#Chima Sunada

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Women in Concrete Poetry: 1959-1979

Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Mary Ellen Solt, Susan Howe, Liliane Lijn, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia Edited by Alex Balgiu and Mónica de la Torre

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Capping off the day with these brand new photos of brand new release, 'Women in Concrete Poetry 1959–1979,' edited by Alex Balgiu and Mónica de la Torre and published by @primaryinfo⁠⠀ ⁠⠀ This expansive volume is the first collection of concrete poetry by women, w/ artists & poets from the US, Latin America, Europe & Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page.⁠⠀ ⁠⠀ Owing, perhaps, to the fact that concrete poetry’s attempt to revolutionize poetry foregrounded the male-dominated channels in which it circulated, some of the women in this volume—Ilse Garnier or Giulia Niccolai, for instance—were active in the movement’s epicenters, yet failed to attain a visibility or ample representation in international anthologies such as Emmett Williams’s 'Anthology of Concrete Poetry' (1967) and Mary Ellen Solt’s 'Concrete Poetry: A World View' (1968).⁠⠀ ⁠⠀ This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by over 40 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).⁠⠀ ⁠⠀ Please order from your local independent #bookstorehero Or order via linkinbio.⁠⠀⁠⠀ ⁠⠀ @designingwriting @m_de_la_t #womeninconcretepoetry #conretepoetry #primaryinformation⁠⠀ ⁠⠀ https://www.instagram.com/p/CFk7t4hpWTi/?igshid=1hv0nwyb8g3ay

[elisenei]

Arti visive. Poesia visiva. / Visual Poetry by Women, an International Exhibition in Venice Bentivoglio, Mirella, Annalisa Alloatti, Irma Blank, Paul Claire, Lia Drei, Ulrike Eberle, Anna Esposito, Amelia Etlinger, Gisela Frankenberg, Ilse Garnier, Boumila Grogerova, Ana Hatherly, Annalies Klophaus, Liliana Landi, Giulia Niccolai, Anna Oberto, Anezia Pacheco e Chaves, Marguerite Pinney, Betty Radin, Giovanna Sandri, Mira Schendel, Mary Ellen Solt, Chima Sunada, Salette Tavares, Biljana Tomic, Patrizia Vicinelli Roma: Studio d’Arte Contemporanea, 1976. 22 x 16 cm (8.7 x 6.3")

[ephemera-archive-blog]

https://www.theideaofthebook.com/pages/books/87/mirella-bentivoglio-patrizia-vicinelli-biljana-tomic-salette-tavares-chima-sunada-mary-ellen/arti-visive-poesia-visiva-visual-poetry-by-women-an-international-exhibition-in-venice

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Chima Sunada, Life and Death, 1965 [OSART Gallery, Milano]

[artbookdap]

Spreads from 'Women in Concrete Poetry 1959–1979,' our National Poetry Month book of the day! Published by @primaryinfo and edited Alex Balgiu & Mónica de la Torre, this 384-page paperback is a massive, groundbreaking, international anthology.⁠⁠ ⁠⁠ This is the first collection of concrete poetry by women, with artists and poets from the US, Latin America, Europe and Japan, whose work departs from more programmatic approaches to the genre. Their word-image compositions are unified by an experimental impetus and a radical questioning of the transparency of the word and its traditional arrangement on the page.⁠⁠ ⁠⁠ Owing, perhaps, to the fact that concrete poetry’s attempt to revolutionize poetry foregrounded the male-dominated channels in which it circulated, some of the women in this volume—Ilse Garnier or Giulia Niccolai, for instance—were active in the movement’s epicenters, yet failed to attain a visibility or ample representation in international anthologies such as Emmett Williams’s 'Anthology of Concrete Poetry' (1967) and Mary Ellen Solt’s 'Concrete Poetry: A World View' (1968).⁠⁠ ⁠⁠ This anthology celebrates their legacy and recontextualizes word-image compositions by other figures working independently. It gathers work by over 40 writers and artists, including Lenora de Barros (Brazil), Mirella Bentivoglio (Italy), Amanda Berenguer (Uruguay), Suzanne Bernard (France), Tomaso Binga (Italy), Blanca Calparsoro (Spain), Paula Claire (UK), Betty Danon (Turkey), Mirtha Dermisache (Argentina), Ilse Garnier (France), Anna Bella Geiger (Brazil), Bohumila Grögerová (Czech Republic), Ana Hatherly (Portugal), Susan Howe (USA), Tamara Jankovic (Serbia), Annalies Klophaus (Germany), Barbara Kozlowska (Poland), Liliana Landi (Italy), Liliane Lijn (USA), Françoise Mairey (France), Giulia Niccolai (Italy), Jennifer Pike (UK), Giovanna Sandri (Italy), Mira Schendel (Brazil), Chima Sunada (Japan), Mary Ellen Solt (USA), Salette Tavares (Portugal), Colleen Thibaudeau (Canada), Rosmarie Waldrop (USA) and Ruth Wolf-Rehfeldt (Germany).⁠⁠ ⁠⁠ Read more via linkinbio.⁠⁠ ⁠⁠ @designingwriting @m_de_la_t #womeninconcretepoetry #concretepoetry #nationalpoetrymonth https://www.instagram.com/p/CNXwQaMpGPB/?igshid=137b16iz1bt1c

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Chima Sunada, Black, 1970s [OSART Gallery, Milano]

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Chima Sunada, Eye, 1970s [OSART Gallery, Milano]

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Chima Sunada, Parola, 1976 [Mart, Museo di arte moderna e contemporanea di Trento e Rovereto, donazione Mirella Bentivoglio]

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Chima Sunada, Disappear (Sparire), 1976 [Mart, Museo di arte moderna e contemporanea di Trento e Rovereto, donazione Mirella Bentivoglio]

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Chima Sunada, Light (Luce), 1976 [Mart, Museo di arte moderna e contemporanea di Trento e Rovereto, donazione Mirella Bentivoglio]

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Chima Sunada, To be (Essere), 1976 [Mart, Museo di arte moderna e contemporanea di Trento e Rovereto, donazione Mirella Bentivoglio]

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Chima Sunada, tainiide II, 2004 [Gallery Oculus, Tokyo]

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Chima Sunada, tainiide I, 2004 [Gallery Oculus, Tokyo]

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Chima Sunada, iroha II, 2004 [Gallery Oculus, Tokyo]

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Chima Sunada, iroha I, 2004 [Gallery Oculus, Tokyo]