Priscila Lena Farias / Anna Calvera Marcos da Costa ... - Blucher

Design and the street
Figure 3. Poster 1 and poster 2 of seven, and frame of the documentary video “7” [Seven].
The characteristics of its regular frequency and the deliberate
dissonance between the medium and the message eventually
created a kind of pact with the spectator.
In all posters of the series, the printing in silkscreen consists
of one single paint color. The use of this technique and limited
graphic resources integrate the very concept of the project,
contributing to the desired aspects of its ephemeral feature and
production agility, corroborated by the industrial and commercial
size of the 2B sheets of paper, measuring 66 x 96cm, that
prescind cutting and finishing.
As an example, the first poster exhibits a culinary recipe, white
type on red paper, reference to a known historical fact: during
the military dictatorship in Brazil, when newspaper articles were
censored, the editors published recipes instead to occupy the
space, on an ingenious way of telling their readers that something
important had been prohibited 8 . Here, the “Economic fruit
cake” recipe was selected for its dubious meaning.
On the second poster, printed in black paint on white paper, a very
enlarged photographic face which image boundaries exceed the
limits of the field, in open and big screen dots, may suggest technical
restraint. This face, graphically turned unrecognizable and
anonymous, is differently perceived when the observer is at 30
centimeters or at one meter or at ten meters distant. However,
this is a trick that hides a paradox, because it is not there, on a
gestalt approach, that lays the designer control over the reception
of the message. In this poster, another physical dimension
is added: a muzzle made of black paper is fixed with adhesive
tape over the correspondent area of the mouth (fig. 3). At the end
of this poster cycle, all paper stripes had been removed. September
11th 2001 had happened exactly one week before.
To this, followed five more series.
8 In 1970, the artist Cildo Meireles used the classified advertisements newspaper
pages to produce some works of his “Inserções em circuitos ideológicos” [“Insertions
in ideological circuits”] series.
5. Conclusion
These three works have in common the final goal of inciting in
the citizen the role of observer, stimulating the looking at his
city, heightening his attention, enhancing his experience, refining
his senses, constituting a critical audience.
In conclusion, “Design and the street”, by these case studies,
considers fomenting and increasing the debate on the outlooking
of relevant design’s functions, notedly in its relationship and
insertion in the environment, and the transformation of the contact
surfaces and friction of Design with Art and Architecture.
References
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