摘要：The aim of this paper is to observe the process of opening of relational spaces of confl ict between the pixação and the world of art depicted from the analysis of six events that had involved pixadores of the city of São Paulo (Brazil), between 2008 and 2012. Given this context, the att ention is focused at the images produced for the pixação at diff erent moments, searching for the relations that they made possible and the political potencies that they keep. The notion of political potency is mainly anchored in the thought of Jacques Rancière (2009, 2010a, 2010b, 2011, 2012), who understands it as the potential that an image has to destabilize the orders of the sayable and the visible, opening new possibilities for the partition of the sensible. To fundament such considerations, we present the three regimes of the art considered by Rancière (ethical, representative, and aesthetical) amongst which the aesthetic regime keeps such political potency. Then three images of Dian Ivson’s pixações are observed: he signs the name of his group, “Cripta”, at three moments: in the street; in the Cartier Foundation (Paris); and in the Biennial of Berlin. We want to see how the relations of prohibition, assent and subversion can make appear diff erent elements, making similar images keep distinct potencies. Keywords: pixação, image, political potency, regimes of art.
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