installance n. : # 0137 type : (asemic) signs size : cm 10 x 6.75 (approx) record : highres shot additional notes : abandoned date : Jan. 11th, 2020 time : h. 1:35pm place : Rome, via P. Revoltella note: ---
Category Archives: scrittura asemantica
21 giugno, museo sociale danisinni, palermo: “avvistamenti #1”, e “involucri” (di tiziana viola massa)
AVVISTAMENTI #1, Tra scrittura e immagine
prima collezione permanente di scrittura asemica e poesia visiva a Palermo
Involucri, di Tiziana Viola Massa
a c. di Angela La Ciura
facebook.com/story.php?story_fbid=10213781162634270&id=1562747770&sfnsn=mo
Museo Sociale Danisinni, artisti in collezione: Maurizio Accardi, Maria Agata Amato, Emilio Angelini, Francesco Aprile, Luigi Arini, Toti Audino, Toni Baldi, Daniela Balsamo, Tiziana Baracchi, Calogero Barba, Giuliana Barbano, Leonardo La Barbera, Valerio Bellone, Mirella Bentivoglio, May Bery, Giovanni Bonanno (Sandro Bongiani), Rossana Bucci, Cristiano Caggiula, Adele Cammarata, Liliana Cammarata, Gai Candido, Emma Caprini, Serena Carpinteri, Aurelio Caruso, Nicola Console, Valeria Di Chiara, Antonio Lo Cicero, Cosimo Cimino, Kiki Clienti, Mario Mario Lo Coco, Ryosuke Cohen, Marco Commone, Carmela Corsitto, Antonio Curcio, Nicolò D’Alessandro, Donmay Donamayoora, Cinzia Farina, Vincenza di Fede, Fernanda Fedi, Nicola Figlia, Francesco Fiorista, Ivo Galassi, Toti Garraffa, Sara Garraffa, Rosario Genovese, Attilio Gerbino, Gino Gini, Marco Giovenale, Lillo Giuliana, Francesco Grasso, Alessio Guano, Carla Horat, Michele Lambo, Alfonso Lentini, Alfonso Leto, Antonio Liotta, Renato Lipari, Oronzo Liuzzi, Barba Antonella Ludovica Barba, Ruggero Maggi, Sergio Mammina, Egidio Marullo
[r] _ il libro di “festapoesia – concreta” (2018) _ free pdf
Concreta 1 (PDF)
Tutti i materiali di CONCRETA 1 – Festapoesia (Roma, Accademia d’Ungheria-Palazzo Falconieri, 21 aprile-5 maggio 2018), da un’idea di Giuseppe Garrera, István Puskás, Sebastiano Triulzi.
Volume a cura di Sebastiano Triulzi, 2 gennaio 2019, pp. 368, formato PDF, open access, ISBN 978-88-31913-072
http://diacritica.it/wp-content/uploads/1.-CONCRETA-1-a-cura-di-S.-Triulzi.pdf
il libro di “festapoesia – concreta” (2018) _ free pdf
Concreta 1 (PDF)
Tutti i materiali di CONCRETA 1 – Festapoesia (Roma, Accademia d’Ungheria-Palazzo Falconieri, 21 aprile-5 maggio 2018), da un’idea di Giuseppe Garrera, István Puskás, Sebastiano Triulzi.
Volume a cura di Sebastiano Triulzi, 2 gennaio 2019, pp. 368, formato PDF, open access, ISBN 978-88-31913-072
http://diacritica.it/wp-content/uploads/1.-CONCRETA-1-a-cura-di-S.-Triulzi.pdf
lo spazio differx su tumblr compie oggi 8 anni di attività
festapoesia concreta (accademia d’ungheria in roma, 21 apr. – 5 mag. 2018): i materiali verbovisivi e l’incontro del 2 maggio
C O N C R E T A – FESTAPOESIA
21 aprile – 6 maggio
Accademia d’Ungheria in Roma
via Giulia 1
da un’idea di Giuseppe Garrera, István Puskás e Sebastiano Triulzi.
in collaborazione con Lorenzo de’ Medici The Italian International Institute
https://www.facebook.com/events/2110818065815317/
Quest’anno l’edizione di UrbsArt è dedicata alla lingua e alla poesia nelle sue varie forme: il 21 aprile 2018 inaugura il festival di poesia e musica CONCRETA-FESTAPOESIA. Una grande mostra, e ogni venerdì e sabato incontri di poesia (poeti dall’Ungheria, dall’Italia, dalla Svezia, dalla Norvegia, dalla Slovacchia, dalla Francia, dalla Germania, dalla Finlandia, dalla Polonia, dalla Repubblica Ceca, dagli USA), arte (esposizioni e omaggi monografici) e musica (concerti d’avanguardia e di ricerca sonora e visiva). Continue reading
al moderna museet di stoccolma, il 16 febbraio: presentazione del nuovo numero di oei (#79]
OEI #79: edit/publish/distribute!
https://www.modernamuseet.se/stockholm/en/exhibitions/oei-79/
The 79th issue of the magazine OEI is a special issue published in the form of a spatial presentation at Moderna Museet during the period 17/2–1/4. It deals with editing/publishing/distributing – in an experimental montage of different editorial practices in an expanded field between art, poetry, film, documents, theory and historiography.
To publish a magazine is not only a matter of producing a physical artifact, but also, and to an ever increasing extent, a matter of intervening in and acting for an entire ecology of publishing, where the possibilities of new and unprejudiced readings incessantly have to be created in new constellations and contexts. OEI #79 emphasizes the material and technical production of a magazine, scanning and printing, editing processes and forms of distribution, but also the magazine as an aesthetic and playful investigative practice, and the forms of social life made possible by editorial assemblages and encounters between people and groups from various fields and disciplines.
OEI #79 includes some hundred participants from different generations and geographical horizons in a multi-medial and multi-temporal montage distributed in clusters and sequences over walls, tables, shelves and floor. The challenge is to edit in three and – sometimes – four dimensions. The editorial enunciation circulates between magazines and books, sound-pieces and video-works, projections and displays in exhibition-cases, and aims to raise questions about visualization, reading, attention and criticality, distribution and the infrastructure of publishing. This is realized by means of a thematization of shifting speeds of reading and viewing, a montage between the readable and the visible, between text and image.
A number of important points of gravity in OEI #79 are constituted by inventive and continuously generative, but far too unheeded publishing projects such as Art Distribution, Wedgepress & Cheese, After Hand and Kulturmagasinet Vargen. The artist Lars Fredrikson’s works on books by the poet Claude Royet-Journoud accentuate the violent and yet fragile character of reading, whereas the typographer Gerold Propper, on the contrary, seeks a utopian readability by means of experiments with ”typograms” and book design. A publication that in an exemplary way carries several forms of display is Berndt Petterson’s I Påsen(Cavefors 1965). It is simultaneously an artist’s book, a booklet of visual poetry, an exhibition and a concrete form of distribution: the bag!
In parallel to such ’historical’ examples, OEI #79 also encompasses a long series of contemporary artistic and poetic practices of editing and publishing, ranging from the works by Åse Eg Jørgensen on paper and format to Tan Lin’s ambient investigations of the negotiations of the book and the act of publishing in digital environments and systems; from Stina Persson’s photocopied night sky and Marco Giovenale’s ”asemic writing” (a writing where the semantic meaning is receding behind the visual dimension) to Ana Luiza Dias Batista’s digital paper and franck leibovici’s mapping of the magazines by Claude Royet-Journoud.
Editorial practice, Nils Olsson writes in an essay in OEI #79, is the name of proceedings that today intervene in and traverse all fields of culture, all situations and functions. The promise of the editorial practice consists in its ”productive reluctance to take the prevailing differentiations between competences and media for granted”. Editorial practice operates ”on the very spot where general, specific, technical, ideological, historical and aesthetical conditions of articulation converge – which is also the only point from where it is practically possible to transform these conditions”. To edit is to work with what exists, but at the same time to make this into something more. Edit/publish/distribute!
As a part of OEI #79, we are organizing a series of conversations, presentations and lectures related to editing and publishing during five Friday evenings between February 23 and March 23. Communities of publishers, artists, poets and philosophers from Denmark, France, Portugal and Sweden will then join us at Moderna Museet.
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http://oei.nu/w/1.html
Friday 16 Feb. at 18–23
Moderna Museet Stockholm 17/2 – 1/4
PROGRAM: Continue reading
