4th International Meeting of Experimental, Sound and Visual Poetry

 

 

We would like to present the fourth edition of the International Meeting of Experimental, Sound and Visual Poetry, organized by VORTICE ARGENTINA. Due to the extensive response of artists to our invitation, it has been necessary to change the location of our presentations, abandoning the small and romantic Barraca Vorticista, in order to continue the activities of the meeting in the Espacio Giesso. Thus the traditional works on paper are being accompanied by an impressive display of video, CDs with interactive works, images and audios, and performance projects. We need to pause here to underline the orientation of the works, which, in a broad spreading of possibilities, includes work with drawings, collages, engravings, copy-art, and electronic graphics on paper, and also, works in what could be called Technopoetry*. This project is pointing out to us a major development in visual poetry among the artists who replied with their works related to the poem «Un Coup des Des» by Mallarme, written over 100 years ago. In a way these new works repeat Mallarme’s idea when he said that the presence of new means of graphic printing at the end of the 19th century had affected him to such an extent that he decided to change his poetic esthetics as a result of that perception of his surrounding reality.

 

Today, in a world that’s permanently informed, and in which, as Jeremy Rifkin says, we are going around in 24/7 time, the artists who participate in this congress are showing the influence of that reality, not only in their works but in the ways in which they send them and in which we have received them.

 

In the field of visual poetry there are many who at one time would have been described as being a part of tendencies. But today it is impossible to make this classification. Thus the bounderies have disappeared due to the intersections of the technologies used and when we say that works were received, it is most likely that it happened electronically and that it was then printed on a printer in a gush of ink, and in order to enlarge it a photocopier was used and thus we could continue interchanging technologies in order to get those materials to the spectator. As a result of this loss of boundaries and of permanent dialogue between languages, the esthetics of visual poetry is being changed profoundly, and these changes will surely form a part of the history of artistic production. As did futurists, surrealists, Brasilian and German concrete poets, Fluxus, and, to mention him as often as possible, the Argentine artists Edgardo Antonio Vigo: all important steps on the road of Visual Poetry.

 

Fernando García Delgado Ivana Martínez Vollaro Juan Carlos Romero

Buenos Aires, October 2001

 

 

* TECHNOPOETRY

 

With the goal of developing some definitions we take as a point of reference the presentation of Caterina Davinio y Karenina.it at The Art Tribe II which took place in Italy in September of this year, curated by Aquiles Bonito Oliva.

Among those who work in the field of visual poetry, distinctions are frequently made between graphic works, objects, and sound poems -there are now many studies and interpretations in these media- but new technologies arise, and artists are using them to express themselves.

Technopoetry artists come from diverse backgrounds and experiences: literature, film, photography, visual arts, performances and actions, but they arrive at similar results, even in their diversity, in a borderland of contamination between languages.

 

. Video-performance or Video-action

Video in which a performer is in the scene, even if the intervention in the filming and post production phases includes a linguistic level in some way, so that the video itself consists of a product relative to the performative action and its simple rebeginning. In some cases these are entirely produced by the author; in others they are collaborations between writers, video- and computer-artists, graphic artists, and performer.

 

. Multimedia Performance or Action on Video

The performance is more important than the post-production, content more important than the video form; it is the performance itself which makes use of multimedia elements, video and electronic sounds, with which the performer interacts. The «action» can also take place on-line.

 

. Video-Poetry

This is a category which could be included in the more general one of «video art» or of «video performance», but in video poetry the textual dimension predominates, whether that text is written linearly or spoken, or sound poetry, in some cases integrated with the performance, or in others with film.

 

. Film-Poetry

This is a particular kind of video poetry in which the textual element is secondary with respect to the image or else is completely absent, in which case the artist intends to express himself using the poetic value of images. The poetry is constructed through sequences; some of these artists come from the world of experimental film and photography.

 

. Video-Visual Poetry

Digital video must be seen in the context of the futurist tradition, and that of visual poetry. It uses technologies the futurists might have dreamed of, or perhaps never even imagined: computer graphics, and digital art. The image develops out of spatial aspects of the text and of the printing process, and of their movement: it is a characteristic at times of many video-poems and film poems also, but in that case it becomes structural. The sound can be formed from the reciting voice of the poet mixed with digitally processed sounds, or with the experiments of a musician.

 

. CDRom / Digital Poetry

In this section one could include videos of exhibitions, which make use of digital technologies on the production and post-production phases. Those works in which digital elaboration is important reappear, based on the construction of images, those born exclusively from computer programs for graphics, in which non-verbal and non-filmic elements predominate, and those productions which use only digital means to be distributed, like CDs. In these sequences of images the word is completely absent; it is present, on the other hand, in animation games. Here would belong digital images, texts, digital sounds, performative aspects inserted -all joined together in the very act of communication.

 

In a separate paragraph would go works created for the Web which on this occasion were not addressed, though we know that every day the Web is including more and more works of visual and experimental poetry.