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Cruzamentos entre palavra e imagem em três momentos da arte brasileira

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Detalhes bibliográficos
Resumo: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”.
Autores principais:Gerheim, Fernando
Assunto:arte brasileira palavra e imagem participação semântica arte brasileño palabra y imagen participación semântica Brazilian Art Word and Image Semantic Participation
Ano:2020
País:Brasil
Tipo de documento:artigo
Tipo de acesso:unknown
Instituição associada:IBICT
Idioma:português
Origem:Oasisbr
Descrição
Resumo: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”.

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