Poética Brincantes: Intermidialidade e cultura popular na Arte Contemporânea brasileira

Abstract

The concept of playful poetics articulates artistic practices that traverse languages, media, and supports, operating within the sphere of intermediality. According to Rajewsky (2012), intermediality is not restricted to a mere combination of media, but rather reveals zones of friction and contamination between different expressive forms. In this sense, works such as those of Manuel Messias and Arthur Bispo do Rosårio establish dialogues between writing, image, body, and ritual, constructing universes in which the popular and the marginalized emerge as aesthetic and political forces. Bakhtin's (1981) notion of carnivalization broadens this process, instituting inversion and laughter as creative forces. Furthermore, Lipovetsky and Serroy (2015), when reflecting on ritual artialization, help to understand how such practices reinscribe traditions and collective memories into contemporary artistic languages. Thus, playful poetics is configured as a space of intermedial crossings and cultural resistance, a gesture of reinvention that connects folk festivities, popular religiosity, and aesthetic experimentation.