaining the ‘movement’?

Author(s): Oliveira Junior, Ribamar Jose de; Fortes, Lore | Abstract: O presente trabalho tem como objetivo analisar os lugares transeuntes emergentes na performance de brincantes LGBT+ nas dancas de Reisado em Juazeiro do Norte, interior do Ceara, Brasil. Para tanto, procura-se atraves da metodologia cartografica sentimental esmiucar a nocao de teatro como encantamento nos espetaculos de Reisado. A partir da teoria da performativa da assembleia, busca-se relacionar a forma com que esteticas e representacoes de rua se comunicam com as dissidencias sexuais e de genero no contexto da manifestacao cultural popular. Este texto aponta que micropoliticas de genero reivindicam a rua como espaco de criacao, principalmente quando os personagens incorporados na danca deslocam a posicao do brincante LGBT+ do eixo de abjeto para politico. No vies da cultura popular, reflete-se sobre a capacidade de imaginarios coletivos de intervencoes urbanas contribuirem para a coligacao dos corpos dissidentes, tanto no sentido de abrirem a rua como forum de contestacao politica, como tambem de transformarem o corpo multidao em um arquivo aberto.