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

PARODE, Fabio / BENTZ, Ione
made of an entirely different set of elements that establish ongoing
interactions with each other made of aggression or kindness,
love or hatred” (p.16), in solidarity relation.
It seems productive for the determination of cultural differentiation
marks, the idea of replacing the logic of identity by the logic
of identification. For Maffesoli (1996), the logic of identity “rested
on the existence of autonomous individuals and masters of their
actions, the logic of identification brings into play” people “of
variable masks, which are tributaries of the emblematic systems
that identify “(p.18). It is seen in V. Muniz’s, the production marked
by the logic of identity which comes from the membership of
the magical atmosphere, between lustful and playful, talking
about the contemporary readings of the latent Brazilianness.
There is viscosity in the air, the good viscosity not of the
opacity, but the transparency that lets you see how the identification
data are permanently on the boil, image so proper to say
of the Brazilian culture. From the realm of appearance to the logic
of identification, Maffesoli’s thesis can install a new paradigm of
understanding that would mean more and different from the Brazilians.
The formation in allegories would allow the explanation
of a remarkable process of national culture, that is, the carnivalization.
The texts of V. Muniz are allegorical constructions in which the
various modulations build a formal and allegorical appearance of
simulacrum and replica, talking about the society at any given
time. They are synchronized records that function as a source
of historical interpretation, and assume the character of the document,
the “testimony” (LYOTARD, 96). It is a way to put it on screen
(in its two senses) responsible content for re-enchantment of the
world in operation that does not disdain the available technicality.
Certain images, then removed by science and technique, return
with strength, spread into the whole social body with the
help of the technological development. The body generates communication
because it is present, it occupies space, it is seen, it
favors the touch.”It is, therefore, the horizon of communication
that serves as a backdrop to the exacerbation of the appearance”
(MAFFESOLI, 96) the reinstatement of the body (GIL,
97). In V. Muniz, for example, the body is the articulator of the
visual and textual spaces and the organizer of the residue materi-
Figure 16: Lixão do Gramacho
als into new sensitive tissues, significant matter of the substance
and the form of the social contents. It is a peculiar way of building
the post-modern identity, the paradox of wealth and waste, in
the paradoxal scenario of poverty and exclusion, in the context of
wealth as well as market and not as a social good.
Aiming at the pleasure of the eyes (tactility and visibility), his
writings take the thought to flow, but also to know, to express the
various truths of the things. It acquires, then, the value of testimony,
so registered in history, as noted previously. In a way,
it replicates the four essential pivots that Maffesoli (1996: 145)
proposes to structure the social aesthetics, “the prevalence of
the sensitive, the importance of the environment or space, in
search of style and appreciation of tribal feeling.” The character of
the document of the epoch is proposed by the work of V. Muniz,
in the process of identifying expression of Brazilian culture.
By thematizing the passion (Figure 15), V. Muniz surrounds
in pieces of objects simply joined to internal configuration of the
frame that metaphors the passion by the kiss, another metonymic
expression to score heavily on the screens of the author. The
joke here is on the textual context; lust gives way to the ascetic
purity of the physiognomy features of the narrative. It reappears,
very clear, in figure 16, in the macunaimic form that represents
the common man in society around poverty and scrap, as
sovereign in their distinctive national identification process, in one
of its many segments. In the mosaic of culture, it settles the mosaic
of plastic forms technicized. It is noteworthy, in this particular
case, the recognition of the culture of poverty in an abundant and
disposal society, and the resumption of the chain in the counterpoint
of extreme poverty. Strategies are created for re-materialization
and recycling, raised to the status of agent of transformation
to promote new lifestyles. The dialectic consumption-discardscavenging
recycling is coated of great significance by introducing
an aspect of otherness kitsch, dominant in the urban public
space, as the pleasure of the senses and forms of the game.
Conclusion
It is considered that from the sensitive experience proposed by
these works, not only the perception of time and space change,
but also the affective value which is constituted in an immanent
way between subject-object in the consumption generates a
quantum of affection, of construction of the meaning and memory.
Howerer, as noted by Adorno, the cultural industry, and within
the design itself, produces effects of standardization, wich in the
current era, the globalization tends to replicate. The resistances to
this system have gradually been giving way to a new order. Some
designers express this conflict, trying to bring out beauty, order,
luxury. Would this be the case of Campana Brothers? .
It is considered that the work of the Campana Brothers is potentially
anti-mass, and therefore reflects the luxury despite extracting
its significant materials of the poorest and simplest means
of the society, thus creating continuity between the different
social spheres. Its result, in the perspective of a Campanian object,
is an amalgam among forces that opposed each other, but
Design Frontiers: Territiories, Concepts, Technologies 602