Visual arts and poetry

El presente ensayo poético es un intento de respuesta al canto del último kauai'o'o, un ave endémica de Hawái que fue considerada extinta en la década de 1990. El texto, escrito colectivamente por el grupo de investigación Vaga-Mundo: poéticas nómadas, parte de su última grabación sonora, registrada en 1986 por el biólogo Jim Jacobi en Alaka'i Swamp. El canto, que originalmente habría formado parte de un dúo entre el macho y la hembra de la especie, está marcado por pausas que denotan la ausencia de su compañera, desaparecida años antes. ¿Cómo responder al canto de este pájaro solitario? Considerando el paisaje sonoro de varias lenguas —portugués, español, francés, inuit, griego y finlandés— y la idea de que en todo canto hay una comunidad, proponemos hacer reverberar esta melodía en el espacio de la página.

This paper examines the contributions of Alice Notley and Eileen Myles to the second wave of the New York School of poetry, highlighting their innovative approaches to form, narrative, and collaboration. It explores how both poets drew from visual art, music, and earlier literary movements to challenge traditional poetic structures, employ collage and stream-of-consciousness techniques, and foreground marginalized voices. Through close readings of select works, including The Descent of Alette, Margaret & Dusty, Skies, and As Good as Anything, the paper demonstrates how Notley and Myles expanded the poetic canon, influenced peers, and bridged the gap between postmodern experimentation and the legacies of the first New York School of Poetry.

"On the Hidden Women from Nowhere" (על הנשים הסמויות - מאין).


המאמר של יהודית מליק שירן, על ספר השירה והאומנות של ד"ר נורית יעקבס צדרבוים '




This book by Nurit Jacobs Cederboum gives voice to "hidden women"- figures who are both real women the author has met and imagined characters. The common thread among them is that they are unseen and their stories are unheard, sometimes to the point where they don't even hear their own voices. The book is a collection of their stories, memories, and thoughts, creating a mosaic of experiences that blurs the line between reality and imagination. It serves as a call for the reader to listen to the inner voice of these women, as well as to their own.



The book's title and concept are inspired by Italo Calvino's 'Invisible Cities', Just as Calvino used metaphorical cities to explore universal human truths, Cederboum uses the stories of these women in a poetic and metaphorical way. Both books deal with themes of concealment and revelation, showing how looking closely at what is often ignored can reveal profound truths. Each woman's story is a world unto itself, but together they form a human mosaic that reflects universal experiences and the deep-seated need to be seen and heard.



The book is structured as a "duet" between poetic prose and the author's own paintings. Throughout the book, portraits of women are featured, which resonate with the text. The author, who is also the artist, uses a unique process: she paints, photographs the painting, cuts it up, and then stitches it back together with a sewing machine, and embroidery as well, creating a new piece. This act of "sewing" the paintings is symbolic, often representing the scars of life and the process of healing and mending wounds.



The book documents an 'internal journey of healing and self-discovery', much of which was written during the COVID-19 pandemic. The lockdowns forced a period of introspection, allowing the narrator to look inward and get to know herself better. This journey is depicted as a process of making decisions and finding the determination to heal. For example, one passage describes the courage it takes for a widow to remove her mourning clothes and chooses to wear white, symbolizing renewal and a new beginning.



The narrative voice itself reflects this journey of transformation. The speaker often begins by using the third person "she" to describe a woman's experience, which creates distance. However, as the journey progresses, the voice shifts to the first-person "I," signifying that the author has integrated these experiences, found her voice, and is no longer hiding. This transition from "she" to "I" is a key station of self-revelation, placing the narrator at the center of her own stage.

Ultimately, the book is an invitation to embark on a journey of listening. It highlights how every personal story contains a universal echo, connecting the experiences of one woman to those of many others. The creative process, the dialogue between writing and painting- becomes a healing tool for the artist-poet, allowing her to explore her past and create a profound change in her soul, representing the victory of the spirit.

Este libro recoge y analiza uno de los trabajos más excéntricos del artista vanguardista argentino Edgardo Antonio Vigo y la artista y traductora Elena Comas: Vendedor de Sal de 1966. Se trata de una traducción completa –la primera de la que se tenga conocimiento en lengua española– del libro Marchand du Sel de Marcel Duchamp. El texto argentino de doble autoría nunca fue publicado, ya que su función principal era ser un libro de estudio, del cual Vigo extraería ideas y citas para sus clases, charlas e incluso para su propia producción artística. Las autoras dan a conocer ahora esta primera traducción y edición del libro en español.

2023 was a quite fertile year for Wim Wenders and his audience. First with his documentary Anselm: The Sound of Time (Anselm: Das Rauschen Der Zeit), the result of a three-year collaboration with Anselm Kiefer, and then his fiction Perfect Days, which was originally intended to be a documentary about 17 design marvel public toilets in Tokyo but turned into a subtle narrative of sunlight filtering through leaves (komorebi in Japanese), Wenders touched both the minds and hearts of his audience. Although I have always approached Wenders' work with interest and respect from the beginning, lately I've found myself more curious about his documentaries than his fiction films.

This article analyzes the design of the illustrative cycle never realized in the manuscript Florence, Biblioteca Medicea Laurenziana, Plut. 44.28. The manuscript, produced in Florence between the late 13th and the first quarter of the 14th centuries, preserves the 'Fatti di Cesare' and the abridged version of the 'Libro fiesolano'. It was intended to be accompanied by a rich iconographic apparatus, consisting of a miniature on the recto of
each folio, but only a preliminary drawing was created. Fortunately, several instructions for the miniaturist have survived – almost entirely dedicated to the first work – appearing in the lower margin of many folios. These instructions reveal what the content of the images would have been according to the plans of the designer of the figurative apparatus.
This article examines these instructions in order to analyze the reception of the work in Florence between the end of the 13th and the first quarter of the 14th centuries.

Se, a princípio, a ligação entre arte, crítica e política parece óbvia, a presente obra nos mostra o contrário. Os eixos da coletânea (“Paisagens da arte contemporânea”, “Do urbano ao virtual e vice-versa” e “Som-palavra-imagem: perspectivas críticas”) revelam o campo de forças multifacetado da temática, criando uma experiência de leitura que se integra e se complementa, com cada um dos textos ressoando nos demais. Arte, crítica e política: cruzamentos e contradições é, por isso, uma obra que abre espaços nesse campo prolífico, fazendo jus à complexidade do assunto.

Acredito que a arte é uma potência que rompe com o mundo das representações", diz Lanussi, no livro A arte contemporânea e o pensamento da diferença *O CONTEÚDO ASSINADO E PUBLICADO NA COLUNA OLHARES NÃO EXPRESSA, NECESSARIAMENTE, A OPINIÃO DE A TARDE Os materiais têxteis fazem parte da pesquisa e da poética da artista visual desde o início de sua trajetória Abertura da exposição, com curadoria de João Gravador: obras recusam qualquer identificação definidora

No dia 13 de abril aconteceu, no bairro histórico do Dois de Julho, a primeira edição do CAB -Circuito de Arte em Boteco. Concebido como projeto independente, e organizado por Milena Ferreira e Busca, artistas que dividem apartamento no bairro, a proposta foi ocupar nove bares da região com uma experiência em artes visuais a partir da ideia de atelier aberto, em que os artistas participantes apresentaram trabalhos em processo, conversaram sobre suas pesquisas poéticas, interagindo com os visitantes interessados.

About nail care and the ethics of "comme il faut" (Lev Tolstoj's polemic with Puškin) is article focuses on the polemics between Lev Tolstoj and Aleksandr Puškin on questions relating to self-conduct and self-fashioning as expressed in the example of nail care. In the Russian discourse on del'nost', the issue of nail care marks two approaches-which should be differentiated from one another stylistically and ethically-to shaping one's "self": One approach is the code of aesthetic self-representation; the other is the code of resource optimization. Concretely, it concerns the choice between self-representation as a dandy (Puškin) and self-representation as a "del'nyj čelovek" (Tolstoj), i.e., as a fit, suitable, practical person. While Puškin is strongly oriented towards the English Romantic tradition and such figures as Lord Byron or Beau Brummell, Tolstoj in his self-interpretation goes back to the theses of Benjamin Franklin. e paper addresses the question under what circumstances-or rather, with what argumentation and justification-the choice is made for one of the many possible codes and how one distances oneself from the alternatives.

III. Inward: The Authorial Consciousness in "Self-Portrait in a Convex Mirror" 1. The Mirror, the Eye, and the Mirrored Eye The incidences of looking eye-to-eye are as numerous in literature as they are in life. As with Metz's camera/projector,4 though, the slight remove of a work of art facilitates the inward and outward movement we are tracing here, isolating the interaction of consciousnesses and highlighting specific transformative qualities within literature. An example of this comes from one of the most prolonged and considered cases of looking someone (something) in the eye in all of literature, John Ashbery's 1974 ekphrastic poem "Self-Portrait in a Convex Mirror."

This article considers the many important functions of Joe Brainard’s summer retreat in rural Vermont: as a haven from city life, as an opportunity to spend time with his long-term partner Kenward Elmslie and their mutual artist friends and as a space to fully devote himself to work. Brainard’s representation of his summers in Calais, Vermont, is examined in the context of Scott Herring’s postulate of queer anti-urbanism and of the concepts of the gay pastoral, the gay Arcadia and the rural idyll. The article argues that Brainard ultimately embraced both the urban and the rural instead of privileging either of them. The analysis draws mainly on Brainard’s autobiographical writings and on Ron Padgett’s Joe: A Memoir of Joe Brainard.

Luca Maria Patella Tells about Himself, reflecting on his evolutionary journey, marked by the shift from traditional drawing to the adoption of new media—photography and cinema—in the 1960s. He explains how the cultural changes of the time influenced his work, pushing him to use new media as expressive and cognitive tools.
He also discusses his intellectual influences, including psychology, and his critique of artistic conventions in favor of invention and original transformation. In a comparison with Mario Schifano, Patella highlights how, although both artists used the camera, they diverged in their approach: while Schifano leaned towards a more instinctive and immediate art, Patella sought to integrate this impulse with deeper reflection and critical awareness. Furthermore, he explores the role of language in his works, such as in "IO SONO QUI" and in the installation "Alberi Parlanti", where words and sounds invite the viewer into a profound sensory engagement. His art blends nature, culture, and language, creating multisensory environments that challenge traditional artistic forms.
The interview between Luca Maria Patella and Benedetta Carpi De Resmini is part of the catalogue of the exhibition "Luca Maria Patella. Ambienti proiettivi animati 1964-1984", which presents Patella's most significant works, tracing his journey from the pioneering use of photographic and cinematic media to the projection environments and installations that characterize his artistic research.

The essay, included in the catalogue of the exhibition Luca Maria Patella. Animated Projective Environments 1964-1984, curated by B. Carpi De Resmini and S. Chiodi, examines how the artist uses language not just as a tool of representation, but as a dynamic process that interacts with human perception and behavior. Works like "Dice A" (1966) and "Alberi parlanti" (1971) explore the fusion of word and reality, drawing on Wittgenstein’s theories of "languistic games" and Jungian psychoanalysis. Patella creates interactive environments where language and image stimulate sensory and psychological reflection, challenging traditional conventions. His performances and installations engage the viewer in an active experience that questions logical structures, opening new perspectives on reality and communication. The 2015 exhibition, focused on Patella's works from 1964 to 1984, highlighted his pioneering approach in the use of photography, film, and installations, redefining the role of language in contemporary art.

At the heart of matter and beyond, Cerone weaves a profound connection with space and time, where every gesture becomes a challenge and every trace bursts into an immediate creative passion. This essay examines how his works, freed from the conventions of representation, push beyond form, challenging the physicality of materials and dissolving in the very moment of creation. Like the tormented Gonzalo of Gadda, Cerone faces the world with a visionary and destructive language, attempting to penetrate the hidden essence of things. Through swift marks and physical impulses, the artist seeks to annul the solidity of matter, particularly in his drawings, where free and spontaneous gesture prevails. Far from the concreteness of sculpture, in these works on paper the marks flow and dissolve, revealing an intimate connection with the creative instant.
The catalogue of the MACRO exhibition (2014-2015), "Giacinto Cerone. Il massimo dell'orizzontale. Opere su carta," documents over 30 works on paper, a selection that attests to Cerone's ongoing experimentation, blending sculpture and drawing in an innovative and profound dialogue.

The essay, included in the catalogue of the Stellare exhibition at MACRO, offers an in-depth analysis of Turcato's artistic journey, focusing on his evolution toward emotional abstraction and the tension between form and color. Specifically, it examines the artist's detachment from the political and social engagement tied to the post-war period, leading him to a style of painting that, through experimentation with color and form, pushes toward new and unknown horizons. His works, such as "Comizio" (1950) and "Tranquillanti per il mondo" (1961), go beyond mere representation, opening spaces for reflection on the imaginary and the dreamlike, creating an "elsewhere" that transcends tangible reality. The essay fits within the context of an exhibition celebrating the artist’s centenary, contextualizing his work within a continuous search that, straddling modernism and postmodernism, marked a path of expressive innovation.

Indirectamente desdeñado, Alborada... sin embargo permite descubrir concretamente algunas inserciones de Vallejos en el sistema literario de la época. Abordamos este texto para encontrar en él los rasgos característicos, algunos de los cuales quedan atrás, y muchos otros ya prefiguran lo que será su posterior universo de síntesis, tanto verbal cuanto visual-de allí, en parte, su parentesco con el haiku-. Puesto que, incipientemente, abordamos también su quehacer como laquista, sobre todo en cuanto ambos códigos-por lo cual la interdisciplinariedad es indispensable-se vertebran sobre la exaltación de la luz, primero, y del agua después, para construir una poética de la levedad y de lo inasible.

This thesis focuses on twentieth-century poet Frank O\u27Hara and his relationship to painting and painters in New York in the 1950s. An examination of the concept of ekphrasis functions as a theoretical frame and substantiation for the discussion of O\u27Hara\u27s life and poems. Painters Larry Rivers, Jane Freilicher, and Grace Hartigan had significant relationships with O\u27Hara, both personally and artistically. Michael Goldberg, Norman Bluhm, and Joe Brainard collaborated with him on several projects, each of which are discussed in terms of their combination of verbal and visual elements, of poet and painter working together or in tandem. Another example included in the exploration of O\u27Hara\u27s connection to visual expression is a series of Apollinaire-inspired calligrams. Each element of the discussion helps define the specific context in which O\u27Hara worked, functioning as an example himself of the significant link painting and poetry have historically shared

The paper deals with the reception of experimental poetry in Slovakia
after the year 1989 in three areas: literary theory, literary journalism and
references in literary works. The material starting point is the reception
of poetry of the intermedia artist Milan Adamčiak, which originated long
before 1989, but in literary context it is perceived practically only after 1989 and mainly only in last ten years, thanks to edition of Adamčiak´s works in four volumes (editor: M. Murin, publisher: dive buki). The main focus is on poetry written by Š. Moravčík, P. Šulej and K. Zbruž with various references to Adamčiak´s personality and work. Given the historically and typologically specific position of the author and his work from the point of view of Slovak literature, it is also possible to consider in general the ways in which the categories of alternative or independent literature, creation and culture are defined in Slovak literature.

No discurso lido por sua filha Anna na cerimônia de recebimento do prêmio Goethe da cidade de Frankfurt, Freud afirma que a psicanálise poderia "pôr em evidência novas correlações nesta obraprima de tecelagem que se desenvolve entre as predisposições pulsionais, as experiências vividas e as obras de um artista". 1 Entre esses três planos, para que seja possível tecer relações, pressupõe-se diferença, distância. Em contraponto, a artista francesa radicada nos Estados Unidos Louise Bourgeois dedicou grande parte de sua longa existência, interrompida em 2010 aos 98 anos, a misturá-los. Ao tentar tornar indiscerníveis vida e arte, ela se alinhava a uma importante preocupação das vanguardas da primeira metade do século XX, e tornavase, na década de 1980, um dos mais importantes nomes do chamado "novo subjetivismo" na arte contemporânea. A exposição de Louise Bourgeois O Retorno do Desejo Proibido, vista recentemente em São Paulo e no Rio de Janeiro, tem como eixo central a tese de que boa parte da produção da artista decorre diretamente de sua análise. A publicação, como parte do Catálogo desta exposição, de anotações variadas feitas ao longo de décadas com o título "Escritos Psicanalíticos", é o ato final desta mistura arte/vida. Este ato é tanto mais significativo por se realizar praticamente no momento de sua morte. Isso sugere que Louise se ausenta, sempre, de alguma maneira-como ela anota em 1957, "nós existimos principalmente por nossa ausência". 2

The article is devoted to a genealogical investigation, undertaken by Anatol Stern, in his attempt to reconstruct the origin story of Guillaume Apollinaire. The effect of his research is a book entitled Dom Apollinaire’a. Rzecz o polskości i rodzinie poety, published in 1973, which is a collection of essays, previously published in Polish and European journals, prepared for publication after the author’s death by his wife, Alicja Stern. The subject of analyses in the paper are not only the published texts but first and foremost an extensive archival collection of materials devoted to Apollinaire, collected by Stern, as well as different forms of literary practices, within which Stern carried out artistic biographical modifications of his findings concerning the author of Alcools. The theoretical perspective adopted for the analysis a wide range of auto/biographical texts here is the concept of life writing. In the course of the study the value of Alicja Stern’s commentary, found in her unpublished memoir, comes centre stage, as it indicates the possibility of a “pseudo-auto-biographical” reading of some of Stern’s texts devoted to Apollinaire. This line of interpretation – exposing the situation of “the other” – opens up the possibility of looking for a ”Maroon-like subject” and places in which Stern’s own situation of “the other” along with various forms of masking his own “interrupted”, “unstable” identity.

The sea is powerful. Its constant movement, the flexing of its aquatic muscles make one feel as impotent as it is ephemeral. Based on the phenomenology supported by Bachelard and Merleau-Ponty, the objective of this work is to examine the drawings of the sea throughout history, focusing on two contemporary artists, Vija Celmins and Joana Patrão, who demonstrate the primacy, subtlety, and complexity of the theme of water, the body and time. One of the signs of the predominance of ephemerality and movement in drawing is the privileged place occupied by the metaphor of water and time formulated by Heráclito. With this analysis, an attempt is made to build a bridge between philosophy and drawing, to justify the affiliation of the latter to a poetics of water. The unity, the stylistic characteristics and the indissoluble links between these artists are exposed to demonstrate the latent capacity of drawing to invent ways to freeze the sea, while making it seem still in motion.

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Desenhos realizados em Canson A4 durante a pandemia da COVID 19 são o objeto de análise do artigo. O primeiro deles é um tributo à Louise Bourgeois e os demais se ancoram no devaneio bachelardiano. O caráter apocalíptico da atualidade conduz a retomadas de experiências passadas e/ ou tentativas de imaginar outros mundos onde seja possível viver, num estreitamento de laços com os universos surrealistas. Considero, finalizando as as reflexões, que a transformação dos processos poéticos gerada pela pandemia, pode proporcionar o alento necessário para transpor o sofrimento e o medo.

This article will present some photographs taken by Alair Gomes (1921-1992) when he visited museums and art galleries on his trips to United States and Europe. His vigilant gaze captured the cultural spaces visitors, reflecting his object of desire, the male body, which never went unnoticed by his camera's lens. In the vast collection of the National Library, in Rio de Janeiro, there are two works that present this theme: Glimpses of America (1975-76) and the series Viagens (c.1983-1991). Within the diversity of themes of these photographic sets, we find images of young men visiting art exhibitions, many of which are furtive records, without the permission of those photographed, resulting captures of spontaneous moments, sinuous poses of young male facing paintings and sculptures. Museum visitors were photographed by famous artists such as Henri Cartier-Bresson, Alécio de Andrade, Thomas Struth, Elliott Erwitt, among others. Comparing the scenes of Alair Gomes with the works of these photographers, it is clear that his pictures go beyond mere snapshots of an audience in front of works of art. They also functioning as a multiplied mirror, insofar as they were forged by the gaze of the person who manipulates the camera. By capturing the other looking at works of art, the object of admiration becomes evident, thus escaping the photographer's own desires and affections. Behind this visibility, a photographic poetics abandoned to ecstasy is released, an echo in the imagination of its creator, the photographer.

Esta exposição, bem como a performance de Silvia Penas, «Uma mulher ainda não parou o mais longo gemido da história do mundo (Revisitar O ano de 1993 de J. Saramago)», foram concebidas em 2022 por ocasião da comemoração do nascimento de José Saramago (1922-2010) e, neste ano de 2024, não poderia ser mais pertinente a sua apresentação em Lisboa, assinalando duas outras efemérides: o 50.º aniversário do 25 de Abril de 1974 e – feliz coincidência cronológica – os 50 anos de carreira da pintora Graça Morais.

Aborda-se, nesta mostra, a amizade e o fértil encontro entre o escritor e pintora, testemunhados pelos trabalhos agora expostos em reproduções de grande qualidade: 9 dos 10 desenhos feitos por Graça Morais para a segunda edição, há muito esgotada, do livro O Ano de 1993 (1987); e o retrato do escritor, executado algum tempo após o seu falecimento. O cruzamento entre a escrita de José Saramago e a pintura de Graça Morais é também evocado no projeto inédito concebido para esta exposição, os caligramas que animam o espaço expositivo, realizados por um coletivo de artistas-criadoras em formação na Faculdade de Belas Artes da Universidade de Vigo, sob a direção da professora Sol Alonso, membro da I Cátedra Internacional José Saramago.

Em 1987, José Saramago desafiou Graça Morais a conceber os desenhos que viriam a ser publicados na segunda edição do livro O Ano de 1993. A pintora produziu então uma série de dez composições que estabelecem um jogo com a natureza fragmentária do poema que referencia a repressão sobre a sociedade, a resistência, a violência revolucionária e, simultaneamente, o desejo de liberdade e a esperança. Contudo, Graça Morais recusou a ilustração direta, antes optando por (re)criar segmentos daquele universo onírico, ampliando assim o seu valor estético e poético. Nesta exposição recordamos este encontro poético entre a palavra escrita e a imagem, entre duas grandes personalidades cujas obras fecundas têm, sempre, o poder de nos interpelar.

A inauguração e a performance terão lugar na quinta-feira, dia 14 de março, a partir das 18h na Cisterna da FBAUL. Entrada livre.

Curadoria: Burghard Baltrusch, Joana Baião, Egídia Souto.

Organização: FBAUL, I Cátedra Internacional José Saramago da Universidade de Vigo, Instituto Politécnico de Bragança, Laboratório de Artes na Montanha Graça Morais.

Colaboração: Sorbonne Nouvelle, Crepal, Facultade de Belas Artes da Universidade de Vigo.

Este artigo estuda os processos criativos envolvidos no desenvolvimento do projeto experimental, que encerra o curso de Graduação em Artes Visuais da Unicamp. O objetivo é compreender os processos visando colaborar para projetos futuros, os quais serão desenvolvidos por outro(a)s estudantes. São apresentados dois trabalhos artísticos com preocupações sociais. Um trabalho explora o feminismo e outro a questão que envolve o cabelo da mulher negra.

Just after the Court d'Appel exonerated Captain Alfred Dreyfus of all charges of German-Jewish espionage, the twenty-three year-old Daniel-Henry Kahnweiler opened his discrete two-room Galerie Kahnweiler at rue Vignon. Strategically close to Bernheim-Jeune and the Madeleine, this zone was fast becoming what Kahnweiler called "the commercial art centre". 1 Following Louis Vauxcelles' concept of the modern dealer as a rebel independent of the Paris gallery hierarchy known as "la bande des requins", Kahnweiler put his faith in the avant-garde of his generation and they in him, as captured by him being photographed in Picasso's studio (Fig. 1). 2 Zealously he attended the Salon des Artistes Indépendants and began buying the Fauve paintings of André Derain and Maurice Vlaminck, as well as those of Georges Braque and Kees Van Dongen. 3 Intrepidly he exhibited Braque's early Cubist paintings rejected by the 1908 Salon d'Automne. So avidly did he collect Cubism that by the time Pablo Picasso had painted his Cubist portrait of him during thirty sittings (Fig. 2), Kahnweiler had invested much of his 25,000 francs yearly income in acquiring two-thirds of Picasso's studio with more artwork by Braques, Juan Gris and Fernand Léger than any other gallery. Quickly acquiring the reputation of "le marchand parisien des cubistes", 4 Kahnweiler cultivated such French patrons as Roger Dutilleul, 5 alongside German, Russian, Czech and Swiss collectors. 6 Yet after the Morocco crisis when L'Action Française launched its German-Jewish conspiracy campaign while other newspapers engaged in sensationalizing German infiltration of French culture as "pénétration pacifique", a rupture and transformation ensued in Kahnweiler's strategies. 2 Once Cubism became politicized as a German-Jewish conspiracy and a form of "pénétration pacifique" concocted by German art dealers to sabotage the French art market, no longer did Kahnweiler cultivate French collectors. Instead he pursued an exclusive international marketing policy strategically placing Cubist artwork by Picasso, Braque, Gris and Léger in avant-garde exhibitions stretching from Heinrich Thannhauser's Modern Munich Gallery to Michael Brenner's Washington Square Gallery. Yet the very success of Kahnweiler's internationalist tactics to cultivate an aura of global celebrity and selectivity around his artists, amidst avant-guerre discourses of persecutionist paranoia and espionage phobia, paradoxically inscribed his Cubists with Pan-Germanism. Correlatively he became aligned with a spyring of German Jewish art-dealers conspiring to disrupt French art market supremacy with dire ramifications. By the outbreak of the First World War, his gallery stock had become branded as "enemy goods". By unravelling the constellation of conditions in which this transpired, this chapter will endeavour to reveal why Kahnweiler's internationalization ultimately proved so perilous to his entire stock and why, after the Armstice, every artwork that he had collected in France was sequestered by the French State. Dealing with Anti-Germanism and Anti-Semitism: The Morocco Crisis, "Jewish-German Espionage" and "pénétration pacifique" By the Morocco crisis in 1911 when France and Germany were on the brink of war, Kahnweiler's art dealing business had quietly burgeoned. Although Braque's November 1908 Cubist exhibition had been the first and last one-man show at the Galerie Kahnweiler, the latest paintings of Braque, Picasso, Manolo, Derain, Vlaminck, Gris and Léger were continually hanging on his gallery walls covered with sackcloth where they could be viewed by such international clients as the Czech, Vincenc Kramář, and the Russian modernist collectors, Sergei Schhutkin and Ivan Morozov. 7 Successfully aligning his Modernist painters with Modernist writers, Kahnweiler had launched his Livres d'artistes, Éditions Kahnweiler with 3 Derain designing the emblem and illustrating Guillaume Apollinaire's L'Enchanteur pourrissant in 1909 and with Picasso illustrating Max Jacob's Saint Matorel in 1911. 8 At Roger Fry's behest, Kahnweiler had made his first tentative foray into the London art market, sending three paintings by Derain and five by Vlaminck to the 1910 Manet and the Post-Impressionist exhibition at the Grafton Galleries. 9 That year, he had also sent on consignment to the Neue Künstlervereinigung in Munich, four paintings each by Braque, Derain and Vlaminck with three drawings by Picasso and had despatched paintings by Derain, Vlaminck and Van Dongen to the Wallraf-Richartz Museum in Cologne. 10 This marks the inception of Kahnweiler's policy of internationalism, particularly in Germany, which would become far more dynamic and strategic after the "German-Jewish Expionnage" and "pénétration pacifique" campaigns erupted following the Morocco crisis, Salon d'Automne Cubist scandal and the politicization of Cubism. In 1909 when Braque had exhibited his Cubist painting at the Salon des Artistes Indépendants, the term "Cubists" gained currency. 11 By the Morocco crisis, Braque and Picasso had completed over one hundred Cubist paintings, including Picasso's Cubist portrait of Kahnweiler (Fig. 1), as well as his Cubist portraits of Wilhelm Uhde and Ambroise Vollard. However none of these were shown at either the Salon des Artistes Indépendants or the Salon d'Automne, Kahnweiler regarding a policy of exclusivity as far more efficacious in cultivating cudos for his artists than one of public exposure, particularly amidst the prickly Anti-German and Anti-Semitic cultural politics that erupted with the Morocco crisis. 12 Before the Morocco crisis, Cubists were inscribed by the national press as "farceurs", "fumistes" and "mystificateurs", particularly Albert Gleizes, Henri Le Fauconnier, Fernand Léger and Jean Metzinger when they had exhibited in Salle 41 at the 1911 Salon des Artistes Indépendants. 13 After the Morocco crisis and the Franco-Prussian Accord, a dramatic discursive shift ensued. This was as evident in press discourses as it was in the spate of anticubist cartoons spawned

Trabalho de Conclusão de Curso (graduação)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, 2015.Este trabalho analisa o processo de composição coletiva e aspectos relacionais da arte da performance a partir de experiências e conceitos criados pelo grupo de pesquisa Corpos Informáticos: iteração, fuleragem, (e)vento, sinal nomadizante, sinal normatizante, cá-já, cáquí, já-cá e lance. Destes conceitos, serão analisadas proposições artísticas de elevado gradiente traçando reflexões sobre o legado de Marcel Duchamp. A formalidade da obra de arte está em risco: lance de acerto e erro, surpresa da indeterminação, coeficiente de arte. A acidentalidade de uma arte despretensiosa trai expectativas dos ex-pectadores; o ex que ama, trai por entrar em ação. Não buscamos purismos na arte, nem distinções ou delimitações. Estamos a favor da mistura: estado promíscuo de engendramento, criação, composição, contaminação, lance-de-si-para-outro, penetração, osmose. Evidenc...

Este artigo estuda os processos criativos envolvidos no desenvolvimento do projeto experimental, que encerra o curso de Graduação em Artes Visuais da Unicamp. O objetivo é compreender os processos visando colaborar para projetos futuros, os quais serão desenvolvidos por outro(a)s estudantes. São apresentados dois trabalhos artísticos com preocupações sociais. Um trabalho explora o feminismo e outro a questão que envolve o cabelo da mulher negra.

La hipótesis de esta tesis es demostrar que existen nuevas posibilidades de enunciación, que da cuerpo y forma a diferentes caminos, teóricos y prácticos, pretendiendo desvincularse de un proyecto de modernidad, y poder establecer nuevos espacios de pensamiento. Aunque inserto en contextos rehenes del control del Estado Nacional y todas las categorías que de él se derivan, tal intento busca romper con este proyecto desde la fuga de sus delimitaciones, socavando así, aunque sea poéticamente, la capacidad y restricción de las formas de organizar la vida social y material. Una hipótesis que se basa, en primera instancia, en arrojar luz sobre la falacia de la neutralidad narrativa, guiada por el cuerpo y la trayectoria de quien enuncia. El reverso de la neutralidad universalista que moldea la modernidad y se perpetúa en la neocolonialidad.
Con el objetivo de abordar los giros de la crítica del arte y de la historia del arte en relación al término poscolonial, decolonial y anticolonial desde una perspectiva de enunciación y negación, no centrándose en las exactitudes terminológicas, ya que estas siempre ha servido para marcar la autoridad discursiva, algo lejos del interés de estas páginas, ya que no me interesan las refutaciones conceptuales, sino las aperturas imaginativas. Por eso, las proposiciones me interesan en el diálogo con la totalidad de la propuesta y no en la delimitación del concepto.

In an Italy marked by radical changes and social struggles, the word becomes a battleground, a tool for resistance and transformation. The article included in the catalogue of the exhibition "Lotta Poetica. Il messaggio politico nella poesia visiva 1965-1975" explores the central role of language in the verbo-visual artistic practices of those years. The text examines how artists such as Nanni Balestrini, Sarenco, Eugenio Miccini, Lamberto Pignotti, and Mirella Bentivoglio used language to fight against authoritarianism, consumerism, and social transformations, employing collages, artist books, posters, and political actions to dismantle the cultural structures of bourgeois society.
Through the concept of "logos," the word becomes a weapon against the social order imposed by mass culture, and the works of these artists show how language can be deconstructed and re-signified to stimulate critical reflection on the political and cultural dynamics of the time.
The essay emphasizes how, despite the failure of the utopian hopes of those years, verbo-visual art has reactivated a critical language that continues to challenge contemporary reality, using the word as a tool of resistance against the trivialization of thought and the individualism of modern society.

Ücra İşlem, Göz Kuşağı ve son olarak yeni çıkan Da adlı kitaplarınızla Türkiye’de deneysel-görsel şiirin önemli temsilcilerinden biri olarak anılıyorsunuz. Edebiyat dergileriyle başlayan bir süreç bu sanırım. Edebiyat ve daha da daraltırsak deneysel şiir hayatınıza nasıl girdi, yoksa hep orada var mıydı? Kalıpların dışına çıktığınız o ilk anı hatırlıyor musunuz? O anda ne oldu da deneysel şiir sizi kendine doğru çekti? Bir nehrin denize doğru çekilişi gibi bir şey miydi bu?