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      "title": "PAULO ITO INTERVIEW: URBAN ART AS SPACE OF FREEDOM",
      "body": "During my three months trip in South America, Brazil fascinated me more than expected. Walking in the streets of Sao Paulo for the first time, I perceived many conflicting emotions altogether. In fact, I couldn’t spend my days in the streets being emotionless. There are hundreds of homeless people living in the center of the city and there are a lot of expressions of urban art. \n\n![21370941_10211536450700615_2554996741118797742_n.jpg](https://steemitimages.com/DQmNvCrF9VJizyCYArwr5BmgK3wEaXrY3eqUkuU56VpqdFu/21370941_10211536450700615_2554996741118797742_n.jpg)\nThe wall painting of the Argentinian artist TEC in the famous \"Minhocão\" of Sao Paulo. \n\n![21371093_10211536549223078_1400050681954743062_n.jpg](https://steemitimages.com/DQmacCzAtiTx29VDHxTebDzFCJSfkXEPLuFj6xxgyDMQWU5/21371093_10211536549223078_1400050681954743062_n.jpg)\nThe two faces of Brazil. People living up and down of the bridge, near the Matarazzo building in Sao Paulo. \n\nOne day, walking around Vila Madalena, 15 minutes walking far from the Fradique Coutinho metro station, I got “Beco do Batman”, graffiti open-air gallery of Sao Paulo. I was captured by a mural. A businessman is drawn while he is hiding all the city garbage under a carpet. \n\n![Beco-do-Batman.jpg](https://steemitimages.com/DQmQFW9L9HheWBXTavhLhuohuyADdwuaHWN5oeCFKZ7SNyf/Beco-do-Batman.jpg)\nThe Paulo Ito's mural in \"Beco do Batman\", Vila Madalena (Sao Paulo) \n\nI got closer to the wall painting.  I try to figured out the critical subtle message regarding the Brazilian social context. For the first time, I read the name of the author of the work, Paulo Ito, a Brazilian street artist born in Sao Paulo in 1978. The Paulo’s style is characterized by a critical approach. He is known to the international scene for the mural against the FIFA World Cup of Brazil in 2014. It represents a black child that cries because of the hunger. Unfortunately, in the dish there is nothing to eat but a soccer ball. \n\n![Paulo-Ito1.jpg](https://steemitimages.com/DQmRrCa1zw4932DM3raiF43LWsnRWuyvCyrTr8w5won9KCe/Paulo-Ito1.jpg)\nThe Paulo Ito's mural in Vila Pompeia, Sao Paulo. \n\nSo, I decided to meet him. Therefore, I interviewed Paulo with my friends Thai, Martina and Giovanni, a journalist of the “Folha de Sao Paulo”, among the most important Brazilian newspapers. Paulo Ito waited for us in his atelier in the district of Pompeia, with his lovely dog Shody. \n\n![17553702_10210147777104643_6032528626050131383_n.jpg](https://steemitimages.com/DQmcbeaxUqk9DtcqiPpj72UJ6cmVoaqYjasGNk4jGDqEUYp/17553702_10210147777104643_6032528626050131383_n.jpg)\nPaulo in the atelier of Vila Pompeia. \n\nWe discussed about his wall painting in “Beco do Batman”. His will was to criticize the Brazilian society which prefers to hide a problem instead of resolving it. On the same topic, Paulo made another mural, that was a reinterpretation of the well-known Banksy’s mural of the maid who hides the dirt under the carpet. Paulo just replaced the face the maid with the one of the ex-mayor of Sao Paulo, Gilberto Kassab. The reason why Paulo made it, was because the the mayor, without any artistic criterion, promoted the urban cleaning campaign, “Cidade Limpa” in 2008, culminated with the cancellation of the Os Gemeos, Nunca and Finok’s graffiti. The documentary of Marcelo Mesquita and Guilherme Valiengo, “Cidade Cinza” (2013) explains the alarming situation. \n\n![2021.jpg](https://steemitimages.com/DQmXCuVo73Xm9gdyzS4CvdcC2mqFsLP273VxjRrkxyhH4KE/2021.jpg)\nThe Banksy's maid (http://bit.ly/2n3GFQ7)\n\nThe Paulo’s work criticizes the hypocrisy and the contradictions of the society, especially Brazilian. Regarding its characters, he said: “I try to expose their economic and technocratic vision in a ridicule way. He creates works full of “humor noir” where the social criticism is the central focus. “The humor allows you to speak of different matters. When the spectator understands the intrinsic sarcasm of the message, he has access to a better understanding”. The humor is the best attitude to describe a paradoxical society as that Brazilian one. Opulence and poverty, armored gardens and homeless, riches in the helicopters that fly over kilometres of sidewalks crowded od people and huts. Often you can read the word “God” written on the walls of the shacks as a god could resolve the endemic poverty of the favelas and the daily violence. \n\n![1707b4a14e0ae7592ccded96f928f4e5.jpg](https://steemitimages.com/DQmYWFeLenjUbCaZqSPx94w5DwCeMQHL7EN8sbQLNULZt3R/1707b4a14e0ae7592ccded96f928f4e5.jpg)\nA wall painting made by Paulo Ito and Alex Senna in Sao Paulo (http://bit.ly/2n4ul21)\n\n![17098668_10209931802065402_4162590760922164456_n.jpg](https://steemitimages.com/DQmWp364RepvYA2LnUVKv5e8zRNw7JJAq2NKHSAcrR5a3rZ/17098668_10209931802065402_4162590760922164456_n.jpg)\nA work of Paulo made in his atelier. \n\nWe ask to Paulo if he finds a difference when he paints in rich and poor districts. “The difference is very very big. The poor men that live in the outskirts or in the favelas have a collective conception of the street, as a public asset. For them, you are contributing to the common good. Different is for the rich district where the concept of private ownership is very strong, and you can listen often: “Why are you painting in front of MY house?”, as if the walls were an extension of their ownership. I feel more to my ease when I work in poor places”.  \n\nSo, we ask to Paulo if urban art can be an alternative to the compulsive consumerism that characterizes the art scene today. According to Paulo: “Yes. In the past this idea was stronger. Unfortunately, today many street artists work with galleries and the urban art exhibitions are similar to the art contemporary fairs. Everything turns into the market, as Jean-François Brient demonstrates in “De la servitude moderne”.  \n\nWe thank Paulo for this interesting meeting. His idea is that “the urban art could have a big potential of freedom, it shouldn’t have a commercial purpose”. \nAccording to the art historian Peter Bengtsen, “the rebellious nature of the street art is incompatible with the institutional context”.  \n\n![17554205_10210147775904613_1890076331601122952_n.jpg](https://steemitimages.com/DQmWcjrSw1seT6RrDQsnKcnzqqEToz9aeS88WpSPBUacsQK/17554205_10210147775904613_1890076331601122952_n.jpg)\nMe, Thai, Giovanni and Martina with Paulo and his dog Shody. Vila Pompeia, Sao Paulo. \n\n![17498426_10210147777424651_8718476153606996399_n.jpg](https://steemitimages.com/DQmZPkyDnj2bxMabJkhM9TnQhT5ckTqfTN8s4T9egnYrZsy/17498426_10210147777424651_8718476153606996399_n.jpg)\nPaulo and Shody in the atelier.\n\n![17155966_10209931800505363_3694315644986579454_n.jpg](https://steemitimages.com/DQmXs5C4jGEESP59eqHwagj2VzWoYjoL2TrfQVBhDPwyTg4/17155966_10209931800505363_3694315644986579454_n.jpg)\nMe and Shody :)!\n\n![17022456_10209931801185380_4716791953367383326_n.jpg](https://steemitimages.com/DQmboYYtwbupqkMu8NquxQPBKfB341zL6wXCQVmJX9Zn1AZ/17022456_10209931801185380_4716791953367383326_n.jpg)\nPaulo photographed by Giovanni \n\n![17155370_10209931801025376_3346964381713333689_n.jpg](https://steemitimages.com/DQmR6r8MArCphATpi5VqFuCvZX1jrpYyBZKsHHUZMrCKJbp/17155370_10209931801025376_3346964381713333689_n.jpg)\n\n![17629906_10210147777184645_9116969222122754719_n.jpg](https://steemitimages.com/DQmdxndnin4PRVPeecVENH2971nPKqFX3Tv1B367LGHJkB3/17629906_10210147777184645_9116969222122754719_n.jpg)\n\n\nCredits photos: Thaine Machado and Giovanni Bello \n\n\nVERSIONE ITALIANA\n\nDurante i tre mesi trascorsi in America Latina devo ammettere che lo stato che più mi ha affascinato e, allo stesso tempo, sconvolto è stato il Brasile. Non ho mai percepito così tante emozioni contrastanti camminando in strada, come nella città di San Paolo. In effetti, è una città che non ti può lasciare indifferente. Tanti sono i senzatetto che popolano i suoi marciapiedi e tante sono le espressioni d’arte urbana che la caratterizzano.  \n\nUn giorno  camminando per il quartiere di Vila Madalena, a 15 minuti a piedi dalla metro Fradique Coutinho, arrivi al “Beco do Batman”, galleria di graffiti en plein air della città di São Paulo. Un murale attira la mia attenzione. Rappresenta un uomo ben incravattato che si staglia su uno scenario surreale, di cielo tinto di arancio sopra una terra incandescente, mentre nasconde la polvere sotto un tappeto.\n\nMi avvicino all’opera ed è così che riesco a decodificarne meglio il messaggio. L’espressione di finta nonchalance del personaggio in primo piano annuncia il paesaggio catastrofico che si delinea in lontananza: una catasta di spazzatura che straripa oltre il tappeto. In basso sulla destra leggo per la prima volta il nome dell’autore di quell’opera, Paulo Ito. Paulo è un \"pintor de rua\" nato a São Paulo nel 1978, artista dal taglio critico e pungente, conosciuto a livello internazionale per il murale contro la FIFA World Cup del Brasile 2014 raffigurante un bambino nero che piange per la fame ma che ha nel piatto un pallone da calcio.\n\nNon sarei potuta ripartire dal continente sud americano senza averlo prima incontrato. Decido quindi di intervistarlo con la mia troupe di amici nonché giornalisti de la Folha de Sao Paulo, uno dei più importanti magazine brasiliani.\n\nPaulo Ito ci accoglie nel suo atelier nel quartiere Pompéia insieme al suo cane Shody. Parlando del lavoro del “Beco do Batman”, ne comprendiamo la forza e la valenza espressiva analizzando il contesto sociale brasiliano «che ha culturalmente la caratteristica di nascondere invece di risolvere un problema. L’uomo dell’opera è colto nell’azione di esconder a sujeira embaixo do tapete» (“nascondere la sporcizia sotto il tappeto”). \n\nContinuando su questo tema, Paulo ci parla di un’altra sua opera, il Kassabanksy, che nasce come rilettura della cameriera che nasconde la sporcizia sotto il tappeto di Banksy. Paulo sostituisce al viso della donna quello dell’ex sindaco di São Paulo, Gilberto Kassab. Senza alcun criterio artistico, il sindaco promosse la campagna di pulizia urbana « Cidade Limpa » del 2008, culminata con la rimozione dei graffiti degli artisti Os Gêmeos, Nunca e Finok, e che il documentario di Marcelo Mesquita e Guilherme Valiengo, Cidade Cinza (2013) ritrae con sguardo lucido ed allarmante.\n\nIl lavoro di Paulo critica l’ipocrisia e le contraddizioni della società, soprattutto brasiliana. Riguardo ai protagonisti dei suoi lavori, ci racconta: «tento di esporre al ridicolo la loro visione esagerata, super monetizzata e tecnocratica», asserisce Paulo. Crea situazioni pregne di humour noir il cui punto focale è la critica sociale. «L’umorismo ti permette di parlare di svariate questioni. Quando lo spettatore comprende il sarcasmo intrinseco ad un’immagine, ha accesso ad un intendimento che appaga. Si possono toccare tutti gli assunti e l’effetto che si produce è più intenso». \n\nE l’umorismo sembra l’attitudine più adeguata nel descrivere una società impossibile e paradossale come quella brasiliana che Paulo delinea citando le parole del cantante e compositore brasiliano Tim Maia: «Questo paese non potrebbe mai funzionare. Qui la prostituta s’innamora, il magnaccia ne è geloso, il trafficante prende il vizio ed il povero è di destra». Opulenza e miseria, giardini blindati e moradores de rua, ricchi in elicottero che sorvolano chilometri di marciapiedi popolati da baracche dove talvolta s’incontra la scritta “Deus” come se un dio potesse risolvere la povertà endemica delle favelas, l’abbruttimento della violenza quotidiana fatta di aggressioni e scippi. Ricchi e poveri si scrutano da lontano senza possibilità d’incontro.\n\nChiediamo a Paulo se riscontra una differenza di ricezione del suo lavoro da parte degli abitanti dei quartieri ricchi e di quelli più poveri. «La differenza è molto molto grande. Il povero che vive in periferia o nella favela ha una concezione della strada come cosa collettiva e se qualcuno dipinge in strada, per loro sta contribuendo al bene comune. Diverso è per il quartiere ricco dove il concetto di proprietà privata è molto forte, ascolto spesso “Perché sta pitturando di fronte a casa mia?”, come se il muro fosse un’estensione della loro proprietà. Mi sento molto più a mio agio a lavorare in luoghi più popolari».\n\nLa definizione di proprietà privata è direttamente connessa a quella di muro, e per Paulo «in Brasile è tutto congiunto al consumo e il muro rappresenta una divisone sociale poiché è eretto affinché una persona non passi. Al contempo può essere un supporto e diviene così un’alternativa all’atmosfera opprimente della città, del non-orizzonte. L’arte di strada entra come un respiro e parlando a tutti, non separa ma unisce. In definitiva, il ricco aspetta un certificato istituzionale di un museo che dice che quella è arte. Il povero no, ha la libertà d’incantarsi».\n\nA tal punto, domandiamo all’artista se l’arte urbana possa essere un’alternativa al consumismo compulsivo che imperversa oggi nel mondo dell’arte. Secondo Paulo «in passato questa visione era più forte. Oggi molti artisti lavorano con gallerie ed il formato delle mostre d’arte urbana è simile ad una fiera di arte contemporanea. Tutto diventa prodotto, come mostra Jean-François Brient nel suo De la servitude moderne». Ringraziamo Paulo per questo bell’incontro che si conclude con quest’ultima idea: «L’arte urbana deve avere un alto potenziale di libertà poiché, non avendo un’ottica commerciale, non deve accontentare un’istituzione, un curatore o un gallerista». \n\nCome dargli torto. Anche secondo lo storico dell’arte Peter Bengtsen, «la natura ribelle della street art è incompatibile con il contesto istituzionale».",
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