A Dialogic Pathway for the Reading of the Works of Rubens

Based on the concepts of dialogism and polyphony postulated by Russian philosopher Mikhail Bakhtin (1895-1975), this article investigates some of artist Rubens Gerchman’s works that integrate the Exhibition Estética do futebol e outras imagens [Aesthetics of Soccer and Other Images]. It aims to build a pathway that relates such works to other artistic and literary productions, both those of Gerchman and those of other artists. It uses dialogic discourse analysis as its methodological approach, which proposes a dialogue between different concrete utterances and the production of meanings generated by the interaction between socially and historically situated subjects.


A Dialogic Pathway for the Reading of the Works of Rubens Gerchman / Um percurso dialógico para a leitura da obra de Rubens Gerchman
Érika Sabino de Macêdo  Priscila de Souza Chisté  ABSTRACT Based on the concepts of dialogism and polyphony postulated by Russian philosopher Mikhail Bakhtin (1895-1975), this article investigates some of artist Rubens Gerchman's works that integrate the Exhibition Estética do futebol e outras imagens [Aesthetics of Soccer and Other Images].It aims to build a pathway that relates such works to other artistic and literary productions, both those of Gerchman and those of other artists.It uses dialogic discourse analysis as its methodological approach, which proposes a dialogue between different concrete utterances and the production of meanings generated by the interaction between socially and historically situated subjects.KEYWORDS: Art; Image Reading; Aesthetics; Dialogism RESUMO Este artigo investiga algumas obras do artista plástico Rubens Gerchman, integrantes da exposição "Estética do futebol e outras imagens", a partir dos conceitos de dialogismo e polifonia postulados pelo filósofo russo Mikhail Bakhtin (1895-1975).
Tem como objetivo construir um percurso que relacione tais obras com outras produções artísticas e literárias, tanto de  We know that Gerchman used different languages in his artistic journey, dialoguing with painting, printing, sculpture, and conceptual art.However, the images analyzed here are, for the most part, silkscreens.Based on Gerchman's theme, we deal with two main axes in the development of the dialogic pathway: the artist's admiration for soccer and his voyeur's eye for the urban space.
Dialogic Discourse Analysis was the methodological approach used for the development of the reading pathway.Supported by Bakhtin's theory, it seeks, by means of concrete utterances, the production of meanings generated by the interaction between socially and historically situated subjects.This way, based on Bakhtin's theoretical assumptions and given that he understands utterances as socio-interactive acts, the emphasis of the Dialogic Discourse Analysis is on the concept of interaction.
We thus seek to bring Gerchman's images into dialogue with other artistic and literary works in an attempt to understand his works in more depth.The article is guided by the following question: What discourses are in motion within Rubens Gerchman's images?
In order to organize the explanation of the proposed reading that stems from this question, this study is divided into two sections.In the first, we present a brief history of the Bakhtinian theory and some key concepts that contributed to the creation of the proposed pathway for image reading.In the second, we start along the dialogic pathway by contextually analyzing the artist and the aesthetic elements present in his work.We then seek to establish connections between these aspects and other artistic works in which a dialogic process can be observed.As such, we aim to understand the analyzed corpus in a broader way.

Key Concepts for the Reading of Images
In addressing verbal communication, philosopher Mikhail Bakhtin (1986)   emphasizes that the construction of an utterance does not only stem from the encounter between the world-view of the speaker (his values, emotions and the object of his discourse) and the linguistic resources used.For him, this phenomenon also involves other utterances, for utterances are produced as a response to previous utterances.
Utterances are not indifferent to one another, and are not selfsufficient; they are aware of and mutually reflect one another.
[…] Every utterance must be regarded primarily as a response to preceding utterances of the given sphere (we understand the word "response" here in the broadest sense).Each utterance refutes, affirms, supplements, and relies on the others, presupposes them to be known, and somehow takes them into account (BAKHTIN, 1986, p.91; italics in original). 1 In this context, the concept of polyphony postulated by Bakhtin adds the idea of interaction between different voices present in an utterance.For Bakhtin, verbal communication is a dialogic process of interaction and contradiction between different points of view (BEZERRA, 2010).In searching through the aesthetics of Dostoyevsky's novels and analyzing the process of verbal creation, Bakhtin developed the concept of polyphonic novel.He highlights the different voices present within a text and points to the importance of understanding the dialogue established between the various utterances, as one link in the chain of verbal communication.Bakhtin (1986) 2 thus proposes a dialogic interaction between varied utterances that are produced in diverse spaces/times and that show themselves to be connected by this link.That is to say, the idea of polyphony brings together discourses and recognizes the presence of various voices in the process of their construction.
1 BAKHTIN, M. The Problem of Speech Genres.In: _______.This innovative concept provoked heated academic debates in the 1960s.
Despite some negative criticism at that time, two important language theoreticians, Roman Jakobsen and Viktor Chklovsy, cited the Russian author in their studies.
Furthermore, some renowned critics defended the "[...] originality of the polyphony concept, with its valuable polyphonic view of the world that, according to them, allows many ideas and ideologies to appear side by side in a single text" (BRAIT, 2009, p.54). 3 Within this dialogic concept of culture, every and any cultural act is located on the boundary of other previous and subsequent acts.Therefore, it is through this metaphor of in-betweenness that we must understand the aesthetic object and its historicity: "The aesthetic, without losing its specificity, is rooted in history and culture, and takes from them its meanings and values and absorbs history and culture, transporting itself to a different axiological plane" (FARACO, 2009, p.101). 4 The dialogic pathway that this article presents proposes a connection between the aesthetic qualities of Gerchman's work and other cultural productions.The visual power of these images is thereby increased, as they allow us, by means of their  , 2012, p.32). 6 In this initial approach, we aim to identify the aesthetic and poetic elements present in his artistic output in order to, subsequently, seek to establish connections between these elements and other artistic productions in which we see a dialogic process.

Rubens Gerchman: The Artistic Journey
Researchers of Gerchman's work identify everyday reality and its social issues as a significant guiding thread in his artistic output.Let us see, then, how his life story precipitated his encounter with art and with the thematic drivers of his productions.
Gerchman was born in Rio de Janeiro in 1942 to a Jewish family, the first of seven brothers.Escallón (2013) states that his family life was full of art: his father was an advertising designer and his mother produced embroidery and tapestry.Gerchman grew up in Ipanema and lived part of his life in Copacabana. 7From childhood he felt attracted to art and to stories covered by the media.
His childhood representations were totally connected to reality.He was not interested in creating fantasies but rather in interpreting the radio news.Repórter Esso was the program that told of world events.Thus, reality was already the thread of his playful story (ESCALLÓN,  2013, p.60).8 When he was young, one of those responsible for Gerchman's encounter with the universe of art was a drawing teacher who encouraged the young Rubens to produce numerous graphic representations.This was because he based his evaluations on the quantity of drawings that his pupils produced, i.e., the more drawings, the better the grade.In 1956, after high school and under these influences, he entered the Escola Nacional de Belas-Artes [National School of Fine Arts],9 a course which was interrupted when he had to carry out his military service.
After military service he returned to the same institution but did not finish his studies because he rejected the mandatory and authoritarian academic teaching, Morais (2013) noted a diverse and versatile pathway in Gerchman's work that   showed, between 1960 and 1970, some metamorphosis in his artistic output, which deserves an in-depth investigation.The journalist summarizes as follows: Let's say, to simplify, that at first his eyes were turned to what was happening outside, in the urbs, in the mass media.The 1960s, black phase, strong images, markedly social.In the 1970s, more reflective, Gerchman internalized these images, or rather sought them in his nearest and most intimate circle, as he exchanged the newspaper for the family album (MORAIS, 2013, p.41). 10 In the 1980s and 1990s he developed a series of paintings centred on popular topics, such as soccer, courting couples, television programs, public transportation, the susburbs, and automobiles.This imaginary everyday, created by This pathway allows us to note some fundamental markers for the understanding of his work: his rebelliousness in relation to academic art, his experience with the aesthetics of print media, his living in the urban space of Rio de Janeiro, and his curiosity about popular everyday life.We note, therefore, that his productions are rooted in his past, his culture and his curiosity about the context in which he found himself: His curious and inquisitive outlook on the urban space, produced by his life in the densely populated and quirky district of Copacabana, is further underlined by Escallón (2013): The aesthetic attitude of Rubens Gerchman has a multifaceted behavior that links to a single subject: the urban.And the reflection on this inexhaustible world, which includes a deep human dimension, is imbued with all the vertiginousness of the last half of the 20th century, a period that in its fullness includes multiplicity, speed, visibility and preparing itself for the next century, as Ítalo Calvino referenced (ESCALLÓN, 2013, p.55). 12 Gerchman's viewpoint is always the same; It is through the eye of a voyeur, of a distant witness, that observes crowds from far away and couples up close.It is as if it were a witness that observes everything from social behavior to the intimacy of others.This point of view, at certain moments of distant complicity, confers on his couples a special eroticism charged with seduction (ESCALLÓN, 2013, p.56). 13 The meanings extracted from his urban and social life were transformed into artistic images that went on to provoke new reflections about the everyday that surrounds us.The systemization of Gerchman's artistic pathway, from the words of journalists and art critics, aims to aid the pursuit of the dialogic pathway proposed by this article.Since the understanding of the particularities of Gerchman's work is fundamental for us to address discourses, the recognition of the presence of different voices in artistic images will be analyzed below.It is important to emphasize that the dialogic interactions presented here do not exhaust the possible readings of Gerchman's work.On the contrary, they seek to provoke new reflections about the diverse and restless Gerchmanian iconography.

The Aesthetics of Soccer in Gerchman's Work
Through the artist's pathway presented earlier, we noted the predominance of the discourse of the popular everyday in his works.This aspect motivated Morais   (2013) to attribute an anthropomorphic and sociological importance to his works, beyond the aesthetics.We find soccer included amongst the wide array of common subjects that Gerchman transposed into the world of art.The movements, the players and the idols that make up the imagery of the game were portrayed by Gerchman, a selfconfessed admirer of this popular sport in different phases of his output.
The majority of the images analyzed in this study integrated the exhibition titled Estética do futebol e outras imagens [Aesthetics of Soccer and Other Images], which was composed of prints produced in the 1980s.However, for us to understand the way in which the discourse of soccer is encountered in the exhibited works, we have placed the images in dialogue with paintings created in other phases of Gerchman's output.
We will start the proposed approach with the title of the exhibition that could contribute to the investigation of this thematic set of images.How is the concept of aesthetics considered in the title?After all, does soccer have to be art to be considered aesthetic?Does being represented artistically make it become aesthetic, as in the case of this exhibition?
For the lovers of this sport, the intelligence of a player, a bewildering dribble, the opportunism of a player who steals the ball, a precise defence or even the flight of the ball towards the goal are considered so beautiful that they come close to being art.
In art, the word aesthetics can designate a set of rules, formal characteristics or technical procedures that cause, in a given social, political and economic context, a certain type of production and expression to be considered artistic.As a consequence of this idea, we have the popular expression soccer art.However, what is soccer art?
Would it be individual beautiful "moves" or memorable games?The big teams or their immortal players?
This expression emerged in the popular Brazilian conciousness between the 1930s and 1970s, the era of the country's great football legends and the strengthening of the Brazilian national team.Moraes (2002) refers to a particular manner of play that brings the sport close to art: an improvised shot, a dribble that appears like a dance, or the creativity to set up a "move."The genius, the originality and the "moves" of the players, considered artists with the ball, were valued more than the tactics and strategy of the game.
Besides these characteristics, ball-control is a fundamental part of soccer art.
Players can control the ball using their heads, chests, abdomens, thighs, legs and feet, just not their hands.The challenge is ultimately to generate aesthetic movements in football that come close to being a dance or a "brilliant" move.Without using their arms, during a game, the players must control the ball, think about the next move and avoid having the ball stolen by an opponent.The ball has to be steered with control and, when necessary, speed and agility, always advancing towards the goal.
The aesthetics that makes up the title of the exhibition dialogue with these aspects found in the language of soccer.Nonetheless, it also refers to the poetics of the artist who takes the realities of the social and cultural context into the artistic dimension.
Images that occupy the mass media come to be placed in Gerchman's prints.In this way, the newspaper headlines or the daily experience of a soccer match acquire the aesthetic dimension mentioned in the title of the exhibition.
Gerchman, who lived in the era of players, such as Pelé, Garrincha, Didi,  various portrayals were presented with differentiated compositions that can be analyzed as much for their similarities as for their differences.In some prints we get close to the players, as we see in the images of Pelé (Fig. 3 ) and Garrincha (Fig. 4).The discourse of the traditional portrait is present in these works, highlighting the facial expression of the players with their features marked by the shadow, light and contrast permitted by the print technique.This approach generates an intimate and human appearance in these images of these world soccer idols.On the other hand, the print that portrays Romário (Fig. 2) provokes an aversion of the eye, directing attention to the action of the player and his body movement.The presence of the ball, the field and even the Nike logo on the socks and boots embodies in the person portrayed the role that he plays in this context: a soccer idol.The way in which Gerchman portrays Romário comes close to the language of journalism, the photographic images that adorn the newspapers, showing the beautiful moves and controversial shots that happen during the game.
While Gerchman portrayed players who were already acclaimed, photographer Caio Vilela scoured various countries seeking improvised games of soccer.He was interested in the anonymous figures of the famous peladas,14 considered fundamental for the creation of professional players.This is the time before personal recognition takes place on unstructured, improvised fields.Their bare feet do not have the famous brand boots, and this increases the technical difficulty and emphasizes the creativity of the player's movements and "moves."images strongly marked by a social approach.In this era we see that the artist portrayed, in some of his works, the movement and effervescence of the soccer fans.
The grandstands, besides being related to the soccer theme, represented yet another subject present in the artist's output.The painting Futebol.Flamengo campeão [Soccer.
Flamego, the Champion] (Fig. 8), which did not integrate the exhibition under analysis, is one of Gerchman's works to represent distorted human figures that are stacked and linked together, forming a unique texture.I was impressed when I entered the Maracanã and saw that marvelous mass.It was impossible to know who was who.I just recognized the colors, and when there was a goal everything shook!I sat with the Flamengo fans because there everybody stood up producing human waves (GERCHMAN, apud MAGALHÃES, 2013b, p.79). 15 Another important point associated with the image refers to his approach to the artistic discourse of the era in which it was created: the simplification of forms,  This aspect of urban fragmentation, mentioned by Lefebvre (1996), 17 can also be seen in Gerchman's literary productions: In the city as in everything else, all you see is not.
All you can see is not either.

The hidden is only what you can perceive.
There is the door, the window, the house, the building, the favela.They are boxes for living where individuals live an internal time.
The city is another time.
It is the time of the journey, the rerun life-work, the time of scenes, Masks, meetings, and missed meetings.Colourful clothes, rhythmic bodies, with an internal sun.People's faces that drag themselves along their momentary paths, With faces scowling, or smiles in the corners of the mouth (GERCHMAN, 2013, pp.66-67). 18 17 For reference, see footnote 14. 18 Text in original: "Na cidade como em tudo, tudo que se vê não é. / Tudo o que se pode ver tampouco é. / O escondido é / somente o que se pode perceber./ Existe a porta, a janela, a casa, o prédio, a favela./ São caixas de morar.Onde os indivíduos vivem um tempo interno./ A cidade é um outro tempo./ É o tempo do percurso, do recorrido vida-trabalho, tempo de cenários, / de máscaras, de encontros e desencontros./ Roupas coloridas, corpos ritimados, com um sol interior./ Rostos de gente que se arrastam em suas trajetórias momentâneas, / com caras amarradas ou sorrisos no canto da boca." Caixas de morar [Boxes for Living], represented visually in Fig. 9, is reset into a poetic text demonstrating the artist's continued interest in the theme.The poem also presents the dismemberment of life mentioned by the French philosopher.Gerchman observes everyday life divided into two: external life in the urban space and internal life in the caixas de morar [boxes for living].When he uses the words "hidden," "scenes" and "masks" to describe the city or, even more explicitly, when he uses the sentences "In the city as in everything else, all you see is not.All you can see is not either," he presents the city's deceptive and underhanded facets.The discourse of the city as a simulacrum is also found in the fictional work of Calvino (1974, p.44; italics in original): 19 Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful and everything conceals something else.
These questions addressed by Gerchman, in dialogue with Calvino (1974)  20 and Lefebvre (1996), 21 bring into focus the city and its social and architectural contradictions.In the specific case of Gerchman's production, we can say that the aspects highlighted by him in his visual and textual works are related to the historic layout of Copacabana, which underwent building speculation during the 1960s, making it into a densely populated area.Tall buildings, squeezed together, took over the densely crowded avenues and streets.The buildings constructed in the neighbourhood were spatially close together, leading to inevitable visual intrusion into the neighbouring apartments.
This architectural configuration, an identifying characteristic of the district, that currently houses 150 thousand inhabitants, contributed to the voyeur's eye that we see in the work Caixas de morar [Boxes for Living] and the aforementioned poem.Both the image and the text emphasize the artist's acute and curious eye, which, as a distant witness, observed and analyzed everyday events, social behaviours, and people's intimacy.This distant complicity, pointed out by Escalon (2013), appears, seductively, in numerous works in which Gerchman portrays couples kissing.
Here, once again, the artist places himself as a witness to these amorous encounters.However, in this series, the relationship with Copacabana cannot be observed in the formal elements of the works.The scenes represented, as in   In fact, Hopper always seems to be proposing two worlds, two cities, two possibilities, which are divided between paralysis and isolation and the action and the encounter with the other.The impression one gets is that there is always an expectation in the painter that could lead to unavoidable boredom or an unexpected event.The city happens or "unhappens" in Hopper. 22ntrary to what we see in Hopper's work, Gerchman's city is event, meeting, and movement.The urban space is represented by means of the action of the figures in the work: a kiss, reading on the beach, a ride on a bicycle.The urban architecture is not portrayed; it is only suggested by the lines and forms, as in the window in Fig. 11.Pechman (2014) further highlights that, in Night Windows (Fig. 15), it is through the window that Hopper's voyeur's eye is made real.The city shows itself in its exposed architecture.The city seduces by means of the female body and the red camisole.In Fig.
14, the city is threatening and unreceptive: its windows are closed; its streets, empty.As we have seen, the urban space and architectural configuration were fundamental in Gerchman's creative process because they provoked the practice of looking across a city that moved and "happened" in his everyday life.However, to place his images in dialogue with the work of Hopper, we can that the artist from Rio does not represent the city as the oppressor of desires or as responsible for people's isolation and solitude.Gerchman's city is noble and its allure is devoid of deliberate intent.Gerchman, meanwhile, seems to be at ease even though she is alone.The heat of the sun is present in the work, despite being suggested only by the hot and intense colours, a recurring visual aspect in Gerchman's iconography.
Beyond the visual and poetic aspects that place the discourse of the artists in these two works into dialogue, it is possible to suppose that such approaches might go beyond the pictorial space and relate to their personal experiences.The solitude portrayed visually in Hopper's works are associated with Gerchman's everyday impressions in the periods when he lived abroad.The urban space showed the artist the difficulty of being a foreigner: "In Berlin I experienced the closest contact with the violence of the city, with loneliness.There was something that caused, the entire time, a disagreeable sensation of not belonging to the city" (GERCHMAN, 2013, p.65). 25 As such, we see that Gerchman's experience generates an approximaton with the female figure in Hopper's work (Fig. 17), who feels the oppression and isolation of the city, unlike the woman represented in the Gerchman's image (Fig. 16), who seems integrated and welcomed by the tropical urban scene.
To finalize this discourse about the everyday in urban spaces, we propose to go back to the 19th century.From this period, the Industrial Revolution and the growth of cities made the theme of the everyday an object of investigation in various areas of study.Philosophers, sociologists, writers, artists and poets have pored over the urban question, lending this subject the sense of being inexhaustible.
We highlight here a group of artists who, such as Gerchman and Hopper, among others, dealt with the theme of the urban space.The Impressionist movement in France at the end of the 19th century portrayed the everyday urban scenes of Paris through representations of its bars, dances, outings, architectural elements, streets, and amorous encounters.innovation brought by these forerunners of the avant-garde movement was as a result of the pioneering spirit to occupy the urban space in the production of their images.In this way we see that the Impressionists, even though they did not include the social problems and questions debated by Gerchman and Hopper in their pictorial works, were politically active in the artistic context.Similar to Gerchman, Monet and his contemporaries sought to combat the conceptual and formal concepts of academic art.By making the everyday life of the city worthy of being portrayed pictorially, these artists, in different periods, expanded the possibilities of making art in their respective contexts.
Beyond the thematic and conceptual aspects of Gerchman's works, they also resemble the works of the Impressionists (Fig. 18) in their quick strokes.With the intention of capturing an ephemeral everyday moment, both artists sketched the portrayed subject with a few strokes.This brings the works a dynamism that is intensified by the use of lines of various sizes to compose the images.These lines are quite explicit in Gerchman's prints (Figures 10 and 16) and make up both the principle figures and the background of the compositions.We see that the discourse of the everyday in the urban spaces of Paris, New York, Berlin or of Rio de Janeiroeven though they are distant in time and spaceforms, by means of the dialogic analysis, an intertextual network between the works and the literary texts presented.In this proposed pathway, Rubens Gerchman and the artists with whom the dialogues were established gave different meanings to the everyday in cities.Noting the differences and similarities between the artistic productions generates a broadening of visual perception.The questions that we can raise, stemming from the possible dialogues with Gerchman's images, are numerous.In this process it is fundamental to perceive the presence of other voices and other texts that, in constant dialogue, make the reading meaningful and thought-provoking.

Considerations
To end this article, we return to João Cabral de Melo Neto's poem The Lesson of Painting ( 1994), which we used as a metaphor for the methodological approach proposed for the analysis of the images.The poetic idea of this piece affirms that our proposal was to cause the reader to open just a few concealed doors through our observations.Now it is up to you to venture to open yet other doors.
We find, then, that images can be read in diverse manners and that the ways we choose to do this reading relate to our accumulated life experiences and to the huge bank of images and words that we hold in our memories.Similarly, this dialogic pathway can relate to the concerns and questions that we put before a given artistic work.The fact is that we never look at images in the same way; however, we know that going through these almost infinite possible pathways will form our lives, elevating our experiences and contributing to our reading of the world.
just a few open courses offered by the Institution.Escallón (2013) observed that the diversity of languages(painting, engraving, objects, happenings, interventions)   with which the artist expressed himself throughout his career demonstrates that he had held this nonconformist and rebellious posture since the beginning of his professional life.According to Escallón, Gerchman always demonstrated a distrust of the established order in his works and actions.Sometime later(1975-1979), opposed to academic teaching, he assumed the directorship of the former Instituto de Belas-Artes [Institute of Fine Arts] in Rio de Janeiro, transforming it into the Escola de Artes Visuais do Parque Lage [Lage Park School of Visual Arts].To this day this school retains the innovative spirit injected by the artist, who valued experimentation and was interested in contemporary works and in interaction between artistic languages.In 1968 Gerchman won a trip to New York as a prize for achieving first place at the Salão de Arte Moderna [Modern Art Salon] the previous year.During his stay in the United States, he took part in various exhibitions with works engaged in Pop Art and Conceptual Art.During this visit he experienced difficult times because he did not have the financial resources to support himself.He stayed in New York until 1972, and in 1974, shortly after his return to Brazil, he took on the role of co-editor of the magazine Malasartes.
Gerchman, was   influenced by the artist's professional experiences of the print media.At the beginning of his professional career he worked as a layout artist at Editora Manchete [Manchete Publishing House], working with both journalistic materials and the photo soap operas published by the magazine Sétimo Céu [Seventh Heaven].Escallón (2013) remarks that these experiences gave the artist contact with both reality, within the social context of the time, and the imaginary and fantastical within the stories in the photo soap operas.
Gérson, Tostão and, later, Zico, Romário, Ronaldo e Ronaldinho Gaúcho, depicts his idols with the passion of a fan.At the same time, in works of the 1960s, the critical posture of the artist in relation to his political and social context prevented his gaze from being simply dazzled by these players.In line with the discourse of Pop Art, which arrived in Brazil in the 1960s, Gerchman seeks out the ordinary individuals in Brazilian culture who were transformed into heroes by the national passion: soccer.His 1965 work Os super homens [Supermen] (Fig. 1), which did not make up part of the exhibition Estética do futebol e outras imagens [Aesthetics of Soccer and Other Images], shows a team positioned for a pre-match photograph.The subtle critical characteristic of the artist can be seen in the phrase written above the players, which gives the work its title.In the context of the tension and repression of the era, it was up to these men, transformed by circumstances into heroes, to bring the joy of victory, thereby numbing the people in relation to the reality of their political context.

Fig. 8 -
Fig. 8 -GERCHMAN (1965) Futebol.Flamengo campeão campeão [Soccer.Flamego, the Champion] expressiveness and the distortion of the figures represented.Such characteristics, present in avant-garde artistic movements, place Gerchman's aesthetics into debate with the academic discourse of art.This aspect, seen in his art, relates to his consistently critical position in relation to the production and teaching of art in Brazil.The artist's For Lefebvre, life, thus dismembered, could only be re-formed by processes of integration and by the participation of the people of the city, enabled by urban projects that avoided social segregation and promoted meeting and change.

Fig. 9 -
Fig. 9 -Gerchman (1966) Caixas de morar [Boxes for Living] Figures 10 & 11, do not indicate or suggest specific places.They are images that place the act, the complicity of the kiss, into being in a neutral scene that reveals little about the space where the subjects are located.But, his experiences and memories in the seductive and bohemian of Rio de Janeiro could have been inspiring elements in this recurring theme in Gerchman's artistic production.

Fig. 18 -
Fig. 18 -RENOIR (1881) Le déjeuner des canotier [Luncheon of the Boating Party] Addressed to those who are interested in discourses related to image reading, this article aims to analyze works of artist Rubens Gerchman so as to create a dialogic pathway for reading.To achieve this, we investigate the artist's works that integrated the Exhibition Estética do futebol e outras imagens [Aesthetics of Soccer and Other Images], promoted by the Serviço Social do Comércio (Sesc) [Social Service of Commerce].In 2013 this show of prints toured different Brazilian cities, presenting viewers with a part of Gerchman's diverse artistic output.The exhibition focused on recurrent themes in the artist's work: soccer, kisses, cars, bicycles, beaches and crowds.