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

 

“SPATOLA 30”

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: https://www.amaci.org/en/gdc/quattordicesima-edizione-giornata-del-contemporaneo/spatola-30

 

“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: scenerochsamtal.goteborgslitteraturhus.se

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Secession

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

Secession
Friedrichstraße 12
Vienna

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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from “octo” / bob cobbing. 1969

https://www.beatbooks.com/pages/books/36610/bob-cobbing/octo/

and:

“liner notes for a pithecanthropus erectus sketchbook”, by federico federici


“My feeling on the poems is that they are a cohesive set, yet each has its own identity. How much time the reader spends with each is up to them, but they might spend hours, or seconds, with each or with all. How rare is a clear control of the pansemic aesthetic? Essentially it seems as though Federico’s poems are often the evocation of a structure evading itself, an exact match to what Mingus declared his piece was about – a ten minute tone poem. Certainly in terms of actual construction Federico is also providing a score, a rescoring of that which been unscored. Here is metaphorical language without semantics. Ambiguous detail activating the poetic. The work is remarkable precisely because it works in a graceful, familiar space to do often stark and unfamiliar things. Like jazz that absorbs sound. This feels to me a faithful act towards listening and the intention towards possibility and inspiration. The roll, the smudge, the dead signature. The cut in the scrawl. The squig. The line, cards and bled ink. Sounds on paper.”

SJ Fowler

Liner notes for a Pithecanthropus Erectus sketchbook, with a foreword by SJ Fowler, lulu.com, Morrisville 2018, (Eng-Asemic). ISBN: 978-0244999049   amazon.it | .com.de | .es | .uk