denis roche. materiali. da : alcuni pdf


alcuni pdf:
Textes et entretiens de Denis difficilement accessibles

alcuni link selezionati da

alcuni link selezionati da

Correspondances fantômes: Amandine André invite Liliane Giraudon & Nathanaël

Liliane Giraudon: Portrait de l’Homme de lettres en Femmes à barbe

Rencontres des solitudes, Danielle Collobert & François Bon

In archivio, sotto il tag Nathalie Quintane

Entretien avec Jean-Michel Espitallier

Les Mercredis de Montévidéo : Ryoko Sekiguchi + Amandine André

In archivio, sotto il tag Jérôme Game:

In archivio, sotto il tag Frank Smith

Frank Smith, Sébastien Zaegel, Jean-Philippe Cazier: Filmer/Ecrire – Vient enfin le moment d’errer

La révolution moléculaire
Entretien avec Stéphane Nadaud qui a établi et préfacé cette nouvelle édition de La révolution moléculaire (2012) aux éditions des Prairies ordinaires. Recueil d’articles et d’entretiens de Félix Guattari.

Bernard Heidsieck : Poésie active, poésie oxygénée, poésie debout

Anselm Jappe, Crédit à mort

In archivio, sotto il tag Jacques-Henri Michot

Frédéric Neyrat: Lettre adressée à Amandine André au sujet d’une performance de Yoko Ono

In archivio, sotto il tag Charles Pennequin

Maël Guesdon – Marie de Quatrebarbes: Bréviaire à l’usage des Soeurs Mineures
(Fragments de Suzanne Lindelton)

Mathieu Brosseau: Extrait d’une série en cours d’écriture intitulée « L’amour est un art populaire »

Amandine André: Visages. Exercice IX

12 ottobre, bologna: “spatola 30”, presso lo studio di gian paolo roffi



In occasione della Quattordicesima Giornata del Contemporaneo 2018, promossa dall’AMACI, lo “Studio Segni & Segni” di Gian Paolo Roffi ricorda il trentennale della scomparsa di Adriano Spatola con una esposizione di sue opere, letture poetiche e audizioni di poesie sonore.

Interventi di: Pasquale Fameli, Giovanni Fontana, Nanni Menetti, Maurizio Osti, Gian Paolo Roffi, Carlo Alberto Sitta, Maurizio Spatola.

Inaugurazione e incontro con i partecipanti: venerdì 12 ottobre 2018, ore 17, presso lo Studio “Segni & Segni”, via San Pier Tommaso 20/B, Bologna.

Esposizione dal 12 al 21 ottobre 2018, ore 10.30-19.30 su appuntamento. Ulteriori dati qui:


“oei”, n. 80-81: presentazioni a göteborg e vienna tra settembre e ottobre

Scener & Samtal 2018

Lördag 29 september 29
Världskulturmuseet, Göteborg

Kl. 11.30–12.45

Estetiska operatörer

Jonas (J) Magnusson och Cecilia Grönberg presenterar OEI # 80–81 2018, ”The zero alternative: Ernesto de Sousa and some other aesthetic operators in Portuguese art and poetry from the 1960s onwards”, ett 640-sidigt text- och bildmontage som tar sin utgångspunkt i Ernesto de Sousas explosiva aktiviteter som filmare, redaktör, kritiker, konstnär, curator, folkkonstforskare etc. under 60-, 70- och 80-talen i Portugal. Numret uppmärksammar också en mängd andra experimentella portugisiska konstnärer och poeter.

Se hela programmet på:



OEI #80–81: ”The zero alternative: Ernesto de Sousa and some other aesthetic operators in Portuguese art and poetry from the 1960s onwards”
Presentation of special issue of OEI magazine

Interventions and remarks by Hugo Canoilas, Cecilia Grönberg, Jonas (J) Magnusson, Tobi Maier

October 2, 2018
7 pm

Friedrichstraße 12

The most recent issue of Stockholm based OEI magazine takes its starting point in Ernesto de Sousa’s explosive activities as filmmaker, photographer, curator, critic, writer, folk art researcher, multimedia artist etc. in the Portuguese 1960s onwards. Being active in almost everything that belongs to the domain of the arts in the broadest sense of the word, Ernesto de Sousa (1921-1988) adopted the term “aesthetic operator” to be used instead of the word “artist” – “for the simple reason that ‘artist’ designates a kind of sociological position and not a philosophical attitude towards the world” (José Miranda Justo).

As a “source of enthusiasm, dynamism and motivation” (Isabel Alves), Ernesto de Sousa created new connections between all sorts of disciplines, forms, materials and social contexts. In its 640 page long textual and visual montage, including a series of new essays and translations of key essays, as well as a lot of archival material, OEI #80-81 also looks at the practices of a number of De Sousa’s fellow “aesthetic operators” (Alberto Carneiro, Túlia Saldanha, Álvaro Lapa, Fernando Calhau, Lourdes Castro, Ana Vieira, Ana Hatherly, E.M. de Melo e Castro, António Barros…). At the same time, OEI #80-81 encompasses texts on magazines such as Poesia Experimental, Operação, Nova, A Urtiga, and Alternativa; and works by artists from younger generations such as Isabel Carvalho, Paulo Mendes and Mariana Silva.

This special issue of OEI magazine also accompanied the exhibition Supergood – Dialogues with Ernesto de Sousa at MAAT (2018), curated by Hugo Canoilas.


Ernesto de Sousa (Lisbon, 1921–1988) was one of the most complex and active figures of his time, a prolific multidisciplinary artist and an avid producer of synergies between generations of artists from both the first and the second half of the 20th century. Defending an experimental and free artistic expression, he dedicated himself to the study, promotion and practice of the arts, as well as to curatorship, critique and essay writing, photography, cinema and theater. During the 1960s he connected to the Fluxus movement and with the European neo-avant-garde, and became friends with Robert Filliou and Wolf Vostell. This contact was significant to his vision of art as an experimental and participatory “open work”, of which the theatrical exercise Nós Não Estamos Algures (1969), the expanded film Almada, Um Nome de Guerra (1969-1972) and the mixed media Luíz Vaz 73 (with music by composer Jorge Peixinho) are some examples. During this decade and up until the 1980s, he organized courses, conferences and exhibitions on experimental film, video art, performance and happening, while promoting connections between the international neo-avant-garde and the Portuguese context. The exhibition “Alternativa Zero” (Galeria Nacional de Arte Moderna, Lisbon, 1977) synthesized this project of creating a Portuguese avant-garde in aesthetic and ideological dialogue with its international counterparts.
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27 settembre, roma, libreria simon tanner: ’68 – ’78 cambia tutto – terzo appuntamento