The text discusses the creation of benches painted by eight female artists for an exhibition called "Misericórdia e Algazarra" (Mercy and Uproar) during São Paulo Design Week.

 

The exhibition addresses the erasure of history, particularly focusing on Tebas, a black enslaved architect who built São Paulo’s first public fountain, later removed due to complaints from the nearby elite.

 

This removal mirrors ongoing gentrification efforts pushing marginalized cultures to the outskirts of cities to increase real estate value.

 

The text also highlights the fight against graffiti, especially in gentrified areas, and how graffiti and muralism are sometimes accepted as a form of “remedy,” erasing the expression and history of those who risk their lives to occupy denied spaces.

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“Quantas algazarras silenciadas pela gentrificação?”

(How many uproars silenced by gentrification?)