Abstract
Action and transit between languages can be thought in a different perspective from the hegemonic narrative of Western art history, considering the works of Brossa, especially the Suites de Poesia Visual (1959 - 1969), and the concept of semantic participation of Helio Oiticica, mainly seen in the work Tropicalia (1967). From the point of view of these two objects, this paper aims to analyze the unique ways in which word and image are related, both in the work of Brossa here focused and in the context of Brazilian art in the same period. These contexts of alternative modernism point to a particular situation where transgression is at the same time the tradition. This article also pursues the different approaches of the relation between word and image, which force a change in the axis of the hegemonic narrative.
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