This article approaches the intersection between word and visuality in three moments of Brazilian art: Concretism, Neo-Concretism, and New Brazilian Objectivity. From a first moment in which the identity between word and image is pursued in a predominantly optic way, a second occurs in which the word is admitted in its symbolic dimension and identified with space, becoming haptic. At a third moment, these instances maintain their differences, establishing a relation of metonymic contiguity that mobilizes the context in which they are inscribed. The hypothesis here formulated is that a shift in the semantic-visual relation paradigm takes place, having as a point of inflection a theoretical text by Hélio Oiticica from 1967 and his concept of “semantic participation”.
Brazilian Art; Word and Image; Semantic Participation
Fonte: CAMPOS, Augusto de; CAMPOS, Haroldo de; PIGNATARI, Décio. Teoria da poesia concreta: textos críticos e manifestos 1950-1960. São Paulo: Livraria Duas Cidades, 1975, p. 69.
Fonte: AMARAL, Aracy A. (org). Projeto construtivo brasileiro na arte (1950-1962) . São Paulo: Pinacoteca do Estado, 2015, p. 161.
Fonte: AMARAL, Aracy A. (org). Projeto construtivo brasileiro na arte (1950-1962) . São Paulo: Pinacoteca do Estado, 2015, p. 279.
