I: ART BOOKS in ARCHIVIO : partecipazione Presìdio IDROMELE

(kindness of Maddalena Castegnaro)
Presidente VerbaManent
Responsabile del Presidio idromele e del Fondo Archivio DROSOS

The New Nation June 25, 2010

Plz check the attachment a write up on Dhaka-Kathmandu art fusion.
Regards,
RS
(KINDNESS OF RAFIQUE SULAYMAN)

KOMMISSAR HJULER

SPARGEL & HJULER

HJULER

(kindness of Ruediger Axel Westphal, GERMANY)

ExFS

ExFS
(ex ferrovie dello stato ex fiere selvagge)
installazione de i Santini Del Prete
al Parco Pertini in Livorno

(kindness of Santini Del Prete, ITALIA)

Black Pegasus

Website of Billie Maciunus

http://www.eveoffluxus.com/

RBC ITUZAINGÓ / TENDALES

El sábado 26 se realizó la presentación del ESPACIO CULTURAL RBC
ITUZAINGÓ. A pesar de un tiempo con mucha lluvia se logró concitar la
presencia de una buena concurrencia de público.
Se presentó la muestra del Proyecto Tendales BABELSUR, colectiva
integrada por piezas de A.Miró, C. Padín, R.Fuentes y R.Torres.
DONGILI dúo de percusión integrado por Marcos Umpierrez y Andrés
Acevedo presentó en un mini recital su creación musical.
El público, compuesto en su mayoría por personas adultas disfrutó de
los cortos de Charles Chaplin los que en el sector de jóvenes
asistentes generó sorpresa las imágenes en blanco y negro y mudas.
Asimismo el lunes 28 la escritora María Carbajal contó sus cuentos a
los presentes.
Este es el inicio del proyecto ESPACIO CULTURAL que extenderá su
primer temporada hasta noviembre del corriente año.

CHRISTINE
gracias por tú interés.
Un abrazo desde Santa Lucía.
Rodolfo TORRES.

Saturday 26 was held the presentation of the CULTURAL space of RBC ITUZAINGÓ. In spite of a time with lots of rain was attracting the presence of a good public attendance. Was presented the collective project Tendales BABELSUR, sample composed of a. Miro, C. Padín, R.Fuentes and R.Torres. parts DONGILI percussion duo consisting of Marcos Umpierrez and Andrew Acevedo presented on a mini concert music creation. The public, mainly composed of adults enjoyed of Charles Chaplin shorts in the youth sector wizards generated surprise images in black and white and seedlings. Also Monday 28 writer Mary Carbajal told their stories at those present. This is the area of culture project to extend its first season until November of this year.
CHRISTINE Thank you for your interest. A hug from St. Lucia. Rodolfo TORRES.

Which Future? CREATIVA 2009, Documentation

"C'est mon dada" collection # 42, RAUTENBERG

you can order by email or online with Paypal
http://www.redfoxpress.com/dada-rautenberg.html

Arne Rautenberg (born 1967, Germany) studied Art History and Literature and lives in Kiel,
where he works as an author and artist. In his works, which are full of humour,
he experiments with rhythms and styles, intonations and levels of language
in poetic play with the forms of perception.

Rautenberg published his first collection of poetry, "Neondaemmerlicht" (Neon Twilight)
in 1996. His literary oeuvre covers not only poetry but also experimental texts
and his novel "Der Sperrmuellkoenig" (The Trash King) (2002).
Since 2006 he has also been teaching at the Muthesius School of Art in Kiel
and he is a freelance critic and feature writer. Rautenberg's many awards
include the Poetry Prize of the Graz Academy (2001) and the Random House Prize
for Satirical Literature (2002). The latest collections of poetry are:
"gebrochene naturen" (Broken Nature, 2009) and "der wind laesst tausend huetchen fliegen"
(The Wind Makes Fly a Thousand Hats, 2010) - a collection of poetry for children.

one more sans link

new perspectives for mailart

http://www.lefigaro.fr/sciences-technologies/2010/06/27/01030-20100627ARTFIG00258-une-imprimante-sculpte-vos-objets-en-3d.php

cell phone sculture will boost m@il art

"Franticham's Assembling Box" Nr 5 out now

A5 box with contributions from 23 invited artists
Visual poetry, collages, prints, multiples and objects
40 copies signed and numbered 1/40 to 40/40
Only 15 copies available for sale
Price: 70 euro / 100 $ / 60 UK st.

Contributions from:

Antic-Ham, South Korea - Vittore Baroni, Italy - Lancillotto Bellini, Italy - Carla Bertola, Italy - Anna Boschi, Italy - Bruno Chiarlone, Italy - Fernando Delgado, Argentina - Picasso Gaglione, USA - Pierre Garnier, France - Klaus Groh, Germany - Ruud Janssen, Netherlands - Susanna Lakner, Germany - Serse Luigetti, Italy - Tim Mancusi, USA - Keiichi Nakamura, Japan - Litsa Spathi, Netherlands - Uwe Petruch, Germany - Mercedes Resch, Argentina - Christine Tarantino, USA - Matthew Rose, France - Francis Van Maele, Ireland - Alberto Vitacchio, Italy - Sean Woodward, UK

http://www.redfoxpress.com/ass.box5.html

John Cage mail art… supposing

(kindness of Angela Caporaso)

http://www.johncagemailart.altervista.org/

My visit with Bill Gruters, Mill Pond, June 27, 2010

Mill Pond, June 27, 2010

Mill Pond, 1991

Franticham's Assembling Box Nr. 5

http://www.redfoxpress.com/ass.box5.html

Unsettled Oranges, Billie Hutching

Copyright 1982 by Billie Hutching

Produced by Small Towns, Cherry Valley, NY

Received from Billie on June 24, 2010

www.eveoffluxus.com

exhibitions COSTAS/CORFOU/KEFALONIA/GR

Archaic composition, acrylic on canvas, 250x80cm

COSTAS EVANGELATOS
ART SUMMER IN CORFU AND KEFALONIA
GREECE

Following a successful figurative period during which Costas Evangelatos presented significant expositions of his work and figurative happenings in Salonica, Athens and Paris, followed by a series of international participations in the cities of Europe, publications of art and lectures on aesthetic issues, he will expose his work in Corfu and Kefalonia.
The great personal and particularly honorary exposition organised by the Gallery of the Municipality of Kerkyraeon at the Ancient Palaces, department of periodic expositions, Peristilio, in Corfu, entitled: “Forms and Nebulalights” will be inaugurated on 9th July and it will last until 31th July 2010.

This year, due to the anniversary of the ten year summer running of the Villa “RODOPI” in Argostoli, Kefalonia, the following expositions will take place: “10 years of contemporary Gallery” with a choice of figurative works of the past ten years which will be open to the friends of art from 11th August until 5th September 2010, while the inauguration of the exposition entitled “Miniatures of Full Moon” will take place on 24th August during the full moon night.
The customary figurative reception will follow at the garden.

Info: 6944621286, 2671028501

(kindness of Costas)

RYOSUKE COHEN Brain Cell # 767

Poetry that comes in through the eyes

To understand the origin and essence of the concept "visual poetry",
we use the interview given by the poet Antônio Luiz Mário Andrade -
ALMANDRADE - to the reporter Rodrigo de Souza Leão. ALMANDRADE is the
owner of a style in which minimalism is the guide of his aesthetics,
and he works on the poem like someone who lapidates a diamond. He is
one of the creators of the Group of Language Studies in Bahia which
edited the magazine Semiótica in 1974. He answers to the questions
with the knowledge of a true master and seems to be vexed by the
negligence to the work of the artist in a society dominated by the
media culture, by fashion, by what is easy and disposable.

Reporter - Why is the short poem the paradigm of the present Brazilian poetry?

ALMANDRADE - I do not have enough information to affirm that the short
poem is the paradigm of the present poetry. In my case, art and poetry
made me use a repertoire with few verbal or pictorial signs as working
tools. I have as references: the poetic vanguard, the constructivism
and the conceptual art. Later I got closer to the conferences made by
Italo Calvino, that were mainly about lightness "lost
monuments/paintings on the walls of museums/modern caves".

Reporter - What is there in common between lost monuments and
paintings on cave walls? "Everything passes, but time"? "Circles
hooked on circles"? "Continuous return"?

ALMANDRADE - Poetry is making with the language, an exercise that
takes language to a limit, destroys the daily meanings. "...go as far
as possible, and not get there" (Bataille). In my poetry there are
images, sometimes absurd, contradictory, strange relationships... only
possible in the poetic language. The poet is free to transform the
order and the meaning of things. But we can get closer to the logic of
the daily routine, a problem for the readers to solve, they are
accomplices of the meanings of a poetic work. As Borges says: /" The
one who reads my words is inventing them"/. - For example: the caves
and their visual inscriptions are the museums of primitive men. The
modern men stores their visual images (artistic) in museums (modern
caves). / "everything is intimate/ in the disorder/ of the suffering/

Reporter - Don't you believe in colective suffering? When can
suffering be to organize?

ALMANDRADE - The previous answer could also be an answer to this
question. The poetic language is not a 'spokesperson' for suffering,
pain or laughter, these are present in poetry, but as symbolic
elements, they are part of human nature, and men project their
feelings, their affliction and their happiness on what they read or
see: "reason/is a thought/with no way out"/

Reporter - What are the exits beyond Cartesian?

ALMANDRADE - This might be a provocation. I don't know if there are
exits, besides laughter. / " The limits of my language are the limits
of my world"/, (Wittgenstein). Poetry is a form of thought that does
not answer, but questions the thought. And reason / "...is only the
imperfection of inteligence"/, as São Tomás de Aquino says.

Reporter - You were one of the creators of the Group of Language
Studies in Bahia which edited the magazine called Semiotica in 1974.
What are the paths that internet opens for the study of semiotics?

ALMANDRADE - We are dazzled by internet, as if it were going to solve
anything or make men more intelligent. The truth is that it is only a
means that may be at service of any subject area: making contact is
easier, (this interview, for example) exchanging information is
easier, it can make researches and works public, but it will not
produce them.

Reporter - When can an object be a poem? When can a single word be a
poem? What are the limits of concrete poetry and visual poetry?

ALMANDRADE - Poetry, for being different from prose in its written
form, has always been a visual statement. Concrete poetry is the
acknowledgement and affirmation of poetry also as visual art, that the
poem-process assumed in its radicalism, in my opinion, provoking a
rupture between poem and literature. When I make a visual poem, I feel
like I am graphic art talking to literature. One object or one word
assumes the poetic form when it is taken, inserted or moved to the
poetic context, when it transforms certain emotions we have into
poetry. It reminds me of Valery.

Reporter - What did Bahia have that it does not have anymore? Since
Caetano and Gil appeared, we have not seen an artist like them coming
from Bahia. Is it a Bahia crisis or is it a Brazilian one?

ALMANDRADE - It seems to me to be an international problem. In the
case of Baiana music (or maybe, Brazilian music), its market has
grown, but its quality has not improved. We are part of a civilization
that has shopping as an ethic principle. Nowadays, to think is to be
old-fashioned. When quantity becomes more important than quality,
there is something wrong!... or is it thinking that is wrong?...
Walter Benjamim named cinema as the greatest art.

Reporter - Is there one art bigger than the other?

ALMANDRADE - It is necessary to reflect about Benjamin's statement in
relation to the place and time it was conceived. (at the zenith of
industrial revolution). There is not one art bigger than the other.
The different things known by a society do not come in pairs, and are
more important within their own specificities.

Reporter - What is the role of the writer in the society?

ALMANDRADE - The role of the writer is to write, to produce knowledge
and to question its nature, to invent other relations with the world.
But in a society dominated by the media culture, by fashion, by what
is easy and disposable, and that despises reflection, the writer, the
poet and the artist are useless characters who spend their time
recovering a kind of poetry and a form of knowledge that have been
lost or disdained. By doing that, writers, poets and artists can help
men save their memories.

English Version: Rosa Campos

(kindness of Souza News)

Trente ans sans Hélio Oiticica, par Almandrade

Hélio Oiticica e Almandrade 1979 Recife

Trente ans sans Hélio Oiticica, par Almandrade
Publié le 15 avril 2010 par bahiaflaneur


L’image, prise à Recife (état du Pernambouc) en 1979, est floue. Mais
le parcours artistique des deux jeunes hommes d’alors ne l’est pas le
moins du monde. Almandrade, à droite sur la photo au côté d’Hélio
Oiticica, ainsi, trente ans après la disparition de son ami - artiste,
inventeur de l’œuvre Tropicália qui donnera son nom au mouvement
Tropicalisme, fondamental pour l’histoire de l’art de la deuxième
partie du XXe siècle au Brésil - revient sur le legs et sur la trace.
Nous traduisons donc en français ce texte de notre ami Almandrade, qui
est aussi, comme artiste, le repère incontournable pour l’art
contemporain à Bahia en 2010.

Trente ans sans Hélio Oiticica - Liberté marginale, par Almandrade

Pour Hélio Oiticica l’art était une option de vie contre toute forme
d’oppression sociale, intellectuelle, esthétique, politique…
Inventeur, théoricien, il a reflété et interrogé la brasilinité et
l’universalité de l’art, toujours inconformiste et indifférent à la
mode. Art concret, néoconcret, Parangolé, Tropicália, avant-garde
brésilienne des agitées années soixante, White Chapel Galery
(Londres), six ou sept années de New York, une vie sous tension à
faire de l’art et à habiter le monde. En rompant avec l’objet/art
comme chose destinée au visuel (relation « contemplative »), cherche
le tato et le mouvement, repose la sensibilité rechaussée par le
technicisme du mouvement concret. Couleur, structures, mots, photos,
danse, corps définissent l’œuvre. La participation physique est le
centre et l’interlocuteur de l’événement/art, le concept de vision
implique tout le corps, et il est difficile de ne pas penser à la
phénoménologie de Maurice Merleau-Ponty.

Rappelons les mots de Mario Pedrosa, en 1965 : « La beauté, le péché,
la révolte, l’amour donnent à l’art de ce garçon un accent nouveau à
l’art brésilien ».

Le travail de Hélio Oiticica a eu une insertion dans le paysage
culturel de l’avant-garde de ce pays, au moment de sa plus grande
productivité. Des Metatesquemas (metaschémas) (dessins en 1958/1959,
quand l’artiste intégrait le groupe Frente) aux ambiances de 1969, un
parcours qui a incorporé l’improvisation et l’expressivité corporelle
pour construire un travail. Il a rompu avec la notion de cadre et a
libéré la couleur de sa relation figurative. La couleur a cessé d’être
un aspect visuel, dans les ambiances et les objets, le spectateur
était invité pour le contact physique. Penetrâveis (maquettes).
Bolides (objets de verre avec des pigments à manipuler), Parangolés
(capes pour se vêtir le corps). Promeneur à Mangueira*. Tropicália.

« Tropicália est la toute première tentative conciente, objective,
d’imposer une image clairement brésilienne » au contexte actuel de
l’avant-garde et des manifestations en général de l’art national. Tout
a commencé avec la formulation de Parangolé, en 1964, avec toute mon
expérience du samba, avec la découverte des morros**, de l’architeture
organique des favelas de Rio de Janeiro (et conséquemment les autres,
comme celles sur pilotis de l’Etat de l’Amazonas) et principalement
des constructions spontanées, anonymes dans les grands centres urbains
- l’art des rues, des choses non achevées, des terrains en friches,
etc. »

Par proposition je voulais, depuis la désignation créée par moi «
tropicália » (je dois informer que la désignation fut créée par moi,
bien avant d’autres qui ont survécu, jusqu’à devenir la mode
actuelle), jusqu’à ses minimes éléments, accentuer ce nouveau langage
avec des éléments brésiliens, dans la tentative extrêmement ambitieuse
de créer notre langage, carctéristique, qui puisse faire face à
l’imagética Pop et Op internacionaix, dans lequel baignait une bonne
partie de nos artistes. » Hélio Oiticica

Une manifestation environnementale en laquelle, à la pénétrer, le
spectateur était bombardé par des images sensorielles, devant réagir
avec tous ses sens, la Tropicália (photo noir et blanc ci-dessous) fut
installée pour la première fois en 1966, au Museu de Arte Moderna de
Rio de Janeiro. Irrévérente, rigoureuse et anarchiste en même temps,
cohérente avec ses propositions, elle possédait une parfaite maîtrise
intellectuelle sur son propre travail. Plus qu’une simple installation
artistique, la Tropicália était une pensée en avance sur l’art
brésilien.

« Comme on le voit, le mythe de la tropicália est beaucoup plus que
perroquets et bananiers, c’est la conscience d’un non conditionnement
aux structures établies, par conséquent hautement révolutionnaire dans
sa totalité. Quelque conformisme, qu’il soit intellectuel, social,
existenciel, échappe à son idée principale ». Hélio Oticica, en 1968.

L’expérience d’Hélio Oiticica part du concret pour la périphérie du
projet constructiviste, adoptant des procédés étranges comme la
marginalité, la critique à la production industrielle, la
participation du corps dans la lectue de l’œuvre. Au début était
Mondrian et Malevitch ; ensuite l’autre côté de la modernité : Marcel
Duchamp. Une trajectoire exemplaire, dans la forme comment il a
transformé son travail, faisant de l’existence la condition de l’art.
La vie d’un artiste n’explique pas l’œuvre, mais ils se communiquent,
principalement dans le cas de Oiticica. Son travail est le résultat de
sa relation tendue avec le quotidien, qui voyait dans la marginalité
une idée de la liberté ; d’ailleurs, l’artiste n’est-il pas un
marginal qui prête son corps au monde, pour le transformer en peinture
? (Merleau-Ponty). Avec la Tropicália, Oiticica a soumis la
brasilinité à une intelligence rigoureuse, sans perdre le référenciel
poétique. Une proposition culturelle qui cherchait quelque chose à la
marge, ou pour le dire mieux, entre «le visible et l‘invisible»,
construire, avec l’expérience sensorielle, une pensée.
--------------------------

* Mangueira est une grande école de samba de Rio de Janeiro, implantée
dans le quartier de Mangueira. ** Morro : en français: colline. Par
définition, les favelas et les périphéries sont sur ces morros qui
entourent la ville de Rio de Janeiro.

- Note : deux livres essentiels reviennent sur cette époque du
Tropicalisme. Pour la partie musicale, l’ouvrage Tropicália: a
história de uma revolução musical, signé Carlos Calado (editora 34),
et pour cerner l’ensemble des enjeux, des débats et des
positionnements intellectuels à l’époque, en particulier ceux de H.
Oiticica et d’Augusto Boal : Tropicália, uma revolução na cultura
brasileira, de Carlos Basualdo (editora Cosac & Naify). Ces deux
livres sublimes proposent une documentation iconographique rare et
incomparable.


30 anos sem Hélio Oiticica - Liberdade marginal

Para Hélio Oiticica a arte era uma opção de vida contra toda e
qualquer forma de opressão: social, intelectual, estética, política…
Inventor, teórico, refletiu e interrogou a brasilidade e a
universalidade da arte, sempre inconformista e indiferente à moda. -
Arte concreta, Neoconcretismo, Parangolé, Tropicália, vanguarda
brasileira dos agitados anos 60, White Chapel Galery (Londres), seis
ou sete anos de Nova Iorque; uma vida de tensão em fazer arte e
habitar o mundo. Ao romper com o objeto/arte como coisa destinada à
visualidade (relação “contemplativa”), busca o tato e o movimento,
repõe a sensibilidade recalcada pelo tecnicismo do movimento concreto.
Cor, estruturas, palavras, fotos, dança, corpo, definem a obra. A
participação física é o centro e o interlocutor do acontecimento/arte,
o conceito de visão envolve todo corpo, difícil não pensar na
fenomenologia de Merleau-Ponty.

Nas palavras de Mário Pedrosa, em 1965: “A beleza, o pecado, a
revolta, o amor dão à arte deste rapaz um acento novo na arte
brasileira”.

O trabalho de Hélio Oiticica teve uma inserção no ambiente cultural de
vanguarda deste país, no momento de sua maior produtividade. Dos
Metaesquemas (desenhos em 58/59, quando o artista era integrante do
grupo Frente) aos ambientes de 69, um percurso que incorporou a
improvisação e a expressividade corporal para construir um trabalho.
Rompeu com a noção de quadro e libertou a cor da relação figurativa. A
cor deixou de ser um aspecto visual, nos ambientes e nos objetos, o
espectador era convidado para o contato físico. Penetráveis
(maquetes). Bólides (objetos de vidro com pigmentos para serem
manipulados), Parangolés (capas para vestir o corpo). Passista da
Mangueira. Tropicália.

“Tropicália é a primeiríssima tentativa consciente, objetiva, de impor
uma imagem obviamente brasileira” ao contexto atual da vanguarda e das
manifestações em geral da arte nacional. Tudo começou com a formulação
do Parangolé, em 1964, com toda a minha experiência com o samba, com a
descoberta dos morros, da arquitetura orgânica das favelas cariocas (e
conseqüentemente outras, como as palafitas do Amazonas) e
principalmente das construções espontâneas, anônimas nos grandes
centros urbanos - a arte das ruas, das coisas inacabadas, dos terrenos
baldios, etc.” H.O.

“Propositadamente quis eu, desde a designação criada por mim de
“tropicália” (devo informar que a designação foi criada por mim, muito
antes de outras que sobrevieram, até se tornar a moda atual), até os
seus mínimos elementos, acentuar esta nova linguagem com elementos
brasileiros, na tentativa ambiciosíssima de criar uma linguagem nossa,
característica, que fizesse frente à imagética Pop e Op
internacionais, na qual mergulhava boa parte de nossos artistas”. H.O.

Uma manifestação ambiental em que, ao penetrá-la, o espectador era
bombardeado por imagens sensoriais, devendo reagir com todos os
sentidos, a Tropicália foi instalada pela primeira vez em 1966, no
Museu de Arte Moderna do Rio de Janeiro. Irreverente, rigoroso e
anarquista ao mesmo tempo, coerente com suas propostas, tinha um
perfeito domínio intelectual sobre seu próprio trabalho. Mais do que
uma instalação de arte, a Tropicália era um pensamento avançado sobre
a arte brasileira.

“Como se vê, o mito da tropicália é muito mais do que araras e
bananeiras: é a consciência de um não condicionamento às estruturas
estabelecidas, portanto altamente revolucionário na sua totalidade.
Qualquer conformismo, seja intelectual, social, existencial, escapa à
sua idéia principal”. H.O. - 1968.

A experiência de Hélio Oiticica parte do concreto para a periferia do
projeto construtivista, adotando procedimentos estranhos como: a
marginalidade, a crítica à produção industrial, a participação do
corpo na leitura da obra. No princípio era Mondrian e Malevitch;
depois, o outro lado da modernidade: Marcel Duchamp. Uma trajetória
exemplar, na forma como transformou o seu trabalho, fazendo da
existência a condição da arte. A vida de um artista não explica a
obra; mas, se comunicam, principalmente no caso de Oiticica. Seu
trabalho é resultado de sua relação tensa com o cotidiano, que via na
marginalidade uma idéia de liberdade; aliás, o artista não é um
marginal que empresta seu corpo ao mundo, para transformá-lo em
pintura?! (Marleau-Ponty). Com a Tropicália, Oiticica submeteu a
brasilidade a uma inteligência rigorosa, sem perder o referencial
poético. Uma proposta cultural que buscava algo à margem, ou melhor,
entre “o visível e o invisível”; construir, com a experiência
sensorial, um pensamento.

Almandrade
(artista plástico, poeta e arquiteto)
(kindness of Souza News)

GREEN SEEN Mail Art Show Poster

11" x 17" poster documentation, design and realization by Christine Tarantino

bed peace

Winter in Sao Paulo

Alexander Jorgensen

Costas Evangelatos art expo 2010

(kindness of Costas)