The project aims to investigate the margins of interartistic practices, that is, certain emerging and unconventional Brazilian creative practices that, due to their heterodoxy, lie at the frontier between literature and the visual arts. The aim is to study a phenomenon which, given its complexity and recent emergence, has not yet been clearly defined. To this end, temporal limits have been established, including interartistic itineraries that span the period from 1960 to the present day, and, in historical and cultural terms, trends such as Constructivism, Experimentalism, Art Brut, Informalism, Counterculture, and the multiplicity of Postmodernism and its updating in Hypercontemporaneity.

Thus, the works and artists in the corpus have been selected for their representativeness and for the radical practices that challenge traditional concepts of fusion, juxtaposition or assimilation, in order to understand the radically dialogical intersections between visual and written forms:

—«Recordações», «Eu preciso das palavras escrita [sic]» and «O manto da Apresentação» by ARTHUR BISPO DO ROSÁRIO (1911-1989);

— the ‘embroidered words’ (1960) and the ‘spiritual objects’ (1965, 1967–1968 and 1973) by MIRA SCHENDEL;

—Poema enterrado (1959-1960) by FERREIRA GULLAR (1930-2016);

—«Carta a Wally» (1974) and Newyorkaises. Conglomerado (1970-1978) by HÉLIO OITICICA (1937-1980);

— the ‘visual reports’ (1993–1996), collected in Umas (2020) and Relivro (2011) by LEONORA DE BARROS (1953);

—«Desenhos para Nelson» (2004), «Faca só lâmina» and «Diálogo de um cachorro morto» (2008), Ó (2009) and Junco (2011) by NUNO RAMOS (1960);

—Antologia (2006) by ARNALDO ANTUNES (1960);

—Pesquisa escolar (2020-2021) and Cinelândia (2021) by LEILA DANZIGER (1962);

—O funámbulo e o escafandrista (2008) by LAURA ERBER (1979);

—Parque das ruínas (2018) by MARÍLIA GARCIA (1979);

—Sangria (2017) and the ‘oral and bodily experiments’ of LUIZA ROMÃO (1992);

—the proposals derived from a pensum based on the cosmovision and ways of life of indigenous peoples, as conceived by DENILSON BANIWA (1984) and ELLEN LIMA WASSU (1995).

A significant number of the authors with long careers have been subject to consecration processes and, consequently, to major studies and critical views of the whole that will be solid foundations for our research. However, in general, these studies are secondary to an in-depth examination of the more hybrid, complicated and sometimes hermetic practices, especially in the case of authors born after 1979. In addition, the critical fortune regarding their works and poetics derives from a more artistic than literary perspective, or vice versa. It is this void, therefore, that the project intends to overcome, by giving a more balanced attention to interartistic expression in intersecting creative spaces.

In order to understand these non-specific works, these ‘art-facts’, the main issues to be addressed in the project are those relating to the following four categorical relations: those of performance with analytical, literary, and programmatic writing; those of the artist's book with literature, photography, engraving and video; those of embroidery, inscription, calligraphy and (neo)graffiti with the word; and those of art installation and environmental and objectual interventions with the literary.

Due to the exploratory and hybrid nature of the research, an interdisciplinary methodology will be prioritised, bringing together concepts and strategies from cultural, literary and artistic studies. Thus, drawing on case studies and a potential overarching conceptualisation and theorisation, the aim is to identify possible answers and ad hoc methodological tools that may also be applicable to similar practices in other contexts.