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Showing posts with label concrete poetry. Show all posts
Showing posts with label concrete poetry. Show all posts
8/29/09
differxhost
8/27/08
Encuentro Internacional de Poesía Experimental "Amanda Berenguer"
Encuentro Internacional de Poesía Experimental "Amanda Berenguer"International Encounter of Experimental Poetry "Amanda Berenguer"
28 at 31 August - 11 to 19 hs.
MEC Center- San José 1116- Montevideo, URUGUAY
Curator: Clemente Padín
28 al 31 de agosto de 11 a 19 hs.
Centro MEC -San José 1116- Montevideo, URUGUAY
Curaduría : Clemente Padín
Artistas Extranjeros Invitados: Fabio Doctorovich y Ladislao Pablo Györi (Argentina); Catherine Mehrl Bennett y John M. Bennett (Estados Unidos); Julien Blaine (Francia); J. M. Calleja y Alberto Caballero (España); Felipe Cusem y Martín Gubbins (Chile); Wilton Acevedo, Fernanda V. Nardi, Lucio Agra, Paulo Hartmann, Jorge Luiz Antonio y Roberto Keppler (Brasil) y César Espinosa (México).
Artistas Uruguayos: Javier Díaz, Gustavo Wojciechowski, Fernando Goicochea, Laura Alonso, Diego Nessi, Andrea Carvalho, Melisa Machado, Laura Moreno, Pablo Trochon, Eduardo Roland, Diego Focacio, Ernesto Rizzo, Andrés Toro, Luis Bravo, Berta Pereira, Alejandro Tuana, Elisa Reggiardo, Guillermo Baltar, Leonardo de Mello, Marco Gorgoroso, Fernando Foglino, Olga Leiva, Rosario Lázaro, Magdalena Gurméndez, Juan Angel Italiano, Javier Bassi, Gerardo Podhajny y Santiago TavellaSe exhibirá la "Exposición Poesía Visual Uruguaya"
en la que participan: Francisco Acuña de Figueroa, Joaquín Torres García, Alfredo Mario Ferreiro, Aliverti Liquida, Amanda Berenguer, Ernesto Cristiani, Julio Campal, Luis Camnitzer, Clemente Padín, Jorge Caraballo, Carlos Pellegrino, Ruben Tani, Eduardo Milán, Héctor Bardanca, Jorge Echenique Febrero, Luis Bravo, N. N. Argañaraz, Rafael Courtoisie, Eduardo Roland, Celma García, Gustavo Wojciechowski, Martín Barea, Santiago Tavella, Blanca Porras y Atilio Buriano.
* * *
Actividades programadas - Programmed activities
Jueves 28, Agosto
13:00 - 15:00 hs. Taller "La dit.mensión del espacio a la letra" cargo de Alberto Caballero (España)18:00 - 18.20 hs. Inauguración a cargo de Clemente Padín
18:30 - 18:40 hs. Palabras de Amanda Berenguer18:50 -19:50 hs. "Poesía y Poesía Visual de John M. Bennett" a cargo de John M. Bennett (Estados Unidos)
20:00 - 20:10 hs. Demostración de "Cronoinstalación V" por Santiago Tavella20:20 - 20:40 hs. Intervención de Gustavo Wojciechowski (voz) y Fernando Goicochea (teclado).
21:50 hs. Presentación "Tamudando" por Luis Bravo (voz), Berta Pereira y Alejandro Tuana (música).Viernes 29, Agosto
10:00 - 12:00 hs. Taller "La fragmentación, las modalidades de la letra" a cargo de Alberto Caballero (España)13:00 - 15:00 hs. Taller de Poesía Visual Experimental a cargo de César Espinosa (México)
16:00 - 16:30 hs. Conferencia "Ordenamiento Periódico Visual de los Caracteres. Un Alfabeto Extendido" por Fabio Doctorovich (Argentina)
16:40 - 17:40 hs. Conferencia" Historia de la Bienales en México" por César Espinosa (México)17:50 - 18:50 hs. Lectura y discusión de "La Poesía Visual Internacional en la Colección Avant de La Universidad Estatal de Ohio, USA Poesía visual" cargo de John M. Bennett (Estados Unidos)
19:00 - 19:10 hs. Performance "Esto es sólo una oración" a cargo de Felipe Cusem (Chile)19:20 - 19:40 hs. Performance "(Demo)lición" por Lucio Agra y Paulo Hartmann (Brasil)
19:50 - 20:00 hs. Performance "Uno - Jam" por Colectivo JAM (Javier Bassi, Andrea Carvallo, Melisa Machado y Laura Moreno)20:10 hs. Performance "Cruz", "Espiral" y "Procesión" a cargo de J. M. Calleja (España)
Sábado 30, Agosto
10:00 - 12:00 hs. Taller de Poesía Visual Experimental a cargo de César Espinosa (México)14:30 - 16:45 hs. Conferencia y debate "La: La mujer a la letra" por Alberto Caballero (España)
16:55 - 17:15 hs. Conferencia a cargo de Felipe Cusem (Chile)17:25 - 18:25 hs. Conferencia "Virtual recorrido en 25 años" a cargo de Ladislao Pablo Györi (Argentina)
18:35 - 19:35 hs. Proyección y comentario del Film "O caminho do leve" por Jorge LuizAntonio (Brasil)
19:45 - 20:05 hs. Comentario de la obra "Onde está a Poesía?" por Roberto Kepler (Brasil)20:15 - 20.35 hs. Performance "Poesía Hipertextual: Modelos para Armar in vivo" a cargo de Fabio Doctorovich (Argentina)
20:45 - 21.25 hs. Presentación "&NBSP" por Martín Gubbins (Chile)21:35 - 21.50 hs. "Democracia liberal" por Manuel Barrios, Raúl Nuñez, Leandro Vieira y Andrés Vico.
Domingo 31, Agosto
16:00 - 17:15 hs. Conferencia "Poesía Electrónica en Brasil" y Presentación de su libro sobre "Poesía Electrónica" por Jorge Luiz Antonio (Brasil)17:25 - 18:25 hs. "Mis Colaboraciones Kimono y Demás Poesía Visual" Poesía visual a cargo de Catherine Mehrl Bennett (Estados Unidos)
18:35 - 19:10 hs. Presentación "PO e-machine: atame a angustia do precário" por Wilton Acevedo y Fernanda V. Nardi (Brasil)19:20 - 19:50 hs. Lectura de textos y performance por Juan Ángel Italiano
20:00 - 20:10 hs. Intervención de Ernesto Rizzo (voz) y Andrés Toro (guitarra)20:20 hs. Presentación "Déclaraction & desmontraction" por Julien Blaine (Francia)
21 hs. Cierre del Encuentro5/4/08
"the utopian library" -- a letter from Vittore Baroni
ARTIST'S BOOKS – ALTERED BOOKS – IMPOSSIBLE BOOKS
ANTI-BOOKS – REVOLUTIONARY BOOKS – IMAGINARY BOOKS
THE UTOPIAN LIBRARY
In July-August 2008 the BAU Cultural Association (www.bauprogetto.it)
will organize in Viareggio a multimedia festival titled THE PLACES OF
UTOPIA, that will include art shows and installations, performances,
readings, workshops, conferences and other events revolving around the
theme of UTOPIA.
As part of this festival, I will coordinate THE UTOPIAN LIBRARY, a
reading room where the visitors will be able to look through a
collection of international artists' books culled from the E.O.N.
archives plus books expressly submitted. The books will be on display
in shelves and over tables, with the possibility of a direct, hands on
fruition.
You are welcomed to CONTRIBUTE A BOOK to the UTOPIAN LIBRARY, either
an original work related to the utopian theme, or a book you have done
in the past that you think will fit the project. An illustrated
catalogue of the books received will be sent to all the participants
(Arte Postale! magazine n. 95). Your book will not be returned, but at
the end of the festival will become part of the E.O.N. archive.
The size, medium and technique for the books is FREE.
The material is not restricted to paper, but please take into
consideration the hands on approach.
Deadline: all the books should arrive BEFORE JULY 15, 2008.
Mail to:
Vittore Baroni, via C. Battisti 339, 55049 Viareggio (LU), Italy
vittorebaroni [at] alice [dot] it
Thanks in advance for your participation
Feel free to circulate this invite
Vittore Baroni
3/29/08
2/18/07
2/3/07
50 ANIVERSARIO DE LA POESIA CONCRETA
50 ANIVERSARIO DE LA POESIA CONCRETA
Disfrute de este espacio en la website BOEK861 de César Reglero, dedicado al homenaje de los 50 años de la Poesía Concreta.
http://www.boek861.com/stutgart/
50 ANNIVERSARY OF CONCRETE POETRY
Enjoy this space in Cesar Reglero´s website BOEK861, dedicated to Homage 50 Years of Concrete Poetry.
http://boek861.com/stutgart/index_en.htm
PARTICIPANTES - PARTICIPANTS
Giovanni Fontana, Adam Fong, Adolf, Agustín Calvo Galán, Alejandro Thornton, Alkak Luiz dos Santos y Gilbertto Prado, Ana Glafira, Anamaría Briede, Angela Ibáñez, Antonella Prota Giurleo, Antoni Albalat, Antonio Cáres, Antonio Monterroso, Antonio Orihuela, Baldo Ramos, Beatriz San Millán, Birger Jesch, Brian Whitener, Carol Starr, Caterina Davinio, Cecil Touchon, Cesar Reglero, Christian Hasucha, Cirus Console, Claudia del Rio, Claudio Grandinetti, Clemente Padín, Constança Lucas, Costis, Dan Buck, David Daniels, Demosthene Agrafiotis, Denis Charmot, Emerenciano, Eugenia Serafini, Fausto Grossi, Feliciano Mira, Francesc Xavier Forés, Franco Focardi, Franklin Valverde, G. J. de Rook, Geof Huth, Gerardo Podhajny, Graciela Gutiérrez Marx, Gregory Vincent St Thomasino, Gunther Ruch, Gustavo Fernández Alonso, Gustavo Vega, Henning Mittendorf, Irving Weiss, Isabel Jover, Ivan Etienne, J. M. Calleja, Jeanete EKohler, Joaquim Branco, John Bennett, Jorge Ismael Rodríguez, José Blanco, Josep Sou, Julien Blaine, Jurgen O.Olbrich, Keiichi Nakamura, Kostas Hrisos, Leticia Alonso Hernández, Litsa Spathi, Lois Gil Magariños, Lorena Cordero, Luc Fierens, Manuel A. Sousa, Mara Caruso, María José Ares Mondino, Mark Sutherland, Michael Morris, Miekal And, Miguel Jiménez Zenón, Monica Vallejo, Neusa Cauduro, Nicola Frangione, Nikos Vassilakis, Norberto José Martínez, P.Thoma, Patricia Robledo, Patricia Sibar, Paul de Vree, Paul Tiililä, Rainer Stolz, Reed Altemus, Regina Vater, Roberto Scala, Rocia Alegre, Rod Summers, Ruediger Axel Westphal, Ruud Janssen, Sergio Monteiro, Shutaro Mukai, Silvia Lisa, Susana Romano, Tamara Wyndham, Thierry Tiliier, Tom Gaze, Vaclav Havel, Virginia Oviedo Rodríguez y Vittore Baroni.
BOEK861
cesar@boek861.com
Disfrute de este espacio en la website BOEK861 de César Reglero, dedicado al homenaje de los 50 años de la Poesía Concreta.
http://www.boek861.com/stutgart/
50 ANNIVERSARY OF CONCRETE POETRY
Enjoy this space in Cesar Reglero´s website BOEK861, dedicated to Homage 50 Years of Concrete Poetry.
http://boek861.com/stutgart/index_en.htm
PARTICIPANTES - PARTICIPANTS
Giovanni Fontana, Adam Fong, Adolf, Agustín Calvo Galán, Alejandro Thornton, Alkak Luiz dos Santos y Gilbertto Prado, Ana Glafira, Anamaría Briede, Angela Ibáñez, Antonella Prota Giurleo, Antoni Albalat, Antonio Cáres, Antonio Monterroso, Antonio Orihuela, Baldo Ramos, Beatriz San Millán, Birger Jesch, Brian Whitener, Carol Starr, Caterina Davinio, Cecil Touchon, Cesar Reglero, Christian Hasucha, Cirus Console, Claudia del Rio, Claudio Grandinetti, Clemente Padín, Constança Lucas, Costis, Dan Buck, David Daniels, Demosthene Agrafiotis, Denis Charmot, Emerenciano, Eugenia Serafini, Fausto Grossi, Feliciano Mira, Francesc Xavier Forés, Franco Focardi, Franklin Valverde, G. J. de Rook, Geof Huth, Gerardo Podhajny, Graciela Gutiérrez Marx, Gregory Vincent St Thomasino, Gunther Ruch, Gustavo Fernández Alonso, Gustavo Vega, Henning Mittendorf, Irving Weiss, Isabel Jover, Ivan Etienne, J. M. Calleja, Jeanete EKohler, Joaquim Branco, John Bennett, Jorge Ismael Rodríguez, José Blanco, Josep Sou, Julien Blaine, Jurgen O.Olbrich, Keiichi Nakamura, Kostas Hrisos, Leticia Alonso Hernández, Litsa Spathi, Lois Gil Magariños, Lorena Cordero, Luc Fierens, Manuel A. Sousa, Mara Caruso, María José Ares Mondino, Mark Sutherland, Michael Morris, Miekal And, Miguel Jiménez Zenón, Monica Vallejo, Neusa Cauduro, Nicola Frangione, Nikos Vassilakis, Norberto José Martínez, P.Thoma, Patricia Robledo, Patricia Sibar, Paul de Vree, Paul Tiililä, Rainer Stolz, Reed Altemus, Regina Vater, Roberto Scala, Rocia Alegre, Rod Summers, Ruediger Axel Westphal, Ruud Janssen, Sergio Monteiro, Shutaro Mukai, Silvia Lisa, Susana Romano, Tamara Wyndham, Thierry Tiliier, Tom Gaze, Vaclav Havel, Virginia Oviedo Rodríguez y Vittore Baroni.
BOEK861
cesar@boek861.com
1/15/07
On Soldatmarkedet by Monica Aasprong
In two recent blogposts, "Blindstamped Silence is a Soldier’s Market" and "Blog and Boat", Geoff Huth is writing about Soldatmarkedet by the Norwegian poet Monica Aasprong. The book Soldatmarkedet is part of a larger project, of which Audun Lindholm, editor of the Small Press Gasspedal and the Magazine Vagant, said this on the conferance "From Concrete Poetry to Digital Poetry" in Copenhagen November last year:
"Monica Aasprong’s Soldatmarkedet is a work in progress. Not in the sense that it’s a work nearing completion, for instance in the book-lengt poem published as Soldatmarkedet by N. W. Damm & Søn this autumn. Rather, the title designates a heterogenous body of work, a series of texts and installations. During the last three years, Aasprong has published poems in various magazines and small magazines such as Grønn kylling (arb.tittel), Ny poesi, Lyrikvännen, OEI, Ratatosk and Luj (the latter of which she herself was one of the editors). In addition, a chap book has been published by the small press Gasspedal, and installations with text as the main element has been exhibited in both Sweden and Norway. Some parts of the work have been realized through collaborations with the media technician Erik Sjödin and the composer and voice artist Maja Solveig Kjelstrup Ratkje. Each part of this ongoing work is clearly defined by the context it is presented in, and the format it is published in, as for instance the page layout of the magazine or the scroll function of a web browser.
The first characteristic which makes it relevant to discuss Aasprong’s work under the title «Reinventing concrete poetry», even though it’s detached from the historical context of concretism, is its use of letters to make visual forms and surfaces. There are no verbal elements in Soldatmarkedet which don’t also have a strong visual quality–and the other way around: there are no visual elements in her work which aren’t also verbal, that is, composed of latin letters. The visual elements subvert or extend the linear and semantically focused reading process, by foregrounding linguistic non-discursiveness, i.e. those aspects of language which cannot be reduced to an ideality of meaning. Of course, one could say that all texts have visual form, that the verse in poetry is primarily a visual phenomenon–and that escaping reduction to paraphrasable statements is a characteristic common to all poetry. But there are further reasons to discuss Aasprong’s poetry in relation to concrete poetry.
In a text commenting upon her own project, published a few months ago on the Nypoesi web site, Aasprong states: «I started working on Soldatmarkedet in 2003, and essential to the work is the title itself, to approach different possible meanings of this specific word. In parts of the project the single letters of this word has functioned as a reservoir of linguistic matter.» This last sentence resonates with the key imperative in Öyvind Fahlström’s Manifesto for Concrete Poetry (1954), which Jesper Olsson gave a talke about yesterday: «Krama språkmateria», meaning «knead/form the linguistic matter».
Many of Aasprong’s texts literally decompose the title word, to divide, rearrange and duplicate its smallest constituent elements, in long series and geometrical, iconic or seemingly random shapes. But–and this is something which the book published this winter makes very clear–integrated in these works characterized by an extreme dispersion and discontinuity, there is a more semantically based study of the connotations of the title word, its referential qualities, a drifting through its historical, social and imaginative surroundings.
So what does this word, Soldatmarkedet, mean, quite literally? The English title would be The Soldiers’ Market or The Soldiers’ Square, and the German, Gendarmenmarkt. The reason I mention the German translation is of course that Gendarmenmarkt is the name of a very well known city square in Berlin. Aasprong’s translation of the square’s name–a composite word or a neologism–is taken from the Norwegian novelist Dag Solstad and his autobiographical novel 16.07.41, or in English: July 16th 1941, published in 2003. This novel is in large parts a sort of subjective, topographical study of several areas of Berlin which Solstad came to know during the time he lived there. Let me quote parts of the paragraph where Solstad comes across
To supply Solstad’s description, I’ll mention that Gendarmenmarkt got its name when a regiment built stables on the square in the 17th century. The three «monumental buildings» which Solstad mentions, are the French Cathedral, The German Cathedral and Schinkel’s concert house from 1821. In other words, in this square, activities like religious practice, art (there’s also a statue of Schiller on the square), the military and the commercial sphere, meet. Aasprong’s expressed strategy, «to approach different possible meanings of this specific word», is a statement about how this seemingly simple word suggests a diversity of historical material, a wide range of human activities and meaning in referential as well as existential terms."
"Monica Aasprong’s Soldatmarkedet is a work in progress. Not in the sense that it’s a work nearing completion, for instance in the book-lengt poem published as Soldatmarkedet by N. W. Damm & Søn this autumn. Rather, the title designates a heterogenous body of work, a series of texts and installations. During the last three years, Aasprong has published poems in various magazines and small magazines such as Grønn kylling (arb.tittel), Ny poesi, Lyrikvännen, OEI, Ratatosk and Luj (the latter of which she herself was one of the editors). In addition, a chap book has been published by the small press Gasspedal, and installations with text as the main element has been exhibited in both Sweden and Norway. Some parts of the work have been realized through collaborations with the media technician Erik Sjödin and the composer and voice artist Maja Solveig Kjelstrup Ratkje. Each part of this ongoing work is clearly defined by the context it is presented in, and the format it is published in, as for instance the page layout of the magazine or the scroll function of a web browser.
The first characteristic which makes it relevant to discuss Aasprong’s work under the title «Reinventing concrete poetry», even though it’s detached from the historical context of concretism, is its use of letters to make visual forms and surfaces. There are no verbal elements in Soldatmarkedet which don’t also have a strong visual quality–and the other way around: there are no visual elements in her work which aren’t also verbal, that is, composed of latin letters. The visual elements subvert or extend the linear and semantically focused reading process, by foregrounding linguistic non-discursiveness, i.e. those aspects of language which cannot be reduced to an ideality of meaning. Of course, one could say that all texts have visual form, that the verse in poetry is primarily a visual phenomenon–and that escaping reduction to paraphrasable statements is a characteristic common to all poetry. But there are further reasons to discuss Aasprong’s poetry in relation to concrete poetry.
In a text commenting upon her own project, published a few months ago on the Nypoesi web site, Aasprong states: «I started working on Soldatmarkedet in 2003, and essential to the work is the title itself, to approach different possible meanings of this specific word. In parts of the project the single letters of this word has functioned as a reservoir of linguistic matter.» This last sentence resonates with the key imperative in Öyvind Fahlström’s Manifesto for Concrete Poetry (1954), which Jesper Olsson gave a talke about yesterday: «Krama språkmateria», meaning «knead/form the linguistic matter».
Many of Aasprong’s texts literally decompose the title word, to divide, rearrange and duplicate its smallest constituent elements, in long series and geometrical, iconic or seemingly random shapes. But–and this is something which the book published this winter makes very clear–integrated in these works characterized by an extreme dispersion and discontinuity, there is a more semantically based study of the connotations of the title word, its referential qualities, a drifting through its historical, social and imaginative surroundings.
So what does this word, Soldatmarkedet, mean, quite literally? The English title would be The Soldiers’ Market or The Soldiers’ Square, and the German, Gendarmenmarkt. The reason I mention the German translation is of course that Gendarmenmarkt is the name of a very well known city square in Berlin. Aasprong’s translation of the square’s name–a composite word or a neologism–is taken from the Norwegian novelist Dag Solstad and his autobiographical novel 16.07.41, or in English: July 16th 1941, published in 2003. This novel is in large parts a sort of subjective, topographical study of several areas of Berlin which Solstad came to know during the time he lived there. Let me quote parts of the paragraph where Solstad comes across
[....] a beatiful square. Gendarmenmarkt, the soldiers’ market. It reminds us that Berlin was once the capital of The Kingdom of Preussia, and a soldiers’ city, a garrison city. The city walls erected by Friedrich The Great marked a large circumference around the city center, from several of its gates you had to cross large, open areas of land before you entered the city itself. There, the king’s regiments exercised. In the Gendarmenmarkt square, there are three monumental buildings, two churces, of which one is the Huguenots’ church, which surround an impressive theater. (Solstad 2003:69)
To supply Solstad’s description, I’ll mention that Gendarmenmarkt got its name when a regiment built stables on the square in the 17th century. The three «monumental buildings» which Solstad mentions, are the French Cathedral, The German Cathedral and Schinkel’s concert house from 1821. In other words, in this square, activities like religious practice, art (there’s also a statue of Schiller on the square), the military and the commercial sphere, meet. Aasprong’s expressed strategy, «to approach different possible meanings of this specific word», is a statement about how this seemingly simple word suggests a diversity of historical material, a wide range of human activities and meaning in referential as well as existential terms."
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