Archivio mensile:Maggio 2021

link e materiali da/per “delle osservazioni” (blonk, 2021)

Marco Giovenale, Delle osservazioni

Blonk Editore, collana Fuorimenu diretta da Andrea De Alberti

Delle osservazioni
Blonk, Pavia 2021
collana Fuorimenu, diretta da Andrea De Alberti

scheda editoriale:
https://www.blonk.it/book/delle-osservazioni/

Delle osservazioni è un libro riassuntivo della modalità di Marco Giovenale che potremmo, sbrigativamente, definire postlirica – parallela o intrecciata che sia, non comunque contrapposta – alla sua produzione più immediatamente riconducibile alla cosiddetta «poesia di ricerca». Naturalmente la ricerca c’è anche qui – in questa operazione di autoantologia e in parte di riscrittura che riunisce Storia dei minuti, parte di Criterio dei vetri e qualche altro sparso membro proveniente da altri volumi. Nei termini di Giovenale, i testi raccolti in questo libro conservano un tratto di assertività (la dantesca «volontade di dire» che contrassegna la poesia lirica – ma più in generale l’arte – occidentale almeno fino alle più recenti ondate di avanguardie letterarie a artistiche, concettuali e oggettivistiche), anche se la revisione tende a limarne la perentorietà. Un tratto residuo che – mentre inibisce la modalità comica, altrove molto attiva in Giovenale – motiva alcuni caratteri salienti di questa poesia, riconducibili alla tradizione modernista: l’adorniano carattere di enigma dell’oggetto artistico; il dominio della terza persona; la costruzione del testo attraverso l’interruzione e la sottrazione (e la loro stessa promozione a tema della poesia). Non sapremmo dire se è qui c’è il Giovenale più avanzato – rispetto alla sua stessa poetica esplicita –, ma certamente c’è non poco del Giovenale migliore che molti di noi hanno apprezzato attraverso gli ultimi vent’anni.

(Paolo Zublena)

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il comunicato della casa editrice:
https://www.blonk.it/blonk-pubblica-il-nuovo-libro-di-marco-giovenale/
https://slowforward.net/2021/03/29/delle-osservazioni-il-comunicato-delle-edizioni-blonk/

videotrailer/lettura:
youtu.be/yOAfv0wDaYk
(da facebook.com/143474509055129/videos/755554271997559
e https://www.instagram.com/p/CNIYruvieNw/)

intervento @ RadioArte, per dodicipm, a cura di Andrea Astolfi:
https://www.radioarte.it/calendario/podcast/dodicipm-marco-giovenale/

podcast dell’intervista di Andrea Penna a RadioTre Suite (27 apr. 2021):
https://slowforward.net/2021/04/28/podcast-dellintervista-di-andrea-penna-a-marco-giovenale-radiotre-suite-27-apr-2021/
https://www.blonk.it/marco-giovenale-ospite-a-radiotre-suite/
https://www.blonk.it/wp-content/uploads/2021/04/intervista-radiotre-suite-27-apr-2021.mp3

lettura in video (al c.s. Brancaleone, 30 mag. 2021):
youtu.be/e9rtILDzFCA

recensione di Rossella Renzi su Argo (27 nov. 2021):
https://www.argonline.it/poesia-marco-giovenale/

recensione di Sara Sorrentino su La Balena Bianca (19 ott. 2022): https://www.labalenabianca.com/2022/10/19/delleosservazioni-giovenale/

presentazione online con Paolo Zublena @ Biblioteca Elio Pagliarani:
youtu.be/0nQROx2y_9w
youtu.be/c497RSUoNMo

estratti dal libro (1):
https://criticaimpura.wordpress.com/2021/04/14/marco-giovenale-delle-osservazioni/
(https://www.blonk.it/larticolo-di-critica-impura-su-delle-osservazioni-di-marco-giovenale/)

estratti dal libro (2):
http://www.nuoviargomenti.net/poesie/delle-osservazioni/
(https://www.blonk.it/5-poesie-tratte-da-delle-osservazioni-su-nuovi-argomenti/)

estratti dal libro (3):
slowforward.files.wordpress.com/2021/03/screenshot_20210330-004539_facebook.jpg
(https://slowforward.net/2021/03/29/delle-osservazioni-il-comunicato-delle-edizioni-blonk/)

estratti dal libro (4):
https://www.facebook.com/story.php?story_fbid=10215687670345019&id=1840186294

estratti dal libro (5):
https://www.lapoesiaelospirito.it/2022/01/14/poesia-italiana-del-xxi-secolo-61/

recensione di Valentina Murrocu:
https://www.recensireilmondo.com/2021/04/recensire-poesia-marco-giovenale-delle.html
(https://www.blonk.it/recensireilmondo-recensisce-delle-osservazioni-di-marco-giovenale/)

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rassegna stampa:
https://www.blonk.it/tag/delle-osservazioni/

instagram:
https://www.instagram.com/p/CM_2cBzjjls/
https://www.instagram.com/p/COiWr-bjQNe/
https://www.instagram.com/p/CNIYruvieNw/
_

recent posts @ repository magazine (cecil touchon, editor)

Desemantized Writing (Jim Leftwich, 2021)
For me, the practice of asemic writing began in processes I was using in the mid-to-late 1990s to write textual poems. Beginning with a…
Go to the profile of Marco Giovenale = differx
Marco Giovenale = differx
 
May 20
Monsters in Trousers
Monsters in Trousers  9:27 PM 5/7/2018 (collage poetry)   We use language to separate, to violently tear ourselves [apart]. There is…

Go to the profile of Cecil TouchonCecil Touchon

 
May 18
Avant-Garde Chats with Cecil Touchon
Watch this ZOOM conversation I have with Michelle Moloney King; Editor of Beir Bua Press

Go to the profile of Cecil TouchonCecil Touchon

 
May 17
installance (Aug 23rd, 2010)
host / lost
Go to the profile of Marco Giovenale = differx
Marco Giovenale = differx
 
May 15
The idea of a “transition strategy”
Rosaire Appel: “asemic writing is also a way of leaping forward into territory not yet conceptualized… a transition strategy perhaps” (Jun…
Go to the profile of Marco Giovenale = differx
Marco Giovenale = differx
Apr 11
Why would Anyone Buy a Nifty?
Non fungible tokens have been around for a minute and I myself have only known about the idea for a few weeks. But here are some initial…

Go to the profile of Cecil TouchonCecil Touchon

Apr 5
Interview with Cecil Touchon in Artscope Magazine
On view (in 2014) at Lanoue Gallery in Boston

Go to the profile of Cecil TouchonCecil Touchon

Apr 2
Collage: Small is the New Big
Essay for an exhibition held April 15, 2016 — June 15, 2016

Go to the profile of Cecil TouchonCecil Touchon

Apr 1
An Artist in a Studio
Following up on the first article: On Being an Artist

Go to the profile of Cecil TouchonCecil Touchon

 _

una possibile logica dell’installance (e qualche ‘prossimità’) / differx. 2021

image by Stefan Brüggemann

image by Stefan Brüggemann

visual-poetry.tumblr.com/post/164221946826/by-stefan-br%C3%BCggemann

…ma ‘invece’, che cos’è un’installance? (termine che ho coniato nel 2010)
cfr. https://medium.com/repository/installance-aug-23rd-2010-755e30d8e3ba

ovvero (originariamente) https://installance.blogspot.com/p/host-lost-derive-river-01.html

e anche
https://operavivamagazine.org/installance/

recentemente, Johannes Bjerg: https://slowforward.net/2021/06/03/drawing-an-eye-on-a-stone-so-it-can-see-the-sky-johannes-s-h-bjerg-2021/.

ipotesi di prossimità: l’installance come opera abbandonata e persa (differx) secondo la lezione dei Sassi nel Tevere, di Emilio Villa (1949), e l’opera che si realizza quando manca, come nelle “zone di sensibilità pittorica immateriale” di Yves Klein (1957: cfr. il dattiloscritto delle Règles rituelles de la cession des zones de sensibilité picturale immatérielle, qui ovvero qui), o nella auto-destructive art di Gustav Metzger, o nel cubo nel cilindro invisibile di Gino De Dominicis (1969: terza foto in questa sequenza); o quando è distrutta ed eventualmente ‘recuperata’ in frammenti, cfr. Jean Tinguely (Homage to New York, 1960), e John Baldessari (Cremation Project, 1970); o infine irrecuperabile (Robert Barry, 1969).

poi ecco la dichiarazione di Stefan Brüggemann, sopra mostrata; ma è utile ricordare anche il lavoro di Cesare Pietroiusti, prima di Banksy. oppure le azioni di Angelo Pretolani, come quelle incluse nella serie Sotto il selciato c’è la spiaggia.

Klein:

http://www.yvesklein.com/en/films/view/86/yves-klein-propositions-monochromes-galerie-colette-allendy-suite/

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De Dominicis:

https://www.fabiosargentini.it/gino_de_dominicis.html

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Tinguely:

https://www.moma.org/calendar/exhibitions/3369

https://assets.moma.org/documents/moma_press-release_326185.pdf

“[…] During its brief operation, a meteorological trial balloon inflated and burst, colored smoke was discharged, paintings were made and destroyed, and bottles crashed to the ground […]”
(https://www.moma.org/collection/works/81174)

 

Jean Tinguely_ Homage to New York

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Metzger:

& (most of all):
Gustav Metzger : “Auto-Destructive Art” (1965, H. Liversidge)

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Baldessari:

John Baldessari, The Cremation Project, 1970 (https://magazine.artland.com/artists-who-destroyed-their-own-work/)

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Pretolani:

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sull’argomento cfr. anche:

– Burning Man, operazione collettiva del 1986, https://en.wikipedia.org/wiki/Burning_Man

– https://www.nytimes.com/2019/03/11/t-magazine/artists-destroy-past-work.html

– http://www.unclosed.eu/rubriche/osservatorio/recensioni-attualita/171-la-didascalia-mancante.html

– https://slowforward.net/2011/12/11/alighiero-boetti-2/

§

Guarda che siamo di Eleusi. […] Qui il più severo e il più vero inventore sono io, che ho inventato la poesia distrutta, data in pasto sacrificale alla Dispersione, all’Annichilimento: sono il solo che ha buttato il meglio che ha fatto: quello che s’è consumato nella tasca di dietro dei calzoni scappando di qua e di là, quello scritto sui sassi buttati a Tevere, quello stampato da un tipografo che non c’è più, quello lasciato in una camera di via della croce. Solo così si poteva andare oltre la pagina bianca: con la pagina annientata.

Emilio Villa, da un appunto (“risalente alla fine degli anni Settanta o all’inizio degli Ottanta”, cfr. A.Tagliaferri, Il clandestino. Vita e opere di Emilio Villa, DeriveApprodi, Roma 2004, p. 183)

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Da “Il clandestino. Vita e opere di Emilio Villa”, di Aldo Tagliaferri (DeriveApprodi, Roma 2004, p. 206)

§

“E nel 1980, avendo esposto in una galleria di Brescia le mûra di t;éb;é (poesie scritte in greco antico su lastre di plexiglas), [Emilio Villa] ha tagliuzzato i testi della sua traduzione in italiano e ne ha messo i frammenti entro sacchetti che poi ha appeso accanto alle lastre. Dunque ha scritto in una lingua morta, ha tradotto in una lingua stentatamente viva, e ha esposto la morta, la lingua impossibile, nascondendo sotto gli occhi di tutti la viva, facendo tornare indietro il senso di quelle parole, impedendole a noi, lasciando ogni cosa inascoltata”.

Nanni Cagnone, in Cognizione di Emilio Villa [1989],
in Emilio Villa poeta e scrittore, a cura di Claudio
Parmiggiani, Milano, Mazzotta, 2008, p. 336

§

 

Cecilia Bello Minciacchi nell’introduzione all'”Opera poetica” di Emilio Villa, da lei curate per L’Orma, Roma 2014

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«Beyond self, auto-destructive art entails a loss of the artist’s ego»

(Manjinder Sidhu on Gustav Metzger,
https://www.a-n.co.uk/reviews/gustav-metzger-towards-auto-destructive-art/)

promemoria: twentytwenty extended conference – oggi venerdì 21 maggio 2021 alle ore 18:00

TwentyTwenty Extended Conference – oggi venerdì 21 maggio 2021 alle ore 18:00 con:

Chair: Tommaso Pomilio
Gilda Policastro (Roma), L’ultima poesia: scritture e mutazioni di genere
Poster: Antonello Costa (Università di Roma Sapienza), La macchina regolatrice, canone e mass media nella poetica di Michele Mari

Tutti gli incontri si terranno sulla piattaforma Microsoft Teams, a cui sarà sempre possibile accedere tramite questo link. Il link sarà sempre disponibile anche sulla pagina web del convegno. Si può scaricare gratuitamente l’app Teams sul computer, oppure accedere tramite browser (Google Chrome).

È possibile consultare il programma e la descrizione dettagliata del progetto alla pagina del convegno.

 *

a cura di
Giulia Bassi e Stefano Milonia

Desemantized Writing (Jim Leftwich, 2021)

Jim Leftwich, Desemantized Writing

For me, the practice of asemic writing began in processes I was using in the mid-to-late 1990s to write textual poems. Beginning with a large variety of source texts, those processes included syllabic and phonemic improvisation, varieties of cut-and-paste recombination (of letters, of morphemes, of words, of phrases, of sentences, and of paragraphs), varieties of misdirectional readings-as-writings (moving through paragraphs from right to left, from top to bottom and vice-versa in columns, reading multiple lines in wave patterns, reading paragraphs and pages diagonally, etc), and formulas for extracting, replacing and/or omitting letters from poems and paragraphs. The poems and paragraphs I was writing during those years were constructed, we could say, for reasons other than that of producing meaning.

Sometime late in 1996, I was warned that if I continued on the path I had chosen I would eventually wind up producing asemic texts.

In January 1998 I wrote the following to Tim Gaze: “An asemic text, then, might be involved with units of language for reasons other than that of producing meaning.”

If I had known the term “desemantized writing” at that time, I would certainly have used it, rather than “asemic writing”. The term ‘desemantized writing” is much more accurate, much clearer, much more precisely descriptive of the processes from which my “asemic writing” emerged.

Again, let me emphasize that this little note is accurate in relation to my own processes and practices, and I am fully aware of the fact that it does not apply to the relationships
that many others have with the theory and practice of asemic writing.

If I had known the term “desemantized writing” in the 1990s, rather than the term “asemic writing”, then Tim Gaze and I would have been using the term “desemantized writing” in our correspondence. The term “desemantized writing” would have been used in our international exchanges through the mail art and small press poetry networks. Chances are that Tim’s magazine would have been named “desemantized writing”. Then, sometime around 2005, when Michael Jacobson encountered the magazine and the word, maybe instead of “asemic writing” he would have used the term “desemantized writing” in his interviews and essays.

It’s interesting (again: speaking only for myself) to rewrite this imaginary history, but unfortunately, here and now, in 2021, it is only a kind of game. I didn’t learn of the term “desemantized writing” for another decade-and-a-half, when Marco Giovenale told me about its use among Italian verbovisual poets in the 1960s and 70s.

jim leftwich
05.18.2021

2 jim leftwich’s desemantized pieces in “lost and found times”, n. 39, nov. 1997, pp. 18-19

Jim Leftwich

source:
https://kb.osu.edu/handle/1811/45352

download the mag:
https://kb.osu.edu/bitstream/handle/1811/45352/RAR_AVANT_LAFT_39.pdf?sequence=2&isAllowed=y

_

a brief note on desemantized writing / jim leftwich. 2021

Jim Leftwich_ Desemantized Writing

Jim Leftwich_ Desemantized Writing

Desemantized Writing

For me, the practice of asemic writing began in processes I was using in the mid-to-late 1990s to write textual poems. Beginning with a large variety of source texts, those processes included syllabic and phonemic improvisation, varieties of cut-and-paste recombination (of letters, of morphemes, of words, of phrases, of sentences, and of paragraphs), varieties of misdirectional readings-as-writings (moving through paragraphs from right to left, from top to bottom and vice-versa in columns, reading multiple lines in wave patterns, reading paragraphs and pages diagonally, etc), and formulas for extracting, replacing and/or omitting letters from poems and paragraphs. The poems and paragraphs I was writing during those years were constructed, we could say, for reasons other than that of producing meaning.

Sometime late in 1996, I was warned that if I continued on the path I had chosen I would eventually wind up producing asemic texts.

In January 1998 I wrote the following to Tim Gaze: “An asemic text, then, might be involved with units of language for reasons other than that of producing meaning.”

If I had known the term “desemantized writing” at that time, I would certainly have used it, rather than “asemic writing”. The term ‘desemantized writing” is much more accurate, much clearer, much more precisely descriptive of the processes from which my “asemic writing” emerged.

Again, let me emphasize that this little note is accurate in relation to my own processes and practices, and I am fully aware of the fact that it does not apply to the relationships
that many others have with the theory and practice of asemic writing.

If I had known the term “desemantized writing” in the 1990s, rather than the term “asemic writing”, then Tim Gaze and I would have been using the term “desemantized writing” in our correspondence. The term “desemantized writing” would have been used in our international exchanges through the mail art and small press poetry networks. Chances are that Tim’s magazine would have been named “desemantized writing”. Then, sometime around 2005, when Michael Jacobson encountered the magazine and the word, maybe instead of “asemic writing” he would have used the term “desemantized writing” in his interviews and essays.

It’s interesting (again: speaking only for myself) to rewrite this imaginary history, but unfortunately, here and now, in 2021, it is only a kind of game. I didn’t learn of the term “desemantized writing” for another decade-and-a-half, when Marco Giovenale told me about its use among Italian verbovisual poets in the 1960s and 70s.

jim leftwich
05.18.2021