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Breves apontamentos sobre a cor, o papel, o gesto, e o verbal em António Aragão
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Abstract(s)
Este ensaio de curto fôlego pretende discutir alguns apontamentos sobre a obra de
António Aragão, mais especificamente, sobre os
objetos poéticos Poema azul e branco, de 1970,
e Poema vermelho e branco, de 1971. O artista,
como bem está divulgado, transita pela escultura, ficção, pintura, poesia e teatro, demonstrando
uma multiplicidade expressiva que está presente
em sua obra. Ao se tomar como objeto de análise
os poemas anteriormente nomeados, pensa-se
que eles poderão auxiliar na compreensão do
uso material da cor, do papel, do gesto e da tensão provocada entre aqueles e o verbal. Também
se deve considerar o caráter intermidiático que
promove um movimento deflagrador do estado
poético. Para levar adiante a proposta, devem-se
considerar as noções de ponto, linha e plano, de
Wassily Kandinsky, o conceito de livro-objeto discutido por Paulo Silveira e a noção de dobra apresentada por Michel Melot.
This short essay intends to discuss some notes about António Aragão works, more specifically on the poetic objects Poema azul e branco, from 1970, and Poema vermelho e branco, from 1971. As is well known, the artist transits through sculpture, fiction, painting, poetry, and theater, demonstrating an expressive multiplicity that is presented throughout his entire opus. By taking the poems previously named as an analysis object. They may help to understand the materiality in the use of color, paper, gesture, and the tension between the verbal elements and the formers. Also, one should consider the intermedia features which promote a deflagrating movement of the poetic state. Wassily Kandinsky’s notions of point, line, and plane must be considered, as well as the concept of book-object discussed by Paulo Silveira and the fold presented by Michel Melot in order to carry the proposal forward.
This short essay intends to discuss some notes about António Aragão works, more specifically on the poetic objects Poema azul e branco, from 1970, and Poema vermelho e branco, from 1971. As is well known, the artist transits through sculpture, fiction, painting, poetry, and theater, demonstrating an expressive multiplicity that is presented throughout his entire opus. By taking the poems previously named as an analysis object. They may help to understand the materiality in the use of color, paper, gesture, and the tension between the verbal elements and the formers. Also, one should consider the intermedia features which promote a deflagrating movement of the poetic state. Wassily Kandinsky’s notions of point, line, and plane must be considered, as well as the concept of book-object discussed by Paulo Silveira and the fold presented by Michel Melot in order to carry the proposal forward.
Description
Keywords
António Aragão Poesia visual Arte Poesia experimental Poesia portuguesa Visual poetry Experimental poetry Portuguese poetry . Faculdade de Artes e Humanidades
Citation
Publisher
UMa-CIERL/CMF/IA