“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.

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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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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

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