Maria da Graça Luderitz Hoefel, Maria Edna Moura-Vieira, Simone Alves-Hopf, Lindomar Guedes Freire Filha, Paula Guerra

Proceedings of the 14th International Multi-Conference on Complexity, Informatics and Cybernetics: IMCIC 2023, pp. 201-208 (2023); https://doi.org/10.54808/IMCIC2023.01.201

Maria da Graça Luderitz Hoefel
Department of Public Health, University of Brasilia, Brasilia, Brazil

Maria Edna Moura-Vieira
Department of Medicine, University of Valencia, Valencia, Spain

Simone Alves-Hopf
Faculty of Medicine, Friedrich-Schiller University of Jena, Jena, Germany

Lindomar Guedes Freire Filha
Delta Faculty, Goiânia, Brazil

Paula Guerra
University of Porto, Porto, Portugal

Cite this paper as:
Hoefel, M. d. G. L., Moura-Vieira, M. E., Alves-Hopf, S., Freire Filha, L. G., Guerra, P. (2023). Graffiti, Migrant Women, Intersectionality: Artistic Experiences in Portugal. In N. Callaos, S. Hashimoto, N. Lace, B. Sánchez, M. Savoie (Eds.), Proceedings of the 14th International Multi-Conference on Complexity, Informatics and Cybernetics: IMCIC 2023, pp. 201-208. International Institute of Informatics and Cybernetics. https://doi.org/10.54808/IMCIC2023.01.201

The latest world events have impacted the socioeconomic and artistic life of migrants (pandemic, wars and climate change). The feminization of migration has caused a change in the profile of migrant women. These migrant women have been suffering countless experiences that denounce iniquities, some expressed through graffiti art. Objective: To analyze the artistic experiences, resistance to differences and oppression of gender, social class, race and nationality, experienced by a female graffiti artist migrant in the context of COVID-19 in Portugal. Method: Study carried out through action research, netnography and oral history, in dialogue with some concepts: Coloniality, Decoloniality, Intersectionality, Migration, Art. Results: The artist's individual work is present on the walls of Lisbon, portraying peoples in diasporas in different contexts, through aesthetics that reveal Angolan matrices, gender oppression, social class, race and nationality; The artist's collective work has interfaces with social, political and cultural dimensions; During the pandemic, the artist reinvented herself to survive. Conclusion: The artist's work is inserted in the globalized world, where nationality has no borders, bringing to light the colonial discourse that hierarchies society in race, gender and nationality, reverberating power relations, oppression, intersectionality in an aesthetic and political way.