Is a painting silence? Or what’s the voice of a painting?

Abstract

We will examine the pictorial process and painting relating literature and orality. We will address the procedures of the Brazilian visual artist Eduardo Berliner (1978) and one of his paintings, Leda and the Swan (2015), in which the artist takes up one of the Greek myths. Broadly speaking, the studies of orality are seen as the retrieval of a fundamental feature in the establishment of relations between human beings and the world, which, although invisible, is in force. Thus, through the deviations established in the analyses, we will establish Berliner's procedures and painting as the validity locus of primary aspects of orality, as well as issues of performance and myth, bringing to light yet another way of understanding a painting, which is also the possibility of a space of resistance to the relationship with the world only through reason. We draw from the thoughts of Walter Ong, Paul Zumthor and Michele Sominsen, among other authors, whose visions have helped us build a broader understanding of painting and its procedures, giving us insight into the presence of orality, also in this sphere, in order to broaden our perception of the relationship between humanity and the world.