#alain arias misson

[garadinervi]

Alain Arias-Misson, Uroboros, (silkscreen on folded cardboard), Edizioni Geiger, Torino, 1967 [Fondazione Bonotto, Molvena (VI)]

Included in «Geiger», No. 1, 1967

[mybeingthere]

Alain Arias-Misson, A MADRID. Poema público, 1969. 

From Poesía visual y acción pública. Alain Arias-Misson, Julien Blaine e Ignacio Gómez de Liaño, Museo Nacional Centro de Arte Reina Sofía, Madrid, December 18, 2019, part of the exhibition Ignacio Gómez de Liaño. Abandonar la escritura, Museo Reina Sofía, December 18, 2019 – May 18, 2020.

[lucfierens]

FUORIPAGINA Poesia Visiva dalla collezione Roffi a cura di Gian Paolo ROFFIInaugurazione sabato 26 settembre ore 17.00Dal 26 settembre al 25 ottobre 2020“Fuoripagina” fa un’altra tappa del suo già ricco percorso. Dopo l’inizio a Bettona (Perugia) e i passaggi allo Studio “Segni & Segni” di Bologna, al Mac,n di Monsummano Terme, al “Gabbiano” di La Spezia, alla Fondazione Balestra del Castello Malatestiano di Longiano, ora si presenta al MAGI ‘900 di Pieve di Cento. 

Gli artisti in mostra sono:Vincenzo ACCAME, Fernando AGUIAR, Paolo ALBANI, Fernando ANDOLCETTI, Davide ARGNANI, Alain ARIAS-MISSON, Nanni BALESTRINI, Vittore BARONI, Gianfranco BARUCHELLO, Alessandro BENFENATI, Mirella BENTIVOGLIO, Carla BERTOLA, Joseph BEUYS, Tomaso BINGA, Julien BLAINE, Irma BLANK, Jean-François BORY, Anna BOSCHI, Antonino BOVE, José A. CACERES, Ugo CARREGA, Luciano CARUSO, Guglielmo Achille CAVELLINI, Sergio CENA, Giuseppe CHIARI, Henry CHOPIN, Cosimo CIMINO, Mario COMMONE, Vitaldo CONTE, Carlo Marcello CONTI, Corrado COSTA, Mauro DAL FIOR, Augusto DE CAMPOS, Haroldo DE CAMPOS, Paul DE VREE, Chiara DIAMANTINI, Marcello DIOTALLEVI, Pablo ECHAURREN, Alberto FAIETTI, Mariapia FANNA RONCORONI, Fernanda FEDI, Bartolomé FERRANDO, Gio FERRI, Luc FIERENS etc 

https://www.magi900.com/fuoripagina-poesia-visiva-dalla-collezione-roffi/

[hennyjolzen]

In 1974, the literary magazine El Urogallo dedicated its first issue of the year to a collective reflection on “The Contemporary Human Dwelling.” Under that ambiguous framework emerged about twenty contributions with very diverse considerations. In “The City and the Conception of the World,” Enrique Tierno Galván defends the need to develop the city as utopia, understood as a rational solution. Alain Arias-Misson, in “The Public Poem,” describes the city as a focus of signifiers turned into a “language machine” that would serve to construct its concrete poetry. This diversity mirrored the complexity and multiplicity of ideas that the political, cultural, and global context favored in defining concepts related to architecture and the city.

Among the most thought-provoking contributions to this issue was “The Perishable Architecture of Soap Bubbles,” by José Miguel de Prada Poole. [1] In the essay, the architect promotes an architecture in which its material would reflect the temporal nature of its own existence. Therefore, in a significant nuance, he avoids, as early as in the title, the term ephemeral—commonly used in architecture to define a short-term construction—and uses instead the word perishable: the ephemeral is short-lived; the perishable lasts as long as the material that defines it.

The text by Prada Poole sets forth the reasons that he believed the urban configuration to be too rigid in the traditional city. For him, the economic and social structures in an urban context make the city “last too long.” For that reason, the city is incapable of adapting to new and ever-changing demands. By this premise, which takes into account the factors that shape the city and its architecture, Prada Poole conceives the city of the future through what he calls “the three stages of a nonexistent architecture.” In this conception, the traditional city would, in successive transformations, morph into an immaterial city, without inertia, in which the solid buildings would be replaced by the accumulation of foam that would “appear and disappear, converge and disperse according to the different needs.” Each building would become a “bubble” defined according to the physical and atmospheric conditions best suited to its intended use. The city, as it was known, would be replaced with an “intangible reality permeated by stimulatory waves.” That city, vanishing and shapeless, might seem a chimera, but it is ultimately a clear declaration of principles.

Maybe we shouldn’t interpret the essay by Prada Poole as a naïve description of architecture but rather as a poetic manifesto of his own work projected into the future, which is the standpoint from which we consider it today. Not coincidentally, the text was written while he was developing one of his most unique projects: the ice-skating rink in Seville. According to his own words, architecture must be the “adaptation of the natural order to the human order in some cases and, in others, the adaptation of the human order to the natural order,” and to achieve that delicate balance it “must meet, in both cases, the same goal: life.” [2] With its organic shape that is the result of the construction system used—pneumatic structures akin to soap bubbles—alongside the functional scheme of its plan, the ice-skating rink was considered the first vitally satisfactory “sensorially sensitive architecture.” Immersed in American counterculture, nomadism, and body art, Prada Poole in this moment understood architecture as a wellspring of stimulus, built of a technology rooted in lightness, capable of altering both psychological and environmental conditions. In his city of soap bubbles, “information would travel through information channels accessible to every citizen, creating a tight network more important than the networks of transportation.” Those channels—which today exist and are known as the internet—would allow “the networks of information, accessible to all, to facilitate the construction of a global city and society.” Perhaps that magic city, built of stimulus, information, and pure energy, has more in common with the global city of the twenty-first century than we might imagine, and the propositions put forth by Prada Poole then, as like a visionary, form in part the reality in which we live today.

Technological Optimism

As technical advancements played an increasingly larger role in everyday life, optimism for technology, too, advanced within the new consumer society. The moon landing on July 20, 1969, could be considered the highlight of this technological apogee: one giant step for mankind saw its hopes for a better world renewed, thanks, paradoxically, to that old, nostalgic feeling of conquering new territories. The event took place in a present with grand visions for the future—a future that was the obsession of at least some part of society and more than a few of its architects as well.

Within this atmosphere of technological optimism, the Calculus Center of the University of Madrid (CCUM) was born at the beginning of 1966. The CCUM was the result of an agreement between the university and the US company International Business Machines (IBM), which donated, among other equipment, an IBM 7090 computer. This powerful machine, which years earlier was used for the calculations that allowed the arrival of the Saturn rocket to the moon, was one of the first to include transistors, which multiplied sixfold the computational speed of its predecessor. The conditions stipulated by IBM for installing the computer at the university was that it would not be used solely for technical or administrative tasks; it had to be put at the service of faculty and students as a tool for research. To encourage this goal, IBM allocated a budget each year to provide scholarships to explore new possibilities for academic research that could be advanced by the use of the computer.

Proposals by the artists José Luis Alexanco and Manuel Barbadillo to initiate computer-aided research spurred the creation of the Seminar on the Automatic Generation of Plastic Shapes (SGAFP) at the end of 1968. [3] At that time, seminars on “Composition of Architectural Spaces” and “Linguistics” were already on their way at the CCUM, and their initial success explains in large part the support that was extended the new seminar.

The SGAFP officially opened with a meeting on December 18, 1968. Among a considerable group of artists and architects, the meeting was attended by Prada Poole and his then-wife, artist Soledad Sevilla. The meeting minutes reflect the initial intent of the seminar to explore the “application of computers to sculptural composition and perception,” for which “the generalization of the models of a generative grammar for the description of the formal structure of a painting” was deemed possible; it considered particularly useful the initial study of the work of Piet Mondrian, Wassily Kandinsky, Josef Albers, and Kazimir Malévich.

[banffcentrelibraryandarchives]

Artists’ Book Display for the week of September 3rd, 2019

21 May 1995 : instruction manual no. 1 by Terri Weifenbach- Tuczon, AZ: Nazraeli Press, 2000

Nepotism by Mike Osterhout- Buffalo: Hallwalls, 1989

Morire per vivere by Hermann Pitz- Berlin: Edition Giannozzo, 1983

The Visio-verbal sins of a literary saint- Alain Arias- Misson- Italy: Rara International, 1993

Dead fuel Fuel 6 Autumn-Winter 1993 by Peter Miles- England: Fuel, 1993

[nuovaletteratura]

Fuori pagina, la collezione Roffi a Terni

Fuoripagina. La Collezione Roffia cura di Pasquale Fameli.143 opere di oltre cento artisti internazionali.Dal 28 maggio al 2 ottobre. Museo CAOS, Terni.AUTORIVincenzo ACCAME, Fernando AGUIAR, Paolo ALBANI, Fernando ANDOLCETTI, Francesco APRILE, Davide ARGNANI, Alain ARIAS-MISSON, Nanni BALESTRINI, Vittore BARONI, Gianfranco BARUCHELLO, Alessandro BENFENATI, Mirella BENTIVOGLIO, Carla BERTOLA,…

[mulherpsiquica]

"O objetivo da Arte não é um destilado intelectual e rarefeito - é a vida, uma Vida intensificada e brilhante". (Alain Arias Misson, citado na página 30 do livro O Caminho do Artista da Julia Cameron) https://www.instagram.com/p/CLHkTmAp3hG/?igshid=ywz5dp5y7dvd

[jakmalowacpl]

A w przedświątecznej krzątaninie nie zapomnij zapewnić sobie odrobiny artystycznego relaksu! 🎅🎄 • “Celem sztuki nie jest rozcieńczony intelektualny destylat, ale życie - intensywne, olśniewające życie” // Alain Arias - Misson • „Droga artysty” Julii Cameron to pełna inspirujących cytatów lektura dedykowana głównie tym, którzy czują wewnętrzną blokadę twórczą 🎨. Jednak wydaje mi się, że stanowić może źródło zarówno odnowienia twórczego dla tych, którzy z „blokadą” nie mają za wiele wspólnego. Książka to 12 - tygodniowy kurs odkrywania i rozwijania własnej kreatywności. Z każdym kolejnym tygodniem dzieją się magiczne rzeczy. Otwierasz umysł na nowe, doświadczasz małych cudów i pozwalasz sobie malować „po swojemu”. • Dziś znajduje się dokładnie w połowie mojej „drogi artysty”. Przede mną jeszcze 6 tygodni „pracy” nad rozwojem twórczej osobowości. Jestem szczerze zauroczona książką i jej autorką. Pomysł na wsparcie artysty w jego twórczym żywocie i skuteczność oferowanych w książce spowodowały, że książka stała pozycją numer jeden na mojej liście. Czas poświęcony na jej czytanie (to w końcu 12 tygodni) jest dobrze spożytkowany. Każdy rozdział zaleca się czytać w odstępach 1 tygodnia. To nie tylko relaks, ale też rozwój osobisty na wielu płaszczyznach. Porusza umysł i ducha, którego owoc realizuje ciało. ✨ • Drogie Panie, drodzy Panowie! Proponuję zapewnić sobie choć godzinną kąpiel 🛁 w zaczytaniu 📖 nad bestsellerową pozycją dla wszystkich malujących! Taki relaks z pewnością dostarczy Ci nowej pozytywnej energii, która akurat przyda się w nadchodzących dniach. To bezcenny prezent, który możesz sobie zafundować przed świetami! 🎁 • Dodatkowo na mojej stronie znajdziesz zakładkę „Biblioteka”, a w niej zbiór polecanej przeze mnie artystycznej literatury. 👉 https://jakmalowac.pl/biblioteka/ eM. ❄️ #jakmalowacpl #lubimyczytać #artysta #książka #drogaartysty #juliacameron #inspiracja #malarstwo #cytaty #motywacja #kurs #rozwój #pasja #inspiracja (w: Warsaw, Poland) https://www.instagram.com/p/B6Yv1T5g7zS/?igshid=md7txxym4r5b

[am-london]

Alain Arias Misson

[garadinervi]

Alain Arias-Misson, Labyrinth, (framed typewritten on seven layers of glass), 1973 [Fondazione Bonotto, Molvena (VI). © Alain Arias-Misson]

[shelleythomas]

“The purpose of art is not a rarified intellectual distillate...it is life, intensified, brilliant life.”

Alain Arias-Misson

[meiageddes]

The purpose of art is not a rarified, intellectual distillate––it is life, intensified, brilliant life.

Alain Arias-Misson

[moonleaflove]

View this post on Instagram

A post shared by Raquel LeBaudour (@mamamoonleaf)

The purpose of art is not a rarified, intellectual distillate—it is life, intensified, brilliant life. ~ Alain Arias-Misson #alainariasmisson #lifeintensified #artislife #lifeiswhatwemakeofit 🍃🔥🍃

[elisenei]

ALAIN ARIAS-MISSON grammatical poems 1963 et 1965

[nuovaletteratura]

Fuori pagina, la collezione Roffi a Terni

Sabato 28 maggio alle ore 18 al Museo CAOS di Terni Inaugurazione della mostra “Fuoripagina. La Collezione Roffi” a cura di Pasquale Fameli. 143 opere di oltre cento artisti internazionali. Dal 28 maggio al 2 ottobre. AUTORI Vincenzo ACCAME, Fernando AGUIAR, Paolo ALBANI, Fernando ANDOLCETTI, Francesco APRILE, Davide ARGNANI, Alain ARIAS-MISSON,  Nanni BALESTRINI, Vittore BARONI, Gianfranco…

[thatkjbell]

QOD

"The purpose of art is not a rarified, intellectual distillate - it is life, intensified, brilliant life." -Alain Arias-Misson