#arte experimental argentina

[melissabf]

YZ CETI, OBRA.

TEATRO ARGENTINO DE LA PLATA, ESPACIO TAE

[haveyouheardthisband]

[oraculoediciones]

:: ¡LLEGÓ LAFARIUM DE ABRIL, CON UN OCÉANO DE MISTERIOS PARA RESOLVER! :: Portada de Tinta Cruel, entrevistas exclusivas a Darío Brizuela y Kripto, colaboraciones metafísicas de: Flor Canosa, Pablo Paz, Pabluchi García, Julieta Manterola, Yoel Novoa, Marcelo Gobbo, Marina Retamar, Lorena Pinasco, GR Mateo, Oscar Grillo, Gabriel Juárez, Alejandra Viviana Aranda, Rodrigo Fiotto, Toto, Elenio Pico, Andrés Ehrenhaus, Jorge Fantoni, Avencio Delgado Gómez, Juan Coccotis, Fabián Arnaldi, @andrescasciani y Pablo Katzin (Fritz Sol). ¡PASEN, LEAN, COMPARTAN! Descarga: https://archive.org/download/lafarium2023/Lafarium-abril-2023.pdf

[tucaela]

• doble expo •

[musexplat]

Micro-Acercamientos: Proyecto “Amērica” de Iago Mati

Les presentamos una nueva sección de entrevistas a cargo de Marino Llere: Micro-Acercamientos. Hoy es el turno de Iago Mati, creador del proyecto América, sesiones de grabación en video de música experimental y arte sonoro latinoamericano. 🎙️ 🎶

[s-a-b-a-n]

[myemuisemo]

"Modern Belgian masters" distracted me at the beginning of chapter V of The Hound of the Baskervilles in the most recent Letters from Watson. Doyle's offhand references to literature, pop culture, and politics usually have some substance behind them, and "modern Belgian masters" did not disappoint.

Belgium was a hotbed of artistic controversy! In 1876, a group of "rebellious" artists can formed what became L'Essor as a counterpoint to conservative art institutions. In 1883, L'Essor refused to exhibit James Ensor's De oestereetster on grounds that the painting was too risque (since oysters were considered an aphrodisiac, as well as resembling certain female parts). Rebels against L'Essor formed Les XX, which held its own exhibitions featuring more avant-garde artists, including Monet, Gauguin, Van Gogh, and Seurat.

Since Watson refers to Holmes having "the crudest ideas" about art, I'm guessing Holmes sided with Les XX on using experimental styles and unusual subjects to provoke (and to make political points). Whether the conversation included Ensor's etching Le pisseur, which shows Ensor urinating on a wall of graffiti that declares "Ensor es fou" (Ensor is crazy)... we can only hope.

This is just the beginning of a chapter that contains a lot of sly humor. For instance, when Holmes social-engineers information out of the desk clerk, the guests he asks about are a coal-merchant from Newcastle (so known for its coal that the phrase "like taking coals to Newscastle" meant taking a thing to a place where everyone already has plenty) and a very old lady named Mrs. Oldmore.

Sir Henry Baskerville establishes himself as rough-edged, choleric, and unaware of social nuance by yelling at the German waiter. Being rude to any staff would have been seen as ungentlemanly at the time (as now). There's more to it, though. Germans were the largest immigrant group in London in 1889, and their tradition of professional training made them highly in demand as waiters (source).

And then there's the man with the black beard, who has the wit and gall to tell the cab driver that he's Sherlock Holmes. It seems that there have not been sketches of Holmes in any press! Is he the same man with a black beard as butler Barrymore?

The telegram experiment seems to indicate not, but I'm not sure how probative it is.

The bearded man in the cab had his cab driver make haste to Waterloo Station, which served the London & Southwestern Railway. The L&SR took a northern route around Dartmoor, stopping at Exeter and Plymouth.

Watson and Sir Henry will be leaving from Paddington Station, which served the Great Western Railway. GWR takes the southern route along the Devon coast.

When I look at modern railroad schedules, a trip from London to somewhere around Dartmoor takes about 3.5 hours. Is that within the time frame of Sir Henry and Mortimer walking back to the Northumberland, the wait for Holmes and Dr. Watson to arrive for lunch, the luncheon itself, and finally the rigamarole of sending the telegram? It feels to me like it could be -- and also, when I was looking up old schedules for the short story with the missing train, it seems that sometimes Victorian lines ran faster than modern ones.

How common even were black beards? In latter half of the 19th century, beards were fashionable, though not universal. Dr. Alun Withey's discussion of 19th century beard styles shows an ad for false beards. The style at far right looks about right.

It's possible that someone is framing -- or just confusing the issue by imitating -- the butler Barrymore.

We are assured again that Rodger Baskerville died unmarried, which is starting to strike me as "protesteth too much."

Rodger is the one who went to make his fortune in South America. The largest silver deposits were in Bolivia and Peru, and Agatha Christie's Hastings goes to Argentina, so those are the countries where I started on looking for when civil registration of marriages and births started. The answers are 1940 in Bolivia, 1886 in Peru, and 1886 in Argentina. Peru did not start registering deaths until 1889. Before that time, proving a marriage or a birth meant going to the parish church records.

So the Baskerville family solicitor could not simply send a telegram to a government agency in the capital of Bolivia, nor hire a clerk at a Bolivian law office in the capital city to go check. Someone would have to identify the parish where Rodger would have married, produced an heir, or died -- which might be three different places. And then someone has to see about looking through a handwritten register.

How sure are we really that Rodger is even dead?

Since Holmes is so eager to send Watson along with Sir Henry, I assume he's counting on Watson's credulity to maximize the impact of planned shenanigans. Is this a story about a mysterious dog or a story about a grift?

[fetichesonoro]

Fetiche Sonoro’s Best Albums of 2024

Hey people! Nowadays music albums are an underappreciated art form and we believe that an album is like a photograph of the current creative stage of an artist or band so we are very excited to tell you that these are the five best ones of this year.

Por Cesárea by Dillom

This work serves as a raw and ironic exploration of our most intrusive thoughts. Dylan León Masa, a 23-year-old artist originally from Argentina, has already made his mark across genres like trap, punk, and rap. He is rapidly emerging as one of the most promising talents in Latin American music, and this album has the potential to be the standout concept album of the year. It defies classification, seamlessly blending elements of neo-soul, alternative rock, garage rock, and experimental trap.

Sentir Que No Sabes by Mabe Fratti

Mabe Fratti's rapidly expanding discography welcomes a surprising and approachable addition that stays true to her avant-garde roots. Rich in melody, full of unexpected twists, and undeniably captivating, this work shines. Amid the darkness and melancholy of her cinematic soundscapes, the Guatemalan experimentalist finds a perfectly groovy balance.

Las Letras Ya No Importan by Residente

On Las letras ya no importan, Residente demonstrates that music’s true power lies in its ability to inspire and provoke thought. This album, which feels like a culmination of his legacy, brings together remarkable singles like René and This is Not America, preserving them under one roof. The Puerto Rican artist also showcases his evolution, moving past the era of rap battles and trivial personal feuds to embrace the boundless nature of art, transcending any rigid definition.

Gemelo by Angélica García

This dynamic and multifaceted hybrid-pop record takes listeners on a vivid journey through the many stages and expressions of grief. Angélica Garcia's latest album, a masterful creation from the songwriter and pop visionary, draws its name from the concept of the twin self, the intuitive, inner counterpart within each of us.

Sangre Sucia by Ángeles Toledano

The Andalusian artist makes a striking debut with Sangre Sucia, a powerful album that delves into themes of covens and menstrual blood, celebrating the raw and "impure" facets of life. It pays homage to the blood that marks the journeys of women and even nods to Hermione Granger—dubbed "dirty" as a Muggle-born—creating a fusion of flamenco, alt-pop, and Harry Potter-inspired storytelling. Rooted in tradition, the album incorporates modern language and aesthetics, blending electronic elements with influences from various genres.

[experimentik]

Experimentik #78 / 16.Oct.2024 /

Marina Cyrino / Alexander Markvart / Javier Areal Vélez

16. October 2024 / 20:30- (doors 20:00) *no entry during sets

3 x solo

Marina Cyrino - amplified flute, objects

Alexander Markvart  - feedback acoustic guitar, objects

Javier Areal Vélez - laptop

FB event ———————————

Marina Cyrino is a Brazilian flutist and sound artist based in Berlin. She works in the fields of improvisation, composition and performative installations. Her flute playing is characterized by singular techniques developed through the use of internal amplification. The rhythmic use of the flute, the extensive use of objects and balloons attached to the instrument, and the use of disassembled flute parts are other distinctive elements of her playing. She is a member of the Brazilian experimental music label Seminal Records.

photo © Cristina Marx_Photomusix

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Alexander Markvart - is a musician, member of theater projects and organizer of events and festivals. Born on January 5, 1987 in Kemerovo. Now based in Berlin. He is a notable figure on the Russian new improvised and experimental music scenes. Uses in many projects and performances a wide range of musical instruments: as quite common - piano, guitar, accordion, saxophone, trumpet, analog synthesizers, electric drums, flute, laptop, etc., and also various objects, wires, appliances, etc. Stylistically he works in a lot of musical genres from radical free improvisation, EAI, noise, hardcore, to well-structured projects, minimal techno and post-folk.

Founder of such polystylistic musical formations as Studio of Unconscious Music (SUM) and Siberian Improvisation Company (SIC!). Also in different years is a member of another experimental bands and projects - Sacrifices, Verevka, Radical Muzak Septet, MITLO, Klub Demboh, Inorganic Blossoming, PSVSV, Cherubs, Importunate Twins, Sekta Phoenix. Works and plays concerts in various projects with different musicians such as: Axel Dörner, Lucio Capece, Burkhard Beins, Mazen Kerbaj, Joke Lanz, Adam Asnan, Jonas Kocher, Fire! (Mats Gustafsson, Johan Berthling, Andreas Werliin), Ilia Belorukov, Joel Grip, Nick Sudnik, Michel Doneda, Bryan Eubanks and with many others. 

———————————

Javier Areal Vélez (Buenos Aires, 1985) is an experimental music composer, improviser and curator. His recent work focuses on the coding of digital companions for the performance of live improvised music. Javier's electronic music develops around noisy polyrhythms of extra-human complexity to make the most deformed audiences move. He researches human+machine collaborations through the use of samples, synthesis, lights, and mechanical robots. Additionally, Javier has a long career as performer of prepared electric guitar. His characteristic style relies heavily on a primal technique that emphasizes timbre and rhythm over traditional forms, favoring intensity and dynamic contrast. Javier has released records on labels worldwide and has collaborated with artists such as Heiner Goebbels, Audrey Chen, Chris Pitsiokos, Violeta García, Brian Chase, Shayna Dunkelman and Jorge Espinal. He is a member of CALATO, KYSE and VVU and wrote commissions for ensambles Híbridx, Rotativo and Tempi. Over the past decade, Javier has performed extensively in Argentina and toured across South and North America, Europe and Japan. Javier is the founder and director of RUIDO Experimental Music Festival (active since 2017), and he coordinates the Sound Arts Center (CASo) of the Secretary of Culture of Argentina.

photo © Susi Maresca

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Experimentik 2024  is supported by inm - initiative neue musik berlin / field notes

[solidwater05]

Item #: SCP 05-J "The Solid Water"

Object Class: Keter (Too Damn Slippery)

Special Containment Procedures: SCP 05 can be contained as long as you can manage to keep it focused on a specific piece of media, although this may prove difficult.

Description: SCP 05 appears to be a pile of sentient translucent ice cubes of 2cm×2cm×2cm size approximately , that do not seem to melt unless excess heat is applied.

It takes on the persona of a user named "solidwater05" on the social media site Tumblr, displaying themselves as Aro-Ace and Non-binary with He/Him pronouns, going by the name Keter, Prime, or Niko, living in Argentina. This seems to be true offline too, also responding to these names during experimentation.

It also seems to be able to manifest digital art when given the correct tools, that seems to often be of the current hyperfixation used to keep them contained at the time of creation.

The presence on Tumblr does not seem to be a negative one, and thus it has been left to it's devices.

(Is this good? I've never actually done anything with SCP since it's not particularly my thing, I know you have some level of interest in it! Apologies for any incorrect information as well)

Oh my god I have fanfic!!!!!!!!!!! :000

Generally SCPs aren't allowed internet access but there's always exceptions and also I'm biased because this is about me so it's fine!

Love the implication that I can just. Spawn art. god I wish it was that easy /lh

[vjsmag]

The Evolution of MUTEK: A Decade of Digital Arts and Electronic Music

MUTEK is a renowned electronic music and digital arts festival that takes place annually in Montreal, Canada. Founded in 2000 by Alain Mongeau, the festival has become a central platform for showcasing cutting-edge electronic music and digital art from around the world. In addition to the annual five-day event in Montreal, MUTEK also hosts international versions of its festival in various locations around the world, including Mexico City, Argentina, Chile, Brazil, and Colombia. One of the key features of MUTEK is its focus on innovation and experimentation within the electronic music and digital arts scenes. The festival features a diverse lineup of artists, including established and up-and-coming performers from a wide range of genres, as well as workshops, talks, and other educational programming. In addition to live performances, MUTEK also showcases immersive installations and interactive exhibits, providing a unique and interactive experience for attendees. Throughout its history, MUTEK has become known for its commitment to pushing the boundaries of electronic music and digital arts, and for its role in fostering collaboration and innovation within these fields. The festival has attracted a dedicated and passionate community of artists, music lovers, and digital arts enthusiasts from around the world, and continues to be a leading destination for those interested in exploring the cutting edge of electronic music and digital art.

MUTEK is a highly respected and influential festival that has been taking place in Montreal since 2000. It is dedicated to the promotion of electronic music and the digital arts, and has become a central platform for artists and enthusiasts in these fields to come together and experience the latest in music and art technology. Over the years, MUTEK has expanded beyond its Montreal roots, hosting events in Mexico, Argentina, Chile, Brazil, and Colombia, as well as showcasing the work of Western artists in China. The festival has also partnered with the digital arts festival Elektra to create the EM15 festival in Montreal. MUTEK continues to be a vital and innovative force in the electronic music and digital arts communities. Read the full article

[disamedia]

Rodez (Excerpt) • Stefano Miraglia (FR-IT, 2017, digital, 3') from Collectif Jeune Cinema on Vimeo.

2017 / 3' / silent / distributed by Collectif Jeune Cinéma catalogue.cjcinema.org/fr/film/rodez-1110 derives.tv/constellation/miraglia/ stefanomiraglia.eu

Une exploration de la cathédrale de Rodez et de ses vitraux : figures en prière et imagerie scientifique. Une étude sur la couleur, la répétition et le clignotement, composée de 292 photographies.

An exploration of Rodez Cathedral and its stained glass windows: praying figures and scientific imagery. A study on color, repetition and flickering consisting of 292 photographs.

"A stunning piece of ecclesial psychedelia!" Sarah Bliss

Screenings & exhibitions: 2022/07 La Karavane, France 2021/07 Non-event [online] 2021/07 Cinema Zero, Italy 2020/08 Kino Otok, Slovenia 2020/07 Hambre Fórum [online] 2020/07 Dérives, France [online] 2020/06 Seek the sun, France [online] 2020/05 ICDOCS, USA [online] 2020/02 Les Inattendus, France 2020/01 Maratona di Visione, Italy [online] 2019/12 Les Inattendus Warm-up event, France 2019/11 Istanbul International Experimental Film Festival, Turkey 2019/11 Vidéo/Bars, France 2019/10 Panorama Internacional Vol #1 at Cine Tornado, Brazil 2019/10 Balkan Can Kino at Meme Gallery, Greece 2019/09 Mirada efímera at Museo MAR, Argentina 2019/06 ABOPevent #6b, USA 2019/06 Traverse Vidéo Hors Les Murs, France 2019/05 Panorama Internacional Vol #1 at O Sítio, Brazil 2019/05 Montreal Underground Film Festival, Canada 2019/05 L'Oeil d'Oodaaq (Rennes), France 2019/05 ABOPevent #6, USA 2019/04 Traverse Vidéo Hors Les Murs, France 2019/04 Ibrida - Festival delle arti intermediali, Italy 2019/04 L'Oeil d'Oodaaq (Saint-Malo), France 2019/04 Spectral Film Festival, USA 2019/03 Traverse Vidéo, France 2019/02 RPM Fest, USA 2018/12 Panorama Internacional Vol #1 at Pinacoteca Ruben Berta, Brazil 2018/11 Filmmaker Festival, Italy 2018/11 Nomadica, Italy 2018/10 Transient Visions, USA 2018/10 Festival des Cinémas Différents et Expérimentaux, France 2018/09 The Unseen Festival, USA 2018/08 MARFICI, Argentina 2018/08 Strange Umbrellas #21, UK 2018/05 Fracto, Germany

Bio: Stefano Miraglia (Málaga, 1988) is an Italian-Spanish artist, curator and writer based in Paris. His activities focus on artists’ film and video. Often composed from diaristic and archival images, his films explore the notion of collage in cinema, combining noise music, photography, documentary and abstraction. His work has been presented internationally in exhibition spaces such as the Taiwan Contemporary Culture Lab (Taipei), Fabrica research center (Treviso), Le dôme (Montbazon), Centrum (Berlin) and in numerous film festivals such as Prismatic Ground, ICDOCS, Vienna Shorts and Festival des Cinémas Différents et Expérimentaux de Paris - where his film Anoche received an award in 2017. Since 2018 he has curated and presented several programs of experimental and artists’ films. Stefano is the founder and principal curator of Movimcat, an online project for the dissemination of artist’s cinema. Since 2019 he has been working on the rediscovery and reappraisal of the work of Ellis Donda. Stefano Miraglia is a member of the French association of art curators C|E|A.

[burlveneer-music]

Shayna Dunkelman & Javier Areal Vélez - Miru Mira - improvisations on drums & prepared electric guitar

The album's title, 'Miru Mira,' means "to see" in Japanese and Spanish consecutively. Senses play a significant role in this daring collaboration between percussionist Shayna Dunkelman and composer Javier Areal Vélez. Combining a playful exploration of the senses with phonological connections between Spanish and Japanese languages, ‘Miru Mira’ takes inspiration and finds connection through linguistics and sound. Shayna and Javier’s collaboration was slow to materialize, taking nearly ten years. The two improvisers first met in New York at a concert in 2012 and then later reconnected in Argentina in 2017. Javier organized a visit of Shayna's band at the time (Xiu Xiu) to perform at RUIDO, an experimental music series he curates. Eventually, the two improvisers resolved to play together and a plan to record materialized quickly and organically. Fran López, an artist/musician/engineer friend from Argentina who lives in NYC, attended the duo’s only gig in Brooklyn and offered to record them right away. As the plan for recording materialized, the studio and engineering of the record sharpened in focus to celebrate and capture the live and unique feel of a guitar and drum duo. Fran proposed the band put the guitar amp opposite to the drum set, facing each other directly. This way, the amp bleeds into all of the drum’s mics, but in a balanced way and the guitar sound resonates in the drumset itself. Miru Mira’s phonological song title convention connects to the aural resonance of the live and organic sound captured in the studio. “Both Shayna and I tend to play quite loud,” according to Javier, “so it was a very warm session, keeping the intense energy of a gig almost.” Javier Areal Vélez is a composer, improviser and curator, who performs mostly on electric guitar, with or without objects stuffed between its strings. His musical approach relies heavily on a primal technique that emphasizes timbre and rhythm, avoiding traditional forms in favor of intensity and dynamic contrast. The physicality of his interactions with the guitar create estranged sonic entities that evolve haphazardly outside of specific genres. In the later years, his solo work has included also the development of AI entities that listen and improvise with Javier via the use of samples, synthesis and mechanical robots. Javier has performed concerts in Argentina, America, Europe and Asia, and has released recordings in a dozen independent labels worldwide as a soloist, band member, and through collaborations with artists such as Violeta García, Chris Pitsiokos, Audrey Chen, Brian Chase, Shayna Dunkelman, Nicola Hein, Ryoko Ono and Jorge Espinal. Javier is the founder and director of RUIDO experimental music festival since its inception in 2017. He is also the coordinator of the Sound Arts Center (CASo) of the Ministry of Culture of Argentina. www.javierarealvelez.com.ar www.instagram.com/javierarealvelez Shayna Dunkelman is a musician and percussionist based in Brooklyn, NY. Dunkelman is known for her versatile and unique techniques, and use of electronics to access a sonic pallet not found in acoustic percussion. In addition to solo performances, Dunkelman performs with Pulitzer Award-winning composer Du Yun, Balún, Emily Wells, Grammy Award-Winning Attacca Quartet, Ali Sethi, and her percussion duo Nomon with her sister Nava. Born and raised in Tokyo to an Indonesian mother and an American father, Dunkelman became a multi-instrumentalist performing alongside her mother. Dunkelman became increasingly active in the alternative music scene as a member of the band Xiu Xiu, touring the world for 6 years. As part of Xiu Xiu, Dunkelman shared stages with Genesis P-Orridge (Psychic TV), Sun Ra Arkestra, Alessandro Cortini (Nine Inch Nails) to name a few. Dunkelman has recorded and performed with pioneers of avant-garde experimental musicians such as Yuka C. Honda, John Zorn, Yoko Ono, and Thurston Moore and performed at Carnegie Hall, Centre Pompidou, The Fisher Center for the Performing Arts, Lincoln Center, The MET, Terminal 5, QAGOMA among others. www.shaynadunkelmanmusic.com  Recorded and mixed by Fran López in NYC in January 2020.license

[viragfold]

“ESCRIBAS – 1st International Exhibition of Asémic Writing”

The exhibition “ESCRIBAS – 1st International Exhibition of Asemic Writing” is part of the program of the V National Festival of Contemporary Art Beagá Psiu Poético. In a production by the Instituto Imersão Latina in partnership with The Virtual Museum of Visual Poetry, the exhibition will present 26 works by artists from 18 countries, constituting the first international group exhibition of its kind held in Brazil.

            Curated by Tchello d’Barros, the exhibition opens on March 14 at 9 am and at 2 pm there will be a lecture by the curator at the exhibition venue, the UFMG Cultural Center. Visitation takes place until 21.Mar.2023, with free admission.

Participating Artistas:  

ADRIAN DORADO (ARGENTINA) | AYIS KELPEKIS (GREECE) | CHEN LI (CHINA /ITALIA) | CHERYL PENN (SOUTH AFRICA) | DAVE READ (CANADA) | DENIS SMITH (AUSTRALIA) |  DONA MAYOORA (INDIA / USA) |  ENZO PATTI (ITALIA) |  FELICIANO DE MIRA (PORTUGAL) | FERRAN DESTEMPLE (ESPAÑA) | JAIME RGUEZ (ESPAÑA) | JOHN R. MCCONNOCHIE (AUSTRALIA) | KEIGO HARA (JAPAN) | MARCO GIOVENALE (ITALIA) | MIRIAM MIDLEY (ARGENTINA) | MUHAMMAD SHEHZAD MAJEED (PAKISTAN) | NICO VASSILAKIS (USA) | PÉTER ABAJKOVICS (HUNGARY) | ROSAIRE APPEL (USA) | SAMI LIUHTO (FINLAND) | SATU KAIKKONEN (FINLAND) | SERSE LUIGETTI (ITALIA) | STEPHEN NELSON (SCOTLAND) | SVEN STAELENS (BELGIUM)  | TCHELLO D'BARROS (BRASIL) | VOLODYMYR BILYK (UKRAINE)

........................................................................................................................

Curatorial Text:

CALIGRAPHIC POETICS OF ASÉMIC WRITING

                                                         por Tchello d’Barros*

                                           “Asemic writing seems to be a gigantic, unexplored territory.”

                                                                                                                                                    Tim Gaze

The exhibition “ESCRIBAS – 1st International Exhibition of Asémic Writing” presents a collection of works in images with abstract spellings, in the language that is becoming known as Asémic Writing. The set, made up of creations from different parts of the planet, also reveals the plurality of techniques and resources for the realization of these works, transiting between calligraphy, abstraction, engraving and even Visual Poetry.

This show promoted by Instituto Imersão Latina in partnership with The Virtual Museum of Visual Poetry, features 26 works by artists from 18 countries in the V Beagá Psiu Poético program, setting up the first international collective exhibition of this modality held in Brazil.

Spontaneously arising in different cultures throughout history, consolidated as an artistic language at the end of the 20th century, the Asémic Writing still very rare, has been gaining visibility, whether with exhibitions, publications, epistemological studies or placement on the Internet. This hybrid art, which transits between word and image, survived the typographic tsunami of the digital age, privileging handwriting (mainly), albeit abstract, as an expressive manifestation.

The works are made up of often invented letters, words that keep calligraphic remnants, sentence fragments that form thought-provoking abstract figures, configuring every movement that has thickened its network of supporters on all continents. It is an art free of academic labels, institutional immobilization and shallow public cultural policies for the promotion, collection and dissemination of experimental languages. Drawing, painting, infogravure, collages, digital art, interventions and photographs are just some of the resources present in this type of creations, presented here from a perspective of diversity of styles.

It is said of the works of Asémic Writing, which are purposely emptied of meaning – because they are absent of enunciation or message – which does not prevent them from making sense, from the perception of those who observe, since there is a silent dialogue between such contents and the entire lexical and imagery framework of those who immerse themselves in viewing these images.

Theorists of Art in Expanded Field or Expanded Poetry, usually place Asémic Writing in the broad scope of Experimental Poetry. So, provoking reflections on the poetic phenomenon in aspects that strain the limits of language, questioning aesthetic aspects of the hybridity characteristic of contemporary art and provoke the debate about where the compass of poetic making points in our time, are some of the premises that guided the curatorial process for this show.         

*Tchello d’Barros is writer, visual artist and curador.

Master’s student and researcher about Expanded Art on University UFRJ                                                                                           Rio de Janeiro (RJ), Brasil – March 2023

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Service:

Opening: 09h - 14.Mar.2023

Lecture with curator and production team: 14h

Visits: Terça à sexta-feira: 9h às 20h e

                   sáb. e dom. das 9h às 17h - Até dia 21.Mar.2023

Place: Centro Cultural da UFMG

           Av. Santos Dumont, 174. Centro, Belo Horizonte – Brazil

Coordenation: Grupo Transa Poética | Psiu Poético Beagá

Production and Setup: Instituto Imersão Latina - IMEL

Realization: The Virtual Museum of Visual Poetry

Curator: Tchello d'Barros

Free Admission

Links:

Exhibition “Escribas” at Facebook

Instituto Cultural Imersão Latina

Centro Cultural da UFMG

The Virtual Museum of Visual Poetry

E S C R I B A S I Mostra Internacional de Escrita Assêmica 1st International Exhibition of Asémic Writing