Pires, H. & Mesquita, F. (Eds)(2018). Publicity and urban visual communication. Braga: CECS
“The importance of belonging groups in the formation of youth identities is well known (Pais, 2003), as well as in the management of connections and societal achievements, especially in urban contexts (Maffesoli, 2014). Graffiti offers, especially to young people, as a collective activity, a special opportunity for “sociality” (Maffesoli). Due to its often subversive nature, the practice of graffiti constitutes a marginal place, where the expression of a given social criticism, the exercise of a specific language, more or less encrypted, the exploration of techniques and styles, as resources for aesthetic and political affirmation, as well as the experience of the risk of unauthorized participation in the public space, remain profoundly challenged by non-aligned thinking, not conformed to the established order (Campos, 2013; Ferrell, 1996).
On the one hand, the practice of graffiti does not dispense with the possibility of affirming individual identity, namely because it is imposed on each one the implicit condition of creating a personal style (a name, a calligraphy, a tag). On the other hand, it is part of a territorial logic of appropriation of space, which means a logic that fosters the affirmation of urban sub-cultures, ethnic groups, etc. (Hebdige, 2005, pp. 355-371) “. Urban art and places to live. Up There, the case of Katre’s intervention in Bairro de Carcavelos – Helena Pires
Helena Pires e Francisco Mesquita