The Minas Gerais-based artist featured in the 18th Festival discusses the connections between urban intervention and institutional art facilities in statement. He addresses the photograph series Hachuras em Movimento, shown in the Southern Panoramas competitive show, and structured as a part of movements for taking art into the streets, and for bringing direct actions into the so-called art world. He considers the photos as both records of the action he promoted on the streets of Belo Horizonte, and as a form of making it into an object of aesthetic appreciation: “I do not expect passersby to link that intervention with the field of knowledge that is called art.” The action, which consisted of painting shadows projected onto the floor, was taken by a passerby as the gesture of a “bum,” the artist recounts. He discusses the bum figure, which he believes is connected with the social place allocated to the artist, as being essential, since the bum engages in an interest-free contemplation of the world. He also speaks on the interchange that the event brings about, and which allowed for closer ties to be established between artists from his area, Minas Gerais.