Escritas contemporâneas brasileiras: escrita manual a partir de Guilherme Zarvos e Gustavo Speridião

Abstract

In recent years, in Brazil, we have observed the maturing of a tendency to experiment with writing which, in dialogue with the most diverse national and international traditions, transits on the border between word and image, between the legible and the visible. Artists such as Gustavo Speridião and the poet Guilherme Zarvos build a new poetics of the scriptural, drawing parallels with graffiti and bringing the act of writing closer to the gesture of drawing. As a result, an aesthetic moment of mutual contagion between poetry and visual arts is consolidated through the valorization of manual writing, in which the sharing of thematic and visual traits is perceived, regardless of the chosen support, be it a book, a canvas, or a wall. Within this panorama, I choose as case study the paintings by Speridião, marked by the unabashed use of words, and the scriptural poems by Zarvos, which combine writing, drawing, and scribbling. These new objects that I choose to call "contemporary Brazilian writing" offer challenges and new ways to think about literature today, bringing to light fundamental questions for situating literature, at a time when it establishes interdisciplinary links with other fields. With special interest in the reflection on writing based on the works of the authors in question, the purpose of this study is to understand the impasses and challenges for a concept of writing, considering its placement in an aesthetic moment of poetic and imagetic experimentation of manual writing. In order to do so, we take a panorama of perspectives, from the ways in which current criticism and theory of literature and art deal with the hybrid objects between poetry and visual arts; the formal and thematic intertexts with graffiti; the relations between word and image; the manual aspects of the analyzed texts to, finally, a conceptual study of writing and its aesthetic, poetic, and political implications.