Iberê Camargo and the self-portrait: expanded identity and otherness

Abstract

In this article, “Iberê Camargo and the self-portrait: expanded identity and otherness”, based on the idea that all self-portrait is an ‘other-portrait’, we will critically analyze the tenacious accuracy of double creative obedience both in plastic and written form with that Iberê Camargo builds, as an affaire verbale et visuelle, not few of many self-portraits of his sustained, but diverse and versatile, ‘self’.

In this sense, on the one hand, we carry out an evaluative analysis of the specificities and the contributions of the artist, reflecting his complete assimilation of literary values. On the other hand, besides debating the issue about his ‘auto-bio-graphical’ representation and his subjective pensée with transitive words and images, we will seek to read — far from any immaculate conception, analyze —, among others, two of the most representative and paradigmatic books of his singular Literary work: the figured self-portraits and/or lettered ‘other-portraits’ No andar do tempo (1988) and Gaveta dos guardados (2009).