Tensiones gráficasescritura, corporalidad e ideograma a través de la obra de Henri Michaux, Christian Dotremont y Brion Gysin

Resumen

The aim of this doctoral dissertation is to convey a critical reflection about the contact zones between writing, corporeality and the ideogram within the context of contemporary art. By resorting to those theories that have delved into language and the arts, this research project presents a triad of authors offering an alternative to logocentric understandings of writing while focusing on the “graphical tensions” their artistic production yields after the trail of Sino-Japanese writing practices. The graphic work of these artists is presented as a type of textual practice which, when juxtaposed with visual contexts, foregrounds “the extralexical” of writing, consequently obscuring the graphic transparency of the alphabet in order to render visible the potential of writing as an artifact. Thus, drawing on the centrality that the text have come to occupy in contemporary art and on occasion of a structuralist crisis of the sign, this corpus expands the scriptural experimentations that emerged under the historical avant-garde, in particular surrealist automatism, from a corporeal point of view. In this piece of work, the main problems triggered by artistic representation are therefore echoed: the overlappings between writing and image, thought and stroke; the search for a pre-verbal graphic language, the corporaelity of language, a non-ethnocentric history of writing, the visual performativity of the page, or the place of touch in graphic practice...