Call me by any name you wish, but call me Marylin's skirt: the public sculpture by Ascânio MMM
DOI:
https://doi.org/10.22409/arte.lugar.cidade.v2i2.69647Keywords:
public art, invisibility, popular appropriation, Ascânio MMM, Rio de JaneiroAbstract
In this article, we seek to advance reflections on the use of public spaces in contemporary cities, grounded in theories of public art, critical urbanism, and public policy, with the aim of considering the processes of aestheticization of urban life and gentrification of areas in these cities. We also consider other more optimistic possibilities that point to public art as a generator of singularities, capable of leveraging citizens' self-esteem and promoting population engagement. In these reflections, we seek to analyze the relationships that are established around Ascânio MMM's sculpture Módulo Rio (Module 8.4), installed in the outdoor access area of a corporate building in the city of Rio de Janeiro.
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