#hara museum

[takmiblog]

空気の写真集

『空気のような漠然としたものを追い続け、それを物質化することに対して否定的であるといっていいほどに繊細であった一人のデザイナー。物質化に対する逡巡をつきつめるという事は、そもそも物質界に生きることからのがれられない人間にとってみれば、命を切り刻むことにも等しかったのか。この写真集をながめていると倉俣の早逝の原因がわかるような気がしてくる。』

ーーーーー　「倉俣史朗」　上田実＝編　原美術館　1996

（藤塚光正）

書評：隈研吾

[iamflowerta]

Menja Stevenson. Hara Museum of Contemporary Art, Tokyo, 2017.

[thepastisalreadywritten]

[betweenthelines1975]

[zegalba]

Yoshitomo Nara: From the Depth of My Drawer, Hara Museum of Contemporary Art, Tokyo (2004)

[tokidokitokyo]

富山県

Japanese Prefectures: Chūbu - Toyama

都道府県 (とどうふけん) - Prefectures of Japan

Learning the kanji and a little bit about each of Japan’s 47 prefectures!

Kanji・漢字

富　と(む)、とみ、フ、フウ　wealth, enrich, abundant

山　やま、サン、セン　mountain

県　ケン　prefecture

中部　ちゅうぶ　Chūbu, Central Japan, the central region of Japan

Prefectural Capital (県庁所在地) : Toyama (富山市)

Toyama Prefecture is a part of the central region of Japan, also known as Hokuriku (北陸). Takaoka city is the birthplace of Fujiko F. Fujio, the creator of Doraemon, with many Doraemon-themed delights for visitors. Toyama lies along the Sea of Japan and includes part of the spectacular Northern Japan Alps. Gourmet seafood, idyllic scenery, cultural attractions, and a slower pace are all easily accessible by shinkansen from Tokyo, Kyoto, and Osaka. Toyama is an important rice-producing area, as well as sourcing hydroelectric power and minerals from the nearby mountains that serve as a basis for chemical, textile, machinery, pulp and paper, and steel industries. The capital city of Toyama and Takaoka have long been the chief center for the production of patent medicine and drugs.

Recommended Tourist Spot・おすすめ観光スポット Gokayama Ainokura Village - 相倉合掌造り集落

Gokayama Ainokura Village (source)

The Gokayama region is an area within the city of Nanto in Toyama Prefecture. It is on the UNESCO World Heritage List due to its traditional gassho-zukuri houses (similar to Shirakawa-go in Gifu). The region is secluded within the mountains in the upper reaches of the Shogawa River, thus preserving this unique traditional architectural style. Gokayama's lifestyle and culture remained very traditional for many years after the modernization of the majority of the country, and many of the houses here are over 300 years old.

Ainokura is the largest of these villages, with nearly 20 gassho-zukuri farmhouses. Many are still private residences, although some have been converted into restaurants, museums, and minshuku, where you can stay overnight at a farm house. With less development and more difficulty to reach this secluded village, there is less tourist traffic than some of the other villages. There are visiting hours attached to the village to avoid disturbing the residents (8:30-17:00), thus helping to preserve the quiet life in this village.

Folk dances, music utilizing unique, traditional instruments, and special washi paper techniques characterize this area. You can listen to the sasara, an instrument made of over a hundred wooden clappers strung together, which is symbolic of the region and a popular souvenir. There are also washi paper workshops where you can try your hand at making washi paper.

Regional Cuisine - 郷土料理 Kombujime - 昆布締め

Kombujime (source)

Kombujime (also kobujime) is a local Toyama dish made by sandwiching light-tasting foods such as whitefish (most commonly marlin) and wild vegetables between sheets of kelp (or kombu). Other popular fillings include other whitefish, shrimp, tofu, and beef. The prefecture boasts the highest kelp consumption, and thus kombu is also widely available at supermarkets.

The technique used to make kombujime (which means "kombu curing") enhances the taste of the sashimi through aging the fish between two sheets of kombu. This technique softens the fish texture and the glutamates from the kelp transfer over to the fish, accentuating its flavor.

Toyama Dialect・Toyama-ben・富山弁

Toyama-ben is also called Etchu-ben (越中弁), and consists of West (Gosei, 呉西), East (Gotō, 呉東), and Gokayama (五箇山) dialects. The dialect is a combination of sounds and features close to Kansai and Tohoku dialects, but still quite different from the other dialects in the Hokuriku area.

うい　ui

Standard Japanese: いっぱい 、満足、胸やお腹が苦しい (ippai, mune ya onaka ga kurushii) English: I'm stuffed; my chest or stomach feels tight

食べ過ぎて、はらういわ。 tabesugite, hara ui wa

食べ過ぎて、はらいっぱい。 tabesugite, hara ippai

I ate too much, I'm stuffed.

2. きどくな　kidokuna

Standard Japanese: ありがとう (arigatou) English: thank you

あら、きどくな。 ara, kidokuna

あら、ありがとう。 ara, arigatou

Oh my, thank you.

3. じゃまない　(jyamanai)

Standard Japanese: 大丈夫、問題ない (daijyoubu, mondai nai) English: I'm OK, no problem

A: 体調、いかがですか？ B: じゃまない、じゃまない！ A: taichou, ikaga desu ka? B: jamanai, jamanai!

A: 体調、いかがですか？ B: 大丈夫、大丈夫！ A: taichou, ikaga desu ka? B: daijyoubu, daijyoubu

A: How are you feeling? B: I'm doing well!

4. こわい　(kowai)

Standard Japanese: かたい (katai) English: firm, tough

このご飯、��わいわ。 kono gohan, kowai wa.

このご飯、かたいなあ。 kono gohan, katai naa.

This rice is really hard.

5. つかえん　(tsukaen) (also, なん nan、つけん tsuken)

Standard Japanese: かまわない、問題ない (kamawanai, mondai nai) English: it's fine, it's no problem

A: もう少し、待っていただけますか？ B: つかえんちゃ！ A: mou sukoshi, matte itadakemasu ka? B: tsukaen cha!

A: もう少し、待っていただけますか？ B: 問題ない！ A: mou sukoshi, matte itadakemasu ka? B: mondai nai!

A: Can you please wait a little longer? B: No problem!

More Toyama dialect here (JP with EN).

[sorakazeno]

Sailor Moon Museum Part 9

The start of the Sera Myu Room!!

Newer versions of the fuku.

Tuxedo Kamen at the end. I realized later that is one pic I have of the outfit. Rats. I could not get over how tiny the waist lines are on these dresses.

The classic ones I grew up on.

Took a picture in front of Sailor Mars for a friend.

Eternal Sailor Moon. I thought the wings were larger. But then again.... the woman that wore these outfits were are a lot shorter than I am so it probably fit them for the portions.

My favorite Inner Senshi

My second favorite Inner Senshi. Atlas no Outer Senshi. >.<

Nogizaka46 Version Musical 2019 on the left.

Kaguya-hime no Koibito on the right from 2021.

Le Mouvement Final on the left from 2017.

Super Live from 2018 and 2019. I need to take pictures of the poster released in the US... and a post for this musical. It was amazing.

La Reconquista from 2013.

Fumina Hara, the second actress to play Usagi in the musicals.

Ohyama Anya, the first actress to play Usagi and will always be my favorite.

Close up of Jupiter and Mercury.

Just realized this my only Chibi Moon one.

Shin / Henshin - Super Senshi e no Michi - Last Dracul Jokyoku. Also commerates the 500th musical for Sailor Moon. I was able to purchase a coin for this that was in a previous post.

Starlights - Ryuusei Densetsu 2003.

Now entering the Nakayoshi room! Lots and lots of little giveaways as the series are original being published in the 90s. Most of these I never seen before.

Notebook, playing cards, and Sailor Moon mask.

Usagi and Tuxedo Kamen bag, poster with the Inners.

Better view of the mini poster.

Stickers, postcards and various inserts.

Bags, inserts, sticks, trading cards

Mini poster is some kind of Santa Claus game. Bag and cute little cardboard box.

Senshi cards are listed as "Super Premium" cards.

Calendar and bag.

Chibi Moon bag, fan books and a card game in the upper corner.

Sailor Moon was constantly featured on the cover of Nakayoshi

More covers.

So many covers.....

I believe all art was published in the five artbooks from the 1990s.

[campsis]

Jim Lambie, Unknown Pleasures

Hara Museum of Contemporary Art, Tokyo

[shinnoguchiphotography]

The exhibition "Beyond the Commonplace – Views from Japan" exhibition, featuring works by five Japanese artists, at "The 15th Rencontres de la photographie en Gaspésie" held in the Ville de Gaspé, Canada, July 15 - Sep 30. Exhibition presented in two locations in Gaspé: at Berceau du Canada and near the House Horacio Le Boutillier, to the west of the buildings on the site Musée de la Gaspésie.

EXPOSITION AUX RENCONTRES BEYOND THE COMMONPLACE – VIEWS FROM JAPAN https://www.photogaspesie.ca/en/portfolio/beyond-the-commonplace-views-from-japan-in-gaspe/

Gaspésie Museum, and Birthplace of Canada, July 5, 2024 - September 30, 2024

Exhibiting artists: Chieko Shiraishi Shin Noguchi Aki Goto Yoshinori Mizutani Mikiko Hara

More Details: https://www.photogaspesie.ca/en/

「第15回フォト・ガスペジー / ガスペジー国際写真祭」での日本人アーティスト5名による企画展「平凡を超えて - 日本からの視点」展より。“カナダ発祥の地”ケベック州ガスペ半島にて 2024/7/15 - 9/30まで。

詳細はnoteに： https://note.com/shinnoguchi/n/n7b57d41732d0

Instagram | News | Website | ReBlog

[akenvs3000f24]

BLOG 4: Gift of Beauty

Beck et al. (2018) defines the ‘gift of beauty’ as how interpretation should have the power to instill the desire to sense the beauty in their surroundings. It should be more than simply seeing something as beautiful; instead acting as kindling for an inner desire to truly study and appreciate the history and beauty on a deeper level. This is where I believe nature interpretation through the various forms of arts is vital. Many people may never see Mount Everest in person or witness the Northern Stars, but through visual arts, they can still connect with those places.

This past summer I visited the Whyte Museum in Banff, Alberta. Inside was their summer exhibition of paintings that J.H.E Macdonald made back in the 1900s of Lake O’Hara. Beside them were similar paintings made in the 2000s by Robert Munn and Patty Cucman, who retraced Macdonald’s steps to find his paint sites. Through their artwork and dedication, between the two paintings we can see how much of the landscape had changed or stayed the same overtime (Whyte Museum 2024). Seeing how the sizes of glaciers changed and where trees had fallen reinforced my belief of how important awareness is in order to conserve the environment around us for future generations.

Nature is often a large source of inspiration for artists in all shapes and forms. While I’m not very talented in capturing landscapes on paper and canvases, I find joy in composing and taking pictures of the environment around me. Photography has become my artistic way of memorializing the scenes I see around me, and sharing those images is one of the many ways I interpret nature to others. One of my favorite shots is a series of pictures of Mount Rundle. The mountain stands the same as it has for years, and the stars above are the same that people many years before us may have seen as well. It offers a glimpse into the vastness of the world around us and how much history each area– urbanized or suburban– holds. Through these photographs, I hope to offer viewers a similar experience, one that will compel them to look at nature a little closer than before.

Art, no matter the medium, gives us a way to convey the ‘gift of beauty’. The past and the present can be captured to hopefully inspire future generations to seek out connections with the environment around them. Visual arts pose as both a record and a call to action. In the present year, temperatures and other indicators of climate change increase every year. The scenery around us might not be the same in 50 or 100 years, but through artistic mediums we can share the beauty and importance of preservation. Overall, I believe that the ‘gift of beauty’ holds more power than most know or acknowledge.

References

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting Cultural and Natural Heritage: For a Better World. Sagamore Publishing LLC. https://sagamore.vitalsource.com/books/9781571678669

WhyteMuseum. (2024, June 24). J.E.H. Macdonald: The O'Hara Era - Summer 2024 Whyte Museum Exhibition in Photos. The Whyte Museum. https://www.whyte.org/post/jeh-macdonald-o-hara-summer-2024-whyte-museum-exhibition

[chargoeson]

Project Amygdala Excerpt 1-- Maren Hara

Now that I am in the groove of writing in her voice Maren is with me everywhere I go. It feels terrifying to get into the habit of sharing pieces of my fiction since it has always been more concealed in me, but I am very proud of how it's coming along and litfic is just so special to me. For the full effect listen to "Coffee Stain," by Sarah Harmer or something equally devastating. Enjoy a peek into baby Maren!

"...letting my hands play a tune across the iron bars as I walked. I imagined them as the ridges on a whale’s chin. I’d never seen a whale in the flesh, only a reconstructed skeleton hanging from the museum Dad took me to a handful of times before deciding it played too much into my, “sentimentality.” I had to look that word up in my dictionary after the trip. The whale was suspended from the ceiling, bones wired into place to give the illusion of turning in the water. I was enchanted. She was a blue whale, Balaenoptera musculus, and I stood under her length for what felt like hours, imagining the nervous system and muscles and blubber and skin that would have filled the room even further. Her chin was what hypnotized me furthest. Deep cracks running the entire length of her jaw, holding the baleen plates that I pictured brushing against my arms. Would they have sung against my fingertips too? I wanted to try it, to float to the ceiling of the room to be with her. Dad moved on, looking for something to do with his own interests in Pathology, and I stayed there until he found me to go home. He asked me from the drivers seat, cocking his head to the side without turning as he did until I was old enough to ride shotgun. “What was your favorite part?” he asked. “The blue whale,” I whispered, the reverence still within me. “Tell me why.” Once I had found my words again he gave many prompting requests like this. I never worked out if he actually wanted to know. “I think she’s sacred,” I said softer still, embarrassed even then for him to hear my child’s piety. He was silent, looking ahead and flexing his hands on the wheel the way he did when he wasn’t sure how to handle me. He didn’t start deconstructing these moments of mine until a couple years later, when he realized it was not simply childlike wonder and absurdity, but that I actually felt spiritual ties to anything at all."

taglist (y'all are so cool): @annlillyjose @coffeeandcalligraphy @subtlefires @belovedviolence

[jamelalatise]

This is at the Design Museum, in London. Which is crazy right now, because on the same road - South Kensington - Japan House (The Cultural Home of Japan in London) stands, which Kenya Hara oversees… and in Japan House right now is an exhibition called Design Discoveries: Towards a DESIGN MUSEUM JAPAN; of which there isn’t one in Japan. Although known for its unique design sensibilities across architecture, crafts, and product design, Japan has no single museum or space dedicated to cataloguing and preserving and exhibiting Design. As an initiative to change this, Issey Miyake took it upon himself to found one… an initiative that has since fallen into the hands of- surprisingly - of NHK Educational Corp. Senior Producer, Kuramori Kyōko, who inherited the baton through friendship.

All of this fascinates me! It’s really interesting the connections across continents and cultures and now times… and this is all to say—trust the process!

[sibylle-mccormack-ad]

KW 36/37 verbranntgeselligstimmigverspieltunschlüssig

Recherche:

Entwerfen «Wie es sich anfühlt» von Kenya Hara - Verschränkung von Sinneswahrnehmung und Erinnerung

Biophilic Design - spannender Ansatz Integration von Design-Elementen, die mit Risiko und Gefahr assoziiert werden

Raumanalyse mit Hilfe von Diagrammen (z.B. Verhältnis Farben, weiche/harte Oberflächen etc.)

Führung Designsammlung Toni Areal und Sammlungsausstellungen Museum für Gestaltung

So viele Verknüpfungen von Geschichte, Industrie, Politik, Wirtschaft und Gesellschaft

Ettore Sottsass magich, magichnicht, magich, magichnicht, magich, magichnicht, magich, magichnicht (floor, light)

[medusa1597]

gets banned from the museum for trying to hara kiri in front of his late black/gray paintings

[sugcrkisses]

ㅤㅤㅤ𝐢𝐧𝐝𝐢𝐞 𝐦𝐮𝐥𝐭𝐢𝐦𝐮𝐬𝐞 𝐫𝐩. blog contains modern-day and medieval/fantasy muses. mun is 25+, muses are 22+. there will be mature themes on this blog. tumblr rp only. written by ellie.

ㅤㅤㅤ𝐜𝐚𝐫𝐫𝐝 ( 𝐫𝐮𝐥𝐞𝐬 + 𝐦𝐮𝐬𝐞𝐬 ). — 𝐨𝐩𝐞𝐧𝐬. — 𝐰.𝐩𝐥𝐨𝐭𝐬. — 𝐰.𝐨𝐩𝐩. — 𝐦𝐞𝐦𝐞𝐬.

update (7th nov, 24): on an indefinite hiatus due to health issues.

Mobile friendly muse list + muse links are under the cut.

MODERN DAY muses:

º ✧ 。Ladies

ADALIA CLARA — 26-30, photographer. — Camila Mendes — convos, musings

ANYA KRAVTSOVA — (MCU based) — 30-35, ex-black widow / ex-assassin — Alicia Vikander — convos, musings

ARIA KEATING — 23-25, tudent (studying law, master's degree) — Abigail Cowen — convos, musings

CATALINA AVALOS — 28-35, web designer / digital illustrator — Ana De Armas — convos, musings

CEMRE OZAN — 28-31, florist at a flower boutique — Hande Ercel — convos, musings

CHLOE AINSWORTH — 23-27, student / socialite — Josephine Langford — convos, musings

DOROTHEA REMES — 30-35, architect — Lily James — convos, musings

FREYA EVERLY — 29-34, lingerie designe — Margot Robbie — convos, musings

ISLA BERNNAN — 24-29, bartender — Madelaine Petsch — convos, musings

IVY ELLINGTON — 25-29, videographer — Hannah Dodd — convos, musings

JADE THAN — 24-27, mechanic / street racer — Lana Condor — convos, musings

KATHRYN BAILIE — 41-46, bok illustrator — Amy Adams — convos, musings

KAYA MARSTON — 30-34, museum curator — Elizabeth Olsen — convos, musings

LAYLA MARSTON — 32-36, TBA — Teresa Palmer — convos, musings

LORNA BAILIE — 28-33, physiotherapist — Danielle Galligan — convos, musings

LOUISE DE VERE — 24-27, fashion magazine intern / horse trainer — Grace Van Dien — convos, musings

NORA GREENE — 27-30, interior designer — Zoey Deutch — convos, musings

OLIVIA VALDEZ — 28-31, zumba instructor — Selena Gomez — convos, musings

SERENA STRUCKER — 25-28, pastry chef — Florence Pugh — convos, musings

SOFIA NAVAR — 29-34, modern dance instructor / aerial dancer — Eiza Gonzalez — convos, musings

º ✧ 。Gentlemen

ADRIAN WOLFE — 44-48, police detective — Richard Armitage — convos, musings

AIDAN BRADY — 38-45, biker bar owner / ex-bounty-hunter — Jensen Ackles — convos, musings

CAIUS HARWOOD — 36-41, head of crime syndicate — Tom Hiddleston — convos, musings

CASSIAN GRANT — 33-37, literature professor / writer — Kit Harington — convos, musings

CEDRIC MATHE — 32-37, TBA — Regé-Jean Page — convos, musings

DANTE CARDONA — 38-43, fencing instructor / drummer in a band — Oscar Isaac — convos, musings

ELIAS HARTLEY — 35-40, gym owner / lead singer in a band — Henry Cavill — convos, musings

EZRA CARTER — 36-41, web developer / ceo of a digital design, production and consulting company — Ben Barnes — convos, musings

JAYDEN HARA — 25-31, TBA — Darren Barnet — convos, musings

LIAM WOLFE — 37-42, military intelligence analyst — Michiel Huisman — convos, musings

LUCAS CABRERA — 41-46, restaurant owner / guitarist and singer in a band — Pedro Pascal — convos, musings

WILLIAM THOMAS — 35-40, chef (second in command) — Sebastian Stan — convos, musings

MEDIEVAL / SPN / FANTASY muses:

º ✧ 。Ladies

AYLIN DEMIRCI — 27-33, lady-in-waiting, human — Melisa Asli Pamuk — convos, musings

DANAE FAIRFIELD — 27-32, crown princess, human — Charlotte Hope — convos, musings

ESTRID SVENSEN — 27-31, tavern owner and a barkeep, gifted human — Jessica Green — convos, musings

MADALYNN BELANCOURT — 28-33, (bastard) daughter of a king, human — Summer Bishil — convos, musings

TALISA RACHE — 25-30, criminal / thief, human — Ivana Baquero — convos, musings

º ✧ 。Gentlemen

ARISTEO OLIVIER — 43-46 (150 to 400+), blacksmith, vampire — Richard Armitage — convos, musings

DARIUS GODFREY — 35-39, king's guard, gifted human — Henry Cavill — convos, musings

OLIVER LANCASTER — 35-39, TBA, human — Aidan Turner — convos, musings

VIDAR ASGEIR — 30-35, commander of the royal guards, human — Leo Suter — convos, musings

VIGGO ASGEIR — 34-38, colonel general in the King's army, gifted human — Alexander Dreymon — convos, musings

[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

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

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