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Let them eat football: Rio de Janeiro's anti-World Cup graffiti Let them eat football: Rio de Janeiro's anti-World Cup street art
(35 minutes later)
Art is tricky to pin down. It means nothing and it means everything. Images are rarely held to account, as words are. When you say you are angry about something and why, this is a clear statement. Yet even the most vicious caricature of a politician can become a cherished image whose victim hangs it over the mantelpiece with pride. That's why Spitting Image never brought down Margaret Thatcher and Steve Bell has yet to claim a leader's head.Art is tricky to pin down. It means nothing and it means everything. Images are rarely held to account, as words are. When you say you are angry about something and why, this is a clear statement. Yet even the most vicious caricature of a politician can become a cherished image whose victim hangs it over the mantelpiece with pride. That's why Spitting Image never brought down Margaret Thatcher and Steve Bell has yet to claim a leader's head.
It is also is why street paintings that adorn walls in Rio de Janeiro and São Paulo, joking vividly about the World Cup will soon be shown by global television stations as part of the carnival atmosphere of the tournament. No doubt they will be juxtaposed with shots of roaring crowds and street parties, even though many of the pictures are filled with scepticism and rage.It is also is why street paintings that adorn walls in Rio de Janeiro and São Paulo, joking vividly about the World Cup will soon be shown by global television stations as part of the carnival atmosphere of the tournament. No doubt they will be juxtaposed with shots of roaring crowds and street parties, even though many of the pictures are filled with scepticism and rage.
It does not matter that muralists such as the Brazilian street artist Paulo Ito are painting such jaundiced images as that of an emaciated child howling at a dinner table where instead of food, he is being served a football on a golden platter. The message of this painting is powerful. Amid the sporting hysteria, poverty not only goes on, but the lives of the marginalised have arguably been made worse. According to the mural, soccer is the opium of the masses, the bread and circuses of today's Brazil: let them eat football!It does not matter that muralists such as the Brazilian street artist Paulo Ito are painting such jaundiced images as that of an emaciated child howling at a dinner table where instead of food, he is being served a football on a golden platter. The message of this painting is powerful. Amid the sporting hysteria, poverty not only goes on, but the lives of the marginalised have arguably been made worse. According to the mural, soccer is the opium of the masses, the bread and circuses of today's Brazil: let them eat football!
But sporting spectacles often prove poor focal points for protest. While all kinds of issues are often raised in the run-up to huge events such as the World Cup and the Olympics, as soon as the action starts the world becomes fixated on the winners and losers on the pitch. It then becomes easy to forget the society around the stadium. For example, international criticism of Russia's backward movement on gay rights was clearly voiced before the Winter Olympics, yet the games went ahead without incident – even as the Ukraine crisis developed.But sporting spectacles often prove poor focal points for protest. While all kinds of issues are often raised in the run-up to huge events such as the World Cup and the Olympics, as soon as the action starts the world becomes fixated on the winners and losers on the pitch. It then becomes easy to forget the society around the stadium. For example, international criticism of Russia's backward movement on gay rights was clearly voiced before the Winter Olympics, yet the games went ahead without incident – even as the Ukraine crisis developed.
In fact, many street paintings show this process already taking place. One artist has painted the blue ghost of the "Maracanazo", the 2-1 victory over Brazil that gave Uruguay the World Cup in 1950. Not only do south Americans remember football matches that happened 64 years ago (even more ancient than England's beloved 1966 victory), these epic matches have names, as if they were famous battles.In fact, many street paintings show this process already taking place. One artist has painted the blue ghost of the "Maracanazo", the 2-1 victory over Brazil that gave Uruguay the World Cup in 1950. Not only do south Americans remember football matches that happened 64 years ago (even more ancient than England's beloved 1966 victory), these epic matches have names, as if they were famous battles.
In this mural the Maracanazo is being put in its place. Uruguay's treasured victory is just a flappy, fat, empty ghost, being flipped off contemptuously by a Brazilian player. What we see here is the authentic spirit of the World Cup – war by other means in a festival of nationalisms.In this mural the Maracanazo is being put in its place. Uruguay's treasured victory is just a flappy, fat, empty ghost, being flipped off contemptuously by a Brazilian player. What we see here is the authentic spirit of the World Cup – war by other means in a festival of nationalisms.
Brazil had a problematic run-up to the tournament, with protests drawing international attention to poverty, inequality and brutal clearances of communities. But the idea that this should be allowed to spoil the football itself is to underestimate the appeal of the game in one of the countries that is best at it.Brazil had a problematic run-up to the tournament, with protests drawing international attention to poverty, inequality and brutal clearances of communities. But the idea that this should be allowed to spoil the football itself is to underestimate the appeal of the game in one of the countries that is best at it.
Nevertheless, many artists are angry. One has painted children dressed in the Brazil strip climbing among the rooftops of a favela, overlooked by a soldier or armed policeman. In this sinister image the people's passion for football is juxtaposed with revolutionary turmoil and the authorities' readiness for a violent crackdown. Who will win? Will the beautiful game free the masses or be part of their subjugation?Nevertheless, many artists are angry. One has painted children dressed in the Brazil strip climbing among the rooftops of a favela, overlooked by a soldier or armed policeman. In this sinister image the people's passion for football is juxtaposed with revolutionary turmoil and the authorities' readiness for a violent crackdown. Who will win? Will the beautiful game free the masses or be part of their subjugation?
The answer to that question is inseparable from the ambiguities of art. It may seem that when a Fifa poster is subverted by adding a gun and a spreading smear of blood, this is a warning that real social unrest is about to overturn football's biggest moment. But art is just art. It can show all kinds of violence without being anything more than a visual distraction. If street art were a harbinger of revolution, then surely the surrealism of newspaper cartoons would betoken a British rebellion just around the corner.The answer to that question is inseparable from the ambiguities of art. It may seem that when a Fifa poster is subverted by adding a gun and a spreading smear of blood, this is a warning that real social unrest is about to overturn football's biggest moment. But art is just art. It can show all kinds of violence without being anything more than a visual distraction. If street art were a harbinger of revolution, then surely the surrealism of newspaper cartoons would betoken a British rebellion just around the corner.
Look at these images from far enough back – from the point of view of world television, with its cameras aimed at the football pitch – and they become a sideshow to the spectacle in the stadiums. But perhaps this is one of those moments when the images break open, the dreams and nightmares of society spill from fantasy into reality, and the hungry kid gets fed. In that case, these paintings will become icons of a revolution started by sport. It is, however, more likely they are simply adding a bit of a sting to the usual, overfamilar opiate.Look at these images from far enough back – from the point of view of world television, with its cameras aimed at the football pitch – and they become a sideshow to the spectacle in the stadiums. But perhaps this is one of those moments when the images break open, the dreams and nightmares of society spill from fantasy into reality, and the hungry kid gets fed. In that case, these paintings will become icons of a revolution started by sport. It is, however, more likely they are simply adding a bit of a sting to the usual, overfamilar opiate.