Abstract
The civilizatory processes in Latin America have occurred, and still do, in a multitude of forms, never complete as a whole, and always willing to incorporate exogenous texts. Therefore, it is necessary to loosen the disciplinary frontiers of the many knowledges in order for us to relate to the cultural diversity (MartínBarbero). In this sense, in the continent, the texts in-culture don’t and can’t fit the watertight categories and, when brought into comparison with other texts, ultimately exchange elements of a cultural universe to another (Pinheiro), enlarging the dialogic frontiers between them. (Lotman). In the light of those concepts, this article recaptures artistic experiments carried out in Rio de Janeiro in the 1960’s and 1970’s by Rubens Gerchman and Antonio Manuel. Some of the works by these artists are to be approached as unprecedented expressive arrangements between cultural series: The newspaper, arts and the cultural-urban landscape. In these experiments, the context of Brazil’s dictatorship at the time cannot go unmentioned, as it is present in the works through their subtle poetry, related with the anonymity of the everyday life in the streets. As for the newspaper, it shall be taken as a relational object that, in the overflowing of its own set of codes, opens itself to the possibility of new connections and folds of systems over other systems - orality over text, music over poetry, text over image, graphic arts over music, etc.
Keywords
art; newspaper; city; Antonio Manuel; Lindonéia
