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The historical form of minimalism which culminated in the Euro-American context in the 1960s–1980s did not find its way into Slovak poetry. Nevertheless, several Slovak artists and poets adopted and creatively adapted individual features of minimalist poetics – conceptuality, aesthetics of the sublime, poetics of indications, ellipsis, short forms of narrative, the enunciative, intermediality, seriality, thematic minimalism, etc. They did so also under the influence of contacts with the work of foreign authors. Literary historian Peter Zajac connects the Slovak poets with the cultural paradigm of the minimal and perceives them also in contemporary cultural landscape as productive tendencies in the visual arts and literature. The article focuses on the work of Rudolf Jurolek (1956) whose poetry joins natural lyricism with subtle spiritual overtones. His inclination towards the short poetic form and reduction can be observed in various forms and modifications in his poetry over the years from his early writing published in journals in the 1970s to the most recent collection of poetry Bukolika ([Bucolics] 2021) which was awarded Zlatá vlna award in 2022. Jurolek’s manifestations of minimalism captivate with their conceptual character and variety of procedures, but also with their unique thought conception, in which minimalism is connected with complementary and harmonizing processes. [ABSTRACT FROM AUTHOR]

The contribution deals with the typewritten concrete poetry of the intermedia artist Milan Adamčiak (1946 – 2017), which was created in the second half of the 1960s. It focuses on two characteristic forms of concrete poetry: verbal and sentence constellations. It observes how the principle of seriality is applied to these text-image compositions. Seriality, as a key compositional and meaning-generating principle, is particularly associated with repetition and variation. In the context of verbal constellations, the article emphasizes the function of visual composition in dealing with a word extracted from linguistic syntax. In sentence constellations, it concentrates on the metacritical function of these forms, specified in the form of a critique of language as a means of communication and an instrument of power. Adamčiak’s repetitive-variation manipulation of linguistic material represents the application of visual techniques to literary creation. The contribution also points out the intermedia character of Adamčiak’s concrete poetry, highlights its parallels and connections with Czech experimental poetry, and selectively considers the socio-political circumstances of the time. [ABSTRACT FROM AUTHOR]