VISUAL POEMS

by Hugo Pontes

 

We can say that the daring of the experimentation poetic didn't park in Concretismo. The experiences continued and they continue until our days with surprising results.  Starting from the decade of 70, in Brazil, the visual poets appear timidly, promoting its first exhibitions and alternative publications.

With passing of the time, countless followers integrate into the movement of the visual poem and each one manifests its art being used of the most varied resources: xerography, computer, holography, video, printed posters, laser, postcards, stamps, etc.

The thematic explored, in universal sense, it is the man and its be-knot-world. In private character, Brazil, they are explored the incompetence of the national politics, the poverty, the foreign debt, the illusion of the lottery, the human dilemma of the atomic energy, the psychological conflict of being and the erotic themes. 

The visual poem is characterized by valuing the image as universal entity. The word, in the case, is very well an appendix explored and placed, composing an all harmonic one capable to allow to the " vleitor " an infinity of readings, in agreement with the level of its knowledge, experience, culture and school level.

The visual poem, in Brazil, finds echo in some rare publications, mainly the alternatives that shelter poets' works as Joaquim Branco, Márcio Almeida, Marcelo Dolabela, Sebastião Nunes and Hugo Pontes (MG); Paulo Bruscky (PE); Fred Maia, Philadelpho Menezes and Constança Lucas (S); Maynand Sobral (CE); Ricardo Alfaya and Amelinda Alves, Moacy Cirne (RJ), Gilberto Mendonça Teles; Rubervan du Nascimento (PI); Hugo Mund Júnior (SC); Falves Silva, Avelino de Araújo, J. Medeiros and Bianor Paulino (RN); Sérgio Almeida (PR).

The existent publications, today, gone back to the visual poem they are the page ComunicARTE, of the Jornal da Cidade de Poços de Caldas-MG, Revista Dimenção de Uberaba-MG and the Cultural " Suplemento Garatuja ", of Bento Gonçalves-RS.

Minas Gerais have a lot of history to count on the visual poem, because here it is one of the most vigorous and consistent nuclei of that manifestation.

 


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