Stencil, Space, Presentation: Outline for a Cynical Aesthetics

Abstract

The present article approaches reading and interpretation of the figures of the stencil in the order of its public and urban emplacement. Our hypothesis is to consider this type of visual manifestation from two perspectives: the first one will describe the different elements that form the semiotic exchange between figure and emplacement from a perspective of political interaction, and the second, will shed light on this interaction from the typical resources of sense production of the ancient cynical doctrine. In sum, the coincidence of these two perspectives will provide a conceptual image in order to understand the artistic and cultural phenomenon of the stencil, and at the same time, to indicate the theoretical efficiency with which the cynical tradition can be awarded.