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This essay analyzes the work of Augusto de Campos and his relationship with visual poetry. Starting from the Brazilian poet's use of the black page to compose his poems, it proposes a reading of his work in relation to the legacy of Mallarmé and his idea of writing. Subsequently, starting from the idea of the materiality of poetic language that is at the heart of Augusto de Campos’ poetic project, the passage towards a haptic dimension that occurs in his poems, especially in “Anticéu” (“Anticielo”) of 1984, is proposed., El presente ensayo analiza la obra de Augusto de Campos y su relación con la poesía visual. A partir del uso que hace el poeta brasileño de la página en negro para componer sus poemas, se propone una lectura de su obra en relación con el legado de Mallarmé y su idea de la escritura. Posteriormente, a partir de la idea de la materialidad de la lengua poética que está en el centro del proyecto poético de Augusto de Campos, se plantea el pasaje hacia una dimensión háptica que se produce en sus poemas, sobre todo en “Anticéu” (“Anticielo”) de 1984.

The subject of this dissertation is the practice, progress and conditions of the artistry Eva Klasson during the 1970s. The aim is to deepen and simultaneously broaden the understanding of the artistry by analysing Klasson's context and network, artistic method, and a large number of works she created during the 1970s. Prior scholarly inquires have focused on a photographic historical perspective resulting in interpretations that primarily place Eva Klasson in contexts where a photographic craftsmanship is predominant. By studying archival materials and paying special attention to artistic processes as well as corporeal themes within the artworks, this study demonstrates connections and affiliations with the French body art movement, art corporel. Three overarching questions focusing on the development of the artist, performative processes, and the relationship with contemporary artistic practices underpin the study. The first question addresses the development of the artist. It examines actors, places, processes, and networks that have influenced the shaping and direction of Eva Klasson's artistry. The second question investigates the relationship between verbal statements and practical methods in relation to Eva Klasson's performative and process-oriented artistic practice. The third question focuses on Eva Klasson's affinity with artists who also worked with the body as subject and material. The theoretical framework is built upon the concepts of performativity and becoming. Together, they form a theoretical framework that helps trace the processual nature of the artist, both in terms of the practice and the works created during the 1970s. The concepts operate on different levels and in various ways within the chapters. They illuminate the developments of the artistry in relation to a contemporary artist identity, while also allowing for a theorization and contextualization of Klasson’s works and methods as performative. The study introduces the term becoming cam

An article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed., An article devoted to the categories of lack, deficiency, disruption and deformation in The Broken Little Man by Roland and Nicolas Topor in the context of neo-avant-garde activities and the theory of surrealism. The problems of visual poem collages and their spatial values, unfinishedness as a formula organizing the existence of the text, as well as distortions as defense mechanisms are discussed.

Roland Barthes (2004) designates style as the writer's splendor and prison: his loneliness. This paper intends to reflect on this barthesian thought of style in the work of the italian poet, art critic and translator Emilio Villa, based on plurilingual or translated poems into Brasilian Portuguese by the italian poet himself and some of his pictorial works. The concept of translation becomes central to analysing Emilio Villa's work, through reading Walter Benjamin, Henri Meschonnic and other theorists, and also through the various translations he made: the Odyssey, parts of Genesis, a selection of Mesopotamian tablets. Villa wrote not only in Italian, but his plurilingualism was confirmed in texts written in Latin, Greek, French and other languages., Roland Barthes (2004) designa o estilo como esplendor e prisão do escritor: sua solidão.O presente artigo pretende refletir sobre esta visão barthesiana de estilo na obra do poeta, críticode arte e tradutor italiano Emilio V illa, a partir de poemas plurilíngues ou traduzidos pelo própriopoeta italiano para o português brasileiro e de algumas de suas obras pictóricas. O conceito detradução torna-se central para análise da obra de Emilio Villa, através da leitura de Walter Benjamin,Henri Meschonnic e outros teóricos e, também, pelas diversas traduções por ele realizadas: aOdisseia, partes do Gênesis, uma escolha das tabuletas mesopotâmicas. Villa escreveu nãounicamente em italiano, mas seu plurilinguismo se confirmou em textos escritos em latim, grego,francês e outras línguas.

This thesis consists of two parts, a collection of poems, “The Commonwealth of Amnesia”, and an accompanying exegesis. The collection explores the forgotten histories of Croatian and Yugoslav immigrants in Australia from 1901 to 1957 through the medium of erasure and cut-up poetry, re-arranging words found in nonfiction documents to posit that forgetting can be metaphorically and visually represented through erasure while also re-narrativising a text. Erasure poetry takes a textual document and using whiteout or blackout erases portions of a text, transforming that text into a poem; cut-up poetry rearranges the words of a document in a textual version of collage. Also called documentary or docu-poetry, most of the sources for the collection were obtained from the Trove online repository of newspaper articles. A set of published oral history interviews with Croatian immigrant women were used to create the “Axe Marks in Tree Trunks” section of the collection, incorporating fragments of interviews re-mixed with a Markov random text generator, and the poet’s own words. Each section of the poetry collection is accompanied by a description of the historical circumstances affecting Croatian and Yugoslav people, including labouring on the Woodlines in the Goldfields, World War I internment, race riots and bombings in Kalgoorlie, the role of women, communist paranoia post-World War II, the repatriation of 700 people to Yugoslavia on the Partizanka and the Radnik, and a postscript that re-contextualises They’re a Weird Mob (O’Grady & Tynan, 2012). These descriptions provide a context for the poems in this radical collection, which is likely the first assembly of erasure and cut up poetry by an Australian poet that solely utilises documentary sources to investigate a migrant voice in colonial Australia. The exegesis consists of four parts. Chapter One provides a personal and historical background, and Chapter Two outlines the methodologies and theoretical frameworks applied to

This article analyzes Diarios del odio, an installation by Roberto Jacoby and Syd Krochmalny, from a triple perspective. In the first place, as a site-specific work that critically dialogues with its location in what was the residence of Victoria Ocampo; secondly, as a work in dialogue with the tradition of visual poetry that allows it to capture and materialize hate speech that circulates on the networks; and finally as a work of media art that reflects on the future of the communicative utopias imagined from the sixties. In all three cases, hatred as contemporary affect is at the center of reflection.

Salette Tavares’ poetic art is implemented by the artist in her poetic and fictional production as well as essayistic. In this article, an essay mostly unpublished, A Dialética das Formas, and the poetic work recently published by Imprensa Nacional, Obra Poética 1957-1994, are compared. The reflection is opened to two novels recently published, Outro Outro and Irrar. In the poetic work, we do the back and forth between textual poetry and visual and spatial poetry to provide an overview of the “bright spots” of a multifaceted work. The analysis of Salette Tavares’ work departs from Haroldo de Campos’ reflection who interviews Ezra Pound, grounding itself in some theories by Barthes, Meschonnic and Jean-Claude Pinson, through “spots” and “galaxies”, “glows” and “space and movement”, as well as trough consequential questions of rhythm., A arte poética de Salette Tavares vem declinada pela artista na sua produção poética e ficcional tanto como ensaística. Neste artigo, cotejam-se um ensaio na sua maior parte inédito, A Dialética das Formas, e a obra poética recém reunida no volume da Imprensa Nacional, Obra Poética 1957-1994. Abre-se a reflexão a dois romances recém-editados, Outro Outro e Irrar. Na obra poética, faz-se o vai e vem entre a poesia textual e a poesia visual e espacial para conseguir um apanhado dos “pontos luminosos” duma obra multifacetada. A análise da obra de Salette Tavares parte da reflexão de Haroldo de Campos que entrevista Ezra Pound, alicerçando-se em certas teorias de Barthes, Meschonnic e Jean-Claude Pinson, através dos “pontos” e das “galáxias”, dos “fulgores” e do “espaço e movimento” assim como das questões de ritmo consequentes.

This essay presents and contrasts the Epístola al virrey de Azanza and the collection of poems Tiernos afectos..., by Manuel de Quiroz y Campo Sagrado, a New Spanish Baroque poet from the late viceregal period, which contains examples of poems of a visual nature; the communicating vessels that these works and poems establish among themselves, and with other similar ones by the same author are outlined., En este ensayo se presentan y contrastan la Epístola al virrey de Azanza y el poemario Tiernos afectos…, de Manuel de Quiroz y Campo Sagrado, poeta barroco novohispano de finales del período virreinal, los cuales contienen ejemplos de poemas de carácter visual; se esbozan los vasos comunicantes que dichas obras y poemas establecen entre sí, así como con otros similares del mismo autor

Through this essay, Andalusian artist EduArtGranada proposes a historicalartistic review of the concept of al-Andalus and its legacy in the current collective imagination. The author raises an identity debate that seeks to reconcile the Andalusian paradigm with the course of history. EduArtGranada shares his inspiration perspective for al-Andalus and its deep impact on his artworks, where he develops the emotions that link him to his roots, El artista EduArtGranada propone a través de este ensayo una revisión histórico-artística del concepto de al-Ándalus y de su legado en el imaginario colectivo actual. El autor plantea un debate identitario que busca reconciliar el paradigma andalusí con el devenir de la historia. EduArtGranada comparte la inspiración que siente por al-Ándalus y la impronta de éste en su obra artística, donde desgrana las emociones que lo vinculan con sus raíces.

Since the sixties of the twentieth century, different algorithms for using poetic texts in the transformation of urban space have emerged. Poetic discourse is being increasingly contextualized in space, whose role in the contemporary cultural system and specific tasks of urbanism has been growing. In the urban context, poetry may acquire different forms - street performances, advertisements, murals and other types of visual poetry. It may turn the city into a venue for a festival of urban poetry. The poetic text interacts with urban objects (monuments, train stations, airports, bus stops, and benches), including QR codes and other technical means. The article explores the process of integrating poetic texts into urban space using the example of the Netherlands, Belgium, Russia, Spain and countries of Latin America. Urban poetry contributes to overcoming the linearity and elitism of the poetic text, shifting the emphasis from verbal to the visual or performative component of the text, and strengthening the function of the addressee. As a result, poetry acquires an applied character. The city becomes an instrument of mediated poetic communication and can be used for the representation of the city.

Joe Balaz—a writer, visual artist, and active advocate for Hawaiian Islands Pidgin (HIP)—discusses the reception of his HIP poems and art by literary magazines around the world, and presents examples of his published creative works.

The present work develops a study on the so-called visual poetry by means of an integrated method which will fuse the analytical tools of the semiotic theory with considerations of Cognitive Poetics about this kind of intermedial objects. Therefore, from a theoretical study which will provide us with this cognitive-semiotic analytical tools, a practical study will follow with the analysis of specific and varied works of visual poetry, which will be selected within the works of Fernando Millán, Felipe Boso and Clara Janés., El presente trabajo propone un estudio de la llamada poesía visual mediante un método integrado que hará confluir las herramientas de análisis de la teoría semiótica con las consideraciones de la Poética Cognitiva respecto a este tipo de objetos intermediales. De esta manera, de un estudio teórico inicial que permitirá extraer estas herramientas cognitivo-semióticas de análisis, se pasará a un estudio práctico, mediante el método previamente desarrollado, de obras concretas y variadas de poesía visual, seleccionadas entre la creación de Fernando Millán, Felipe Boso y Clara Janés.

Mathematical visual poetry is a poetic genre whereby metaphorical expressions are created using mathematical structures. Within the structure, the poetics are understood by the cross-mapping of numerous conceptual domains including visual, lexical, and mathematical. Here I focus on one particular mathematical visual poetic structure: what I call a Similar Triangles Poem or Proportional Poem. To illustrate the ideas discussed, I present "Pandemic Meditations," a mathematical visual poem; in particular I discuss how this mathematical poem uses the mechanisms of poetic metaphor in the context of the embodied mind. The intent of this paper is not to explain "Pandemic Meditation," for explanations of poetry serve only to kill it. Instead, the intent here is to give the reader the tools to access similar triangles poems in general, and this expression in particular, and to show how it functions within the definitions of poetic metaphor. This paper can be used as a template to study all similar triangles visual poems, and more generally, as a source to study visual poetry.

[ES] En este Trabajo Fin de Grado se desarrolla un conjunto de obras en las que se exploran los puentes creados entre texto e imagen dentro del ámbito de las Artes Visuales. Mediante la relación entre escritura y dibujo, se propone un proceso creativo propio que, a través de la reproducción gráfica y la hibridación de medios, permita indagar la pluralidad de sentidos que definen la poesía pintada y el dibujo-palabra., [EN] In this TFG I develop a series of works where I explore the bridges created between text and image inside of the Visual Arts field. Through the relationship between calligraphy and drawing, a personal creative process is proposed - one that, open to the pictorial space and through medium hybridation, allows to investigate the plurality of meanings that define painted poetry and word-drawing.

Joan Flasch Artists' Book Collection

Madoz’s gaze, turned towards a hidden reality, to what is merely glimpsed, the invisible of the visible, holds the ability of meddling in what surrounds us, establishing analogic correspondences between things. It confronts the viewer with its automatisms and routines, shaking both the mechanisation of the gaze and the thought. This essay is focused on the operating mechanisms of Madoz’s photography, a polyhedral work that demands an interdisciplinary study. Widening the methodological focus and approaching his work through interartistic studies is therefore necessary. To this end, this essay analyses madozian images and their mechanisms through a theoretical framework comprising of ostranenie or Viktor Shklovsky’s strangeness and Russian formalism, Brecht’s distancing, Benjamin’s theories of interruption or shock, as well as Burger’s systemisation of inorganic works of art. This framework should lead to an understanding of how Madoz’s photography is composed and how it operates, as well as revealing the deautomising potential of his images., La mirada de Madoz, vuelta hacia una realidad escondida, hacia aquello meramente entrevisto, lo invisible de lo visible, detenta la capacidad de hurgar en lo que nos envuelve, estableciendo correspondencias analógicas entre las cosas. Confronta al receptor con sus automatismos y rutinas, haciendo tambalear la mecanización tanto de la mirada como del pensamiento. Este trabajo se centra en los mecanismos de funcionamiento de la fotografía de Madoz, obra poliédrica que urge una mirada interdisciplinar. Se hace inevitable abrir el foco metodológico y abordar la obra de Madoz desde los estudios comparativos interartísticos, por lo que se analiza la imagen madoziana a partir de un armazón teórico conformado por el recurso de la ostranenie o extrañamiento de Viktor Shklovski y el formalismo ruso, el distanciamiento de Bertolt Brecht, la interrupción y el shock teorizados por Walter Benjamin, así como la inorganicidad de la obra de arte sistematizada por Peter Bürger. Este armazón teórico ha de permitir comprender la manera en que se compone y opera la fotografía de Madoz, así como donde radica la potencia desautomatizadora de la imagen madoziana.

The anthology Con-cierto visual sentido. Poemas (1968-2004), by the professor, poet, painter and famed avant-garde scholar Rafael de Cózar (Tetuán, 1951 – Bormujos, Seville, 2014), includes a selection of compositions in verse, calligrams, visual poems in the strict sense and others that are illustrated. Cózar first approached painting and then writing, until he merged both aspects into visual poetry, and this with other arts. The interdependence of word and image runs throughout his creative career, from the seventies to the new century, as a fundamental part of his neo-avant-garde experimentation guided by an evocative and comprehensive yearning, which responds to his peculiar conception of total art. After the first part of the article that deals with the subject from the theoretical, methodological and contextual point of view, the fourth section describes and classifies the visual poems of the different stages according to their form and artistic techniques. This is followed by a hermeneutical analysis of a selection of Cózar’s works., La antología Con-cierto visual sentido. Poemas (1968-2004), del catedrático, poeta, pintor y afamado estudioso de las vanguardias Rafael de Cózar (Tetuán, 1951 – Bormujos, Sevilla, 2014), recoge una selección de composiciones en verso, caligramas, poemas visuales en su sentido estricto y otros más bien ilustrados. Cózar se acercó primero a la pintura y luego a la escritura, hasta fundir las dos vertientes en la poesía visual, y ésta con otros artes. La interdependencia de palabra e imagen recorre toda su trayectoria creativa, desde los setenta hasta el nuevo siglo, como parte fundamental de su experimentación neovanguardista guiada por un anhelo evocador y abarcador, que responde a su peculiar concepción de arte total. Tras la primera parte del artículo que aborda el tema desde el punto de vista teórico, metodológico y contextual, la cuarta sección describe y clasifica los poemas visuales de las diferentes etapas según su forma y técnicas artísticas. Sigue un análisis hermenéutico de una selección de las obras de Cózar.

After initially forging links with the Dada movement, from 1926 Edouard Léon Théodore Mesens (Brussels, 1903-1971) became an active member of Belgian Surrealism. He was one of the most polyhedral figures of Belgian cultural scene: during his long career he was an artist, collagist, musician, poet and writer, as well as gallery owner, collector and art dealer, constantly involved in the sales and purchases of modern art, in particular Dadaist and Surrealist artworks. Since the beginning, in the 1920s, he used the collage as a medium to subverted the visual representation and develop a new epistemological artistic object, undermining the canonical dialogue between text and image. This methodological approach remained the major trat of his post-war artworks as well, when after a period of inactivity, on the occasion of the 1954 Venice Biennale, he decided to create new collages, finding in Italy a fertile receptive context for his experimentations. Starting from the analysis of unpublished archival materials, as well as visual sources, the article aims to analyze Mesens’ artistic approach to collage and shed new light on his post-war production, characterized by new linguistic and semantic experimentations.

Due to its association with Fascism, Futurism experienced a significant period of academic neglect and criticism, only starting to slowly regain ground from the late 1950s. Luciano Caruso, initially supported by Stelio Maria Martini, has played a fundamental part in this revaluation through over twenty years of intense work. His determined commitment has allowed us to discover and appreciate a great number of theoretical and poetic texts from the first Italian avant-garde movement that have been overlooked for many years, and to understand or re-evaluate some of the most critical issues. As well as his efforts to reclaim Futurism from its fascist connotations, Caruso also undertook a re-evaluation of paroliberismo (“Words-in-Freedom”). This considers not only the historical and critical perspective, but also the aesthetic and philosophical aspects. Caruso specifically recognizes the merits of Futurist paroliberismo as an approach which sought to heal an excessively sharp division between "words and things" that had occurred over the centuries, and to reintroduce the expansive power of matter into the circuit of language. This article intends to retrace the principal aspects of this critical re-evaluation by considering the reflections of Caruso and Martini on the relationship between writing and matter within the aesthetic and epistemological framework set out by Jean-François Lyotard (Discourse, Figure, 1971) which championed the primacy of the visual experience over the centuries-long Western logocentric paradigm.

The following dissertation is made up of a collection of poems concerning Mexican-American labor, socioeconomic distress and transnationality. While the work in this dissertation attempts to understand ‘brownness’ through the lens of migration and marginalization, it aims to present the contemporary realities of Mexican-American peoples. Through a combination of ‘traditional poetics’ (what the author dubs as left-hand margin poems) and ‘VisPo,’ the collection attempts to understand the complexity of intergenerational and multicultural relationships in Hispanic communities. The collected poetry is intended to be hyper-regional, concerned with violence that occurs in urban Los Angeles—violence that is sexual, corporeal, and emotional in nature. The author is concerned with how race and culture is constructed (and reacted towards) through poetry. This work includes photographs from the author’s family members in hopes to better understand the obstacles of immigrant experience.

В статье анализируются примеры бытования фактов литературы в русском стрит-арте. Вербализация (слово) и визуализация (изображение) сосуществуют неразрывно в новом направлении литературы – «поэзии стен». Традиции визуальной поэзии Д.А. Пригова и А. Вознесенского развиваются в народных граффити, созданных, например, на основе творчества и биографии С. Есенина, а также в авторских произведениях стрит-художников, таких как Zoom.

Daniela Serna (Medellín, 1991) conducts research and creates works of art on the transition between a literary verbal object and a visual artifact of a plastic and esthetic nature. Her work expands on the idea of formal literature, where the temporal and sensorial dimensions are in the reader’s imagination, to propose visual poems that encourage an experience of meaning that augments or blurs the limits of what is possible. This review deals with a set of works, the core topic of which enables multiple readings, which are carefully selected using a collection of ideological, political, and esthetic signs that the artist brings into her work and that allow us to question the relationship between the represented fictional world and the reader or observer’s representation., Daniela Serna (Medellín, 1991) investiga y crea sobre el tránsito que se produce entre el objeto verbal de origen literario y el artefacto visual de carácter plástico y estético. Su obra expande la idea de la literatura formal, donde las dimensiones temporales y sensoriales se experimentan en la imaginación del lector, para proponer poemas visuales en los cuales propicia una experiencia de sentido que amplifica o diluye los límites de lo posible. En esta reseña se abordan un conjunto de obras, cuyo eje central permite múltiples lecturas, tamizadas por una reserva de signos ideológicos, políticos y estéticos en los cuales la artista inscribe su obra, y que permiten interrogar la relación entre el mundo ficcional representado y la representación que el lector/espectador realiza.

Daniela Serna (Medellín, 1991) conducts research and creates works of art on the transition between a literary verbal object and a visual artifact of a plastic and esthetic nature. Her work expands on the idea of formal literature, where the temporal and sensorial dimensions are in the reader’s imagination, to propose visual poems that encourage an experience of meaning that augments or blurs the limits of what is possible. This review deals with a set of works, the core topic of which enables multiple readings, which are carefully selected using a collection of ideological, political, and esthetic signs that the artist brings into her work and that allow us to question the relationship between the represented fictional world and the reader or observer’s representation., Daniela Serna (Medellín, 1991) investiga y crea sobre el tránsito que se produce entre el objeto verbal de origen literario y el artefacto visual de carácter plástico y estético. Su obra expande la idea de la literatura formal, donde las dimensiones temporales y sensoriales se experimentan en la imaginación del lector, para proponer poemas visuales en los cuales propicia una experiencia de sentido que amplifica o diluye los límites de lo posible. En esta reseña se abordan un conjunto de obras, cuyo eje central permite múltiples lecturas, tamizadas por una reserva de signos ideológicos, políticos y estéticos en los cuales la artista inscribe su obra, y que permiten interrogar la relación entre el mundo ficcional representado y la representación que el lector/espectador realiza.

Analysis of the evolution of visual poetry in Spain during the 20th century. In the evolution of the phenomenon, in this linguistic-cultural field and in the period under study, two key moments can be detected: the historical Vanguard of the beginning of the century and the Neovanguards that developed from the 1950s. Both phases identify different stages and are characterized by peculiar and innovative aesthetic assumptions and objectives: respectively, the break with past aesthetics and the conception of a new art and the awareness of the limitation of language, considered insufficient for artistic expression., Análisis de la evolución de la poesía visual en la España durante el siglo XX. En la evolución del fenómeno, en este ámbito lingüístico-cultural y en la época objeto de estudio, se pueden detectar dos momentos clave: la Vanguardia histórica de principios de siglo y las Neovanguardias que se desarrollan a partir de los años 50. Ambas fases indentifican sendas etapas distintas y se caracterizan por supuestos y objetivos estéticos peculiares e innovadores: respectivamente, la ruptura con la estética pasada y la concepción de un arte nuevo y la consciencia de la limitación del lenguaje, considerado insuficiente para la expresión artística.

The article is devoted to the study of E. A. Mnatsakanova's poetry book's "ARCADIA" poetics., Статья посвящена исследованию поэтики книги стихотворений Е. А. Мнацакановой "ARCADIA".

We propose to reflect on the temporality in Diagonal Cero publication (1962 to 1969), edited by the platense artist Edgardo Antonio Vigo. Work with the concept of montage as a key to temporality, both in terms of Diagonal Cero publication and in the artist’s rewriting books. We propose to examine the projection of Diagonal Cero in the Exposición Internacional de Novísima Poesía, making reference to the assembly of the same. From these descriptions, we take the productions as part of a conception about time that includes the materiality of the publication and the aesthetics of participation., Il s’agira dans cet article de se pencher sur la temporalité à l’œuvre dans la publication Diagonal Cero (1962-1969) éditée par l’artiste platense Edgardo Antonio Vigo. Nous travaillerons avec le concept de montage comme clé pour aborder cette temporalité, à la fois dans la publication de Diagonal Cero et dans les livres de réécriture de l’artiste. Nous examinerons la projection de Diagonal Cero à l’Exposición Internacional de Novísima Poesía (l’Exposition Internationale de la Nouvelle Poésie), par le prisme de son montage. Ces descriptions nous permettront de considérer les productions comme partie prenante d’une conception du temps, intégrant la matérialité de la publication et l’esthétique de la participation., Propomos refletir sobre a temporalidade na publicação Diagonal Cero (1962- 1969), o editor foi o artista platense Edgardo Antonio Vigo. Trabalharemos com o conceito de montagem como uma chave para a temporalidade, tanto em termos da publicação Diagonal Cero quanto nos livros de reescrita do artista. Propomos examinar a projeção da Diagonal Cero na Exposición Internacional de Novísima Poesía, fazendo referência à montagem do mesmo. A partir dessas descrições, tomamos as produções como parte de uma concepção sobre o tempo que inclui a materialidade da publicação e a estética da participação., Se reflexionará sobre la temporalidad en la publicación Diagonal Cero (1962 a 1969), cuyo editor fue el artista platense Edgardo Antonio Vigo. Trabajaremos con el concepto de montaje como clave de la temporalidad, tanto en lo que respecta a la publicación Diagonal Cero como en los libros de reescrituras del artista. Proponemos examinar la proyección de esta revista en la Exposición Internacional de Novísima Poesía haciendo referencia al montaje de la misma. A partir de estas descripciones relevaremos las producciones como parte de una concepción sobre el tiempo que incluye la materialidad de la publicación y la estética de la participación.

Цель статьи – изучить формирующийся жанр и выявить его основные особенности. = The purpose of the article is to study the emerging genre and give its main characteristics.

В статье рассматривается понятие "визуальная поэзия" как продукт поэтического творчества, возникающий на стыке искусств. Получив широкое развитие в середине прошлого столетия, визуальная поэзия очень актуальна в настоящее время. Современная поэзия самым активным образом использует неисчислимое разнообразие средств визуализации литературного текста. В данной статье рассмотрены некоторые визуальные поэтические эксперименты на примере стихотворений поэта, филолога и доктора культурологии Сергея Бирюкова, который опираясь на опыт поэтов-авангардистов начала ХХ века активно использует в своих произведениях элементы визуализации как самостоятельное смысловое начало. Различные приемы визуализации поэтического текста позволяют Сергею Бирюкову создать картину, наполненную элементами различного содержания, которые, контрастируя и дополняя друг друга, создают поле высокого эстетического напряжения. При осмыслении единица текста выявляет несколько значений, возникает разветвленная сеть значений и параллельных смыслов, что приводит к семантической насыщенности поэтического текста., The article reviews concept "visual poetry" the concept of a product of poetic work arising at a cultural crossroads. After receiving a huge development in the middle of the last century, «visual poetry» is very popular nowadays. Modern poetry uses a wide variety of means of visualisation of literary works. This article describes some visual poetic experiments by the example of the poems of poet, philologist and Grand PhD in Culturology - Sergei Biryucov who actively uses the elements of visualisation as independent semantic beginning in his works building on the experience of avant-garde poets of the beginning of XX century. Various means of visualization allow to create the picture filled with the elements of various content which, contrasting and complementing each other, create the area of high aesthetic exertion. During the conceptualization of a text unit several meanings are revealed, appears a diverse network of meanings and parallel interpretations, which leads to the semantic richness of poetic work.

[EN] Within the Artist Book support, we highlight the interest in the words that make up words and the game of mobile typography when composing a text, with or without an image, approaching the term of visual poetry. This project "THE TYPOGRAPHY. The text in the Artist's Book "is a set of Artist's Books that reflect, on the one hand, the evolutionary process of the technique itself and the typographic language; on the other, they express the concept of life, identity and autobiography applied to these works, while opening us to the field of Original Graphic Work., [ES] Dentro del soporte Libro de Artista, destacamos el interés por las letras que conforman a su vez palabras y el juego de la tipografía móvil a la hora de componer un texto, con o sin imagen, acercándonos al término de poesía visual. Este proyecto ¿LA TIPOGRAFÍA. El texto en el Libro de Artista¿ es un conjunto de Libros de Artista donde reflejan, por una parte, el proceso evolutivo de la propia técnica y el lenguaje tipográfico; por otra, expresan el concepto de la vida, la identidad y la autobiografía aplicado a estas obras, a la vez que nos abren al campo de la Obra Gráfica Original.

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

This paper aims to investigate the project for Egisto Macchi’s München-Requiem (1968) as a further step in the trajectory that the experience of the music theatre piece A(lter)A(ction) (1966−1968), and the meditation on Antonin Artaud, had initiated in Macchi’s production. The analysis of the autograph score of the incomplete work for München-Requiem offers the opportunity to uncover Macchi’s openness to a diverse range of solicitations and to look into his musical discourse as stimulated by the exchanges and the mutual dynamics between artistic languages. The visual connotation characterizing the score appears to document in fact the composer as involved in a musical writing that shows an interest in the interaction of image and word. At the same time it attests to Macchi’s reflection on the relations between sonority, visuality and writing.

This paper proposes a critical approach to the work of the Italian artist and poet Emilio Isgrò (Barcellona di Sicilia, 1937), who merging traditional notions of image and writing has challenged the conceptions of Art and Literature as closed and exclusionary institutions. At the same time, Isgrò’s visual work dialogues critically with the language of mass media and invites us to reflect on such controversial concepts as representation and identity. In the broad framework of experimental poetry and conceptual art, we will review some of his most relevant works and we will investigate all these aspects of his poetics by attending to the dialogue they establish with the awareness of limits and the artistic procedure of the cancellature., Este artículo propone una aproximación crítica a la obra del artista y poeta italiano Emilio Isgrò (Barcellona di Sicilia, 1937), quien fusionando las nociones tradicionales de imagen y de escritura ha desafiado las concepciones del Arte y de la Literatura como instituciones cerradas y excluyentes. Al mismo tiempo, la obra visual de Isgrò dialoga críticamente con el lenguaje de los mass-media y nos invita a reflexionar sobre conceptos tan controvertidos como son los de representación e identidad. Por nuestra parte, en el amplio marco de la poesía experimental y del arte conceptual repasaremos algunas de las obras más relevantes de Isgrò, e indagaremos todos estos aspectos de su poética atendiendo al diálogo que establecen con la conciencia del límite y el procedimiento artístico de las cancellature.

The objective of this article is to define, contribute and analyse to what is called nowadays Latin American electronic literature. Under a predominant global visual culture and following the visual poetry tradition, we aim to define these technopoetics – what –, the reasons to study them – why – and the possibility to develop a method – how. Particularly, we analyse Tatuaje (2014), a work that belongs to the Latin American field regarding the specific context of production and diffusion in this region.

This is a note about #WomenTechLit, a book written in English, recently published (August 2017) by Computing Literature, and edited by María Mencia. The articles, divided in four parts, have been made entirely by women performing different roles such as historians, creators, artists, critics and practitioners of electronic literature.

For many years now, the Bolognese Gian Paolo Roffi has added the collecting to his artistic and poetic activity, relying on the knowledge gained over forty years of participation in the field of visual poetry. The author has constituted a collection of about one hundred and forty pieces of small format, titled Fuoripagina, to underline the attempt to escape from the conventions of the printed page that characterizes the individual works. Starting from the collecting criteria adopted by Roffi, in the present text a partial critical path is traced which intends to highlight ways and strategies of reinvention of the printed page typical of the verbo-visual searches of the second half of the Twentieth Century.

Joan Flasch Artists' Book Collection

There are more than just a few examples of graphic poetry rescued from oblivion, although we are still very far from knowing with accuracy the vast production of this type of poetry that was bequeathed to us by Modern Age. A previous step before the compilation of samples in a repertoire as complete as possible is the reflection on some methodological aspects which have not always been properly addressed and which must help us define the concept of “graphic poetry”, establish a typology, describe its special and typographical representation forms and specify its spreading media., No son pocos los ejemplos de poesía gráfica rescatados del olvido, aunque aun estamos muy lejos de conocer con precisión la inmensa producción de este tipo de poesía que nos legó la Edad Moderna. Un paso previo a la recopilación de las muestras en un repertorio lo más completo posible es la atención a algunas cuestiones metodológicas no siempre atendidas, que deben ayudarnos a definir el concepto de “poesía gráfica”, establecer una tipología, describir sus formas de representación espacial y tipográfica, y precisar los soportes para su difusión.

On the occasion of the festivals held in Barcelona for the beatification of Teresa of Ávila (1614) the discalced Carmelites from Barcelona decorated their convent with damasks, pictures, embroideries, carpets, images, flowers and poems, one of which –a sonnet on the topic of the mystic nuptials of the future saint- was later on attributed to Francesc Vicent Garcia (Tortosa?, 1578/1579-Vallfogona de Riucorb, 1623) and enjoyed this way remarkable fame. The composition was displayed in the form of a labyrinth with acrostics, but the compilation that has transmitted it to us adds some reading instructions that let see that it is a more complex object than just a visual poem. In this work we discuss the different solutions that have been suggested in order to solve this question and at the same time the traditional attribution to Garcia is refuted., En ocasió de les festes celebrades a Barcelona per la beatificació de Teresa de Jesús (1614) les carmelites descalces de Barcelona van decorar el seu convent amb domassos, quadres, brodats, catifes, imatges, flors i poemes, un dels quals –un sonet sobre el tema de les noces místiques de la futura santa– va ser posteriorment atribuït a Francesc Vicent Garcia (Tortosa ?, 1578/1579-Vallfogona de Riucorb, 1623) i va gaudir així d’una notable fama. La composició estava estructurada en forma de laberint amb acròstics, però la relació que ens l’ha transmès hi afegeix unes instruccions de lectura que fan veure que era un objecte més complicat que no pas una simple poesia visual. En aquest treball es discuteixen les diverses solucions que s’han proposat per resoldre aquesta qüestió, alhora que es rebat l’atribució tradicional a Garcia.

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Joan Flasch Artists' Book Collection

Tanto Guillermo Deisler como el Núcleo Post-Arte provienen de dos fuertes tradiciones líricas, la chilena y la mexicana respectivamente, apegadas a lo verbal como fundamento del discurso poético. En este trabajo, proponemos que sus lugares de enunciación, así como otros espacios de expresión del mensaje poético, han implicado un dislocamiento de lo verbal. A través de una interpretación comparada de ambos casos, desde la topoiesis de las instancias enunciativas, mostramos la postura crítica sostenida en el trabajo de estos artistas, en tanto denuncia de lo verbal como mecanismo de legitimación de la poesía canónica y de la injusticia social y política., Guillermo Deisler from Chile and Núcleo Post-Arte from Mexico are visual poetry artists who belong to strong poetic traditions centered in the verbal. In this article we demonstrate how both artists have disrupted the traditional poetic discourse through new places of enunciation and expression spaces. In a comparative interpretation of both cases of study from the methodological approach titled "topoiesis of the instances of enunciation" we demonstrate the critical position that sustains their work denouncing the verbal as a legitimation mechanism for canonized poetry as well for the social and political injustices., Tant Guillermo Desisler com el Núcleo Post-Arte provenen de dues fortes tradicions líriques, la xilena i la mexicana respectivament, aferrades en el verbal com a fonament del discurs poètic. En aquest treball, proposem que els seus llocs d'enunciació, així com a altres espais d'expressió del missatge poètic, han implicat un dislocament del verbal. A través d'una interpretació comparada de tots dos casos, des de la "topoiesis de les instàncies enunciatives", demostrem com la postura crítica defensada en el treball d'aquests artistes, en tant denuncia del verbal com mecanisme de legitimació de la poesia canònica i de la injustícia social i política.

The subject that will be studied in this article is the intrinsic relationship between writing and image, literature and painting. In order to illustrate this relationship, among the vast variety of visual tropes represented in René Magritte’s pictures (1898-1967), metaphor will be studied as a paradigmatic example. The importance of carrying out this study lies in the fact that Magritte is a very popular painter, but often misunderstood. It is necessary to deny that his painting is purely literary; it is rather a visual poetry. It is sought to demonstrate how the composition of its visual metaphors is not arbitrary, but it determines the cognitive processes involved in both understanding and the construction of meaning by the subject-viewer. The approach adopted is the field of comparative literature, according to which visual metaphor differs from metaphor as verbal rhetorical figure recognizing its own identity. After the study, the visual metaphor is revealed not only as a display of beauty, but first and foremost as an invitation to glare., El objeto de estudio del presente artículo es la intrínseca relación que existe entre escritura e imagen, literatura y pintura. Con el fin de ilustrar dicha relación, entre la vasta variedad de figuras retóricas visuales representadas en los cuadros del René Magritte (1898-1967), estudiaremos la metáfora como referente paradigmático. La importancia de llevar a cabo este estudio reside en el hecho de que Magritte es un pintor muy popular, pero a menudo malinterpretado. Es necesario refutar la idea de que su pintura sea meramente literaria, pues estamos más bien ante una pintura poética. Se persigue mostrar pues cómo la composición de sus metáforas visuales no es arbitraria, sino que determina los procesos cognitivos implicados tanto en la comprensión como en la construcción del significado por parte del sujeto-espectador. El enfoque adoptado es el de la literatura comparada, en virtud del cual trataremos la metáfora visual como un recurso diferenciado de la metáfora verbal reconociéndola una identidad propia. A partir de esta reflexión, la metáfora visual se revela no sólo como un despliegue de belleza, sino ante todo como una invitación al deslumbramiento.

The main museums and contemporary art centers have completed their collections of art with documentation and artist publications, not only because of the relevance that this material possesses in order to offer a complete reading of contemporary art, but also because we are talking about very Important work in the artistic production of internationally recognized authors, such as Ruscha, Dieter Roth, Boltanski, Hans-Peter Feldmann, Joan Brossa, Antoni Muntadas, Isidoro Valcárcel Medina and Francesc Torres. The Essay aims to provide information on the contents of the singular collection, included in the Art Fund of a state University, using as reference the different sections of the exhibition that was held in 2016 in the exhibition hall of the Rectorado UPV building, under The title Salt de Pàgina, Los principales museos y centros de arte contemporáneo han completado sus colecciones de arte con documentación y publicaciones de artista, no sólo debido a la relevancia que este material posee de cara a ofrecer una lectura completa del arte contemporáneo, sino también porque se trata de obras muy importantes en el conjunto de la producción artística de autores internacionalmente reconocidos, como Ruscha, Dieter Roth, Boltanski, Hans-Peter Feldmann, Joan Brossa, Antoni Muntadas, Isidoro Valcárcel Medina o Francesc Torres. El Ensayo pretende ofrecer información sobre los contenidos de la colección singular, incluida en el Fondo de Arte de una Universidad pública, utilizando como referencias las diferentes secciones de la exposición que se realizó en 2016 en la sala de exposiciones del edificio de Rectorado UPV, bajo el título Salt de Pàgina.