a Telegram channel for ASEMIC writing stuff & news has born.
join if you want: https://t.me/asemic
è nato un canale Telegram per materiali e aggiornamenti legati alla scrittura asemica. chi vuole si unisca: https://t.me/asemic
a Telegram channel for ASEMIC writing stuff & news has born.
join if you want: https://t.me/asemic
è nato un canale Telegram per materiali e aggiornamenti legati alla scrittura asemica. chi vuole si unisca: https://t.me/asemic
Alcune tappe storico-interpretative dell’arte asemica e poetico-visiva + un esperimento
a cura di
Antonio Francesco Perozzi
pdf liberamente scaricabile all’indirizzo
https://slowforward.files.wordpress.com/2021/03/alcune-tappe-dellarte-asemica_-afperozzi.pdf
alias
https://tinyurl.com/DellArteAsemica-AFPerozzi
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glyphicle
(CC) 2012-13 differx
[GIF published in The New Postliterate]
thenewpostliterate.blogspot.com/2013/07/glyphicle-from-marco-giovenale.html
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3.bp.blogspot.com/-Fi6bWiMmacc/UeLjVMwbwJI/AAAAAAAAGOE/PjyeTUFFqew/s1600/glyphicle.gif
[and in Antipodes:]
antipodes.org.au/en.pure_concept_06.html
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antipodes.org.au/Photo/glyphicle_B_00.gif
Cecil Touchon was Born in 1956 in Austin, Texas is a contemporary American collage artist, painter, published poet, and theorist living in Santa Fe, New Mexico. Co-founder of the International Post-Dogmatist Group, Touchon is director of the group’s Ontological Museum, Founder of the International Museum of Collage, Assemblage, and Construction, and founder of the International Society of Assemblage and Collage Artists. Cecil Touchon is best known for his Typographic Abstraction works that ‘Free the letters from their burden of being bearers of meaning”.
Touchon co-founded the International Post-Dogmatist Group (IPDG) in 1987. Primarily an alternative to a post-modernist view of the world, the group’s writings suggest that creativity and artistic pursuits must be based in a recognition of the spiritual underpinnings of all human activities. The IPDG addresses itself to the art world through a presentation of itself as the ‘official avant-garde’ creating an elaborate bureaucratic structure of outlandish sounding offices through which the various members communicate simulating ‘the establishment’ as a form of parody.
In 2005 an exhibition was held in Cuernavaca, Mexico entitled “Cecil Touchon – Thirty Years of Fluxing Around” in which art works and scores dating as early as 1975 were exhibited showing the fluxus tendency in Touchon’s work over the last thirty years. Touchon has never been formally associated with the Fluxus group until the year 2000 with his participation in the Fluxlist – an email group where the current generation fluxus artists interact and collaborate. In 2002 Touchon, with a number of other artists from the Fluxlist established the Fluxnexus – a group of artists working together on various new Fluxus projects including a new Fluxus performance workbook. In 2006 Touchon established the FluxMuseum in order to assemble and archive samples of works by contemporary 21st Century Fluxus artists. The central focus of the Fluxmuseum has been the creation of Fluxus related publications and curating and mounting international exhibitions of Fluxus art called Fluxhibitions.
Interviewed by Pierre Gervois.
Musei di carta. Storie di musei e archivi, opere e documenti
Progetto in collaborazione fra CID/Arti visive – Centro di informazione e documentazione del Centro Pecci di Prato e CRRI – Centro di Ricerca Castello di Rivoli
«Prosegue il programma di mostre ideato da Cristiana Perrella dedicato ad approfondire temi, periodi e linguaggi della collezione del Centro Pecci, affidandone la cura a un esperto invitato come guest curator e affiancato dal responsabile delle collezioni e archivi Stefano Pezzato.
Il progetto espositivo proposto rappresenta la prima collaborazione che mette in relazione i centri di ricerca di Rivoli e del Pecci (dopo una precedente collaborazione in occasione della mostra di Mario Merz nel 1990) ed è rivolto a investigarne funzioni pubbliche e metodologie di ricerca, portando l’attenzione del pubblico verso quei patrimoni di opere, documenti e conoscenze che gli archivi museali pubblici e privati conservano, studiano e promuovono e, quindi, analizzando l’articolato rapporto fra l’identità del museo e la dimensione dell’archivio.
Opere e documenti in mostra provengono, oltre che dalle collezioni del Centro Pecci (fra cui una selezione di libri d’artista relativi al progetto Di carta e d’altro, 1994, e di “Poesia Visiva” relativi ai progetti Primo Piano. Parole, azioni, suoni, immagini da una collezione privata, 2006; Parole contro 1963-1968. Il tempo della poesia visiva, 2009 e Controcorrente: riviste, dischi e libri d’artista nelle case editrici della poesia visiva italiana, 2012) e del Castello di Rivoli (fra cui una selezione di libri d’artista), anche da altri musei e archivi privati, partner del progetto e accostati per l’occasione ai due centri di ricerca museali pubblici: Archivio Schema, Collezione Palli, Fondazione Bonotto, Fondazione Morra, Collezione Gianni e Giuseppe Garrera».
http://postasemicpress.blogspot.com/2020/05/glitchasemics-by-marco-giovenale-is.html
https://postasemicpress.blogspot.com/2020/09/note-su-glitchasemics-di-marco.html
https://slowforward.net/2020/05/19/glitchasemics-by-mg/
http://eexxiitt.blogspot.com/2020/05/glitchasemics-post-asemic-press.html
amazon.it/GLITCHASEMICS-Marco-Giovenale/dp/1734866209
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Post-Asemic Press is a book publisher of asemic writing and beyond. It is based out of Minneapolis and is run by Michael Jacobson. The Bandcamp site will be for sonic works of sound poetry and experimental poetry and other related forms. Here is the Post-Asemic Press blog: postasemicpress.blogspot.com
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