nedjelja, 4. studenoga 2012.

Renegade - vizualna poezija

Renegade je međunarodni internetski časopis za vizualnu poeziju:

Andrew Topel

selections from concrete 

On Concrete: the concrete photographs are a series of site-specific art works that exist now only as images. i call them poems; some may look at them and ask, ‘where's the poem?’ and i would respond - the poem was the sounds the birds made as i laid down each letter. the poem was the feel of the wind against my skin as i worked outdoors. the poem was the construction workers, the police officer, looking into whether or not i was vandalizing. the poem was the clouds moving overhead, the time slipping away, the shadows moving in as the afternoon became evening.
one of the definitions for concrete from the encarta world english dictionary is - solid and real: able to be seen or touched because it exists in reality, not just as an idea. i was the only one who was able to touch these poems in reality, to feel the heat of the concrete as i composed. the poems & memories that resulted remain solid in my mind.

– andrew topel

live the riddle

David Arnold

selections from situations

all day long yes sir

sky falling too

this falling, tumbling, etc.

i had never been there before

with his head

she dreamed about guns, knives and water

dog, cat, etc.

situations was originally published by trike press in 1983 © David Arnold

Paul Zelevansky


Brian Dettmer

Tower of Babble, 2011, Paperback books, acrylic medium, 28” x 10-1/2” x 10-1/2” - Image Courtesy of the Artist and Kinz + Tillou Fine Art

Core 6, 2007, Altered Book, 9-1/2" x 6-1/4" x 1-5/8" - Image Courtesy of the Artist and Kinz + Tillou Fine Art

Mound 2, 2008, Altered Book, 11" x 8-1/4" x 5" - Image Courtesy of the Artist and Kinz + Tillou Fine Art

Tab, 2005, Altered Set of Vintage Encyclopedias, 51"(h) x 10.25"(w) x 7.5"(d) - Image Courtesy of the Artist

American Peoples, 2011, Hardcover books, acrylic medium, 61" x 39" x 14" (154 x 100 x 34 cm) - Image Courtesy of the Artist and Toomey Tourell Fine Art

The R.O.T.C. Manual, 2010, Altered Book, 9 5/8" x 8 1/2" x 2" - Image Courtesy of the Artist and Saltworks

Science in the 20th Century, 2009, Altered Book, 9-1/2" x 8-3/8" x 2-1/2" - Image Courtesy of the Artist and Packer Schopf

House of Tongues, 2010, Altered Book, 7-3/4" x 14" x 10-1/4" - Image Courtesy of the Artist and MiTO Gallery

Helen White

invisible ink

K.S. Ernst

selections from sequencing


I have Truth



No Words

Broken English

Sequencing was originally published by Xerox Sutra Editions in 1984

Karl Kempton

selections from deep square wave structure
a probe into the left hemisphere

electric power lines linked to cancer
an antibody business
squeezing out the universal glue

oracle 1000 microgauge

volcanoes buried
in the pages of the past

heated capillary

the theoretical analysis
of a novel MPN

electron-electron effects
in the writing and erasing

novel MOS sampled

laser beam writes
characters in liquid
crystal cell

deep square wave structure was originally published by ACCESS in 1987

Peter Ciccariell​o

sage flooded

Poor Yorick in lyrical land

negative capability II

many worlds

g dying center stage

artifact redux II

ampersand in bone landscape

abandoned poem III

the remains of the poet III

the peom filled with terror redux VI final

the ossified conversation II

word being born I

Carol Stetser

selections from Anatomy

selections from Lingua Musica

Marilyn R. Rosenberg


Created in 1994 for Xexoxial Editions as XEROLAGE #25, these visual poems have rain drops in various configurations, shadows & ghosts, shouts & silence, & other issues that visually & verbally shift, appear & disappear. Looking through the passenger side, wipers swishing, time passes through all kinds of conditions on the road. This trip starts between 59th & 60th streets, miles long ago in Philadelphia. Noting a few stops along the way, travels continues today, in Peekskill, between my 59th & 60th year, 1994. Often stressful, sometimes fun, occasionally looking back, a car/life journey with bumps, with commentary, is the ride.

Andrew Topel

selections from blueprints




light shines through

read between the lines


framing the (con)text

constructing the poem - finishing touches



moon set 1

moon set 2





abstract calligraphy


nantes islands

the movement




the stars


Khalid Al-Saai

kingdom of heaven

sunset in the atlantic

forest in british colombia

memory of samarkand

middle of spring

Ebon Heath

typographic ballet

What would it look like for us to shed our stories visually with the elegance of a couture gown and the abstraction of a exploding kinetic body sculpture?

This dream of fusing letters and bodies began over 10 years ago when my commercial graphic design work no longer fulfilled my restless creative voice. This project has been a passport leading me from my hometown New York to its first initial models in southern Spain, studying the Carnival culture of the Caribbean island of Trinidad with Peter Minshall, making jewelry in Dubai, to exhibits in London and Bali. This has always been a long term project that I imagined will take a lifetime, yet sometimes dreams come true sooner then expected. This process of finding solutions is an experimental workshop in learning and exploring possibilities of fusing storytelling, body movement, sculpture and performance. Trying such uncharted unique experiments can be quite risky since there are few points of comparison, yet from extensive research into kinetic sculpture, deconstructed laser fashion, mechanical engineering, and performance art a foundation has started to form.

A residency at the MADE space in Berlin, has made it possible to test these initial ideas with an army of collaborators, from bondage designers to choreographers, mc.s to journalists, all working together to create this visual narrative experience. This performance work is an ongoing work- shop that is more like the latest evolution of an elaborate experiment than having a finite ending performance.

Klaus Peter Dencker


I started the work on "Dero Abecedarius" in the mid of july 2001. The word should have two principles of order: the following of the pages should be the following of the normal ABC and the basic motif should be the statue of freedom. The statue of freedom, why I am collecting since many years this motif as a public-relation-motif in many variations, so that I could work on the theme freedom especially with these partly absurd copies of our consumer-society, to question it poetically and theoretically.
There exist three structures: 1. A-C, D-F, G-I, J-L, M, N-R, S-U, V-Z; 2. A-C, D-F, G-I, J-L, M, N-R, S-T, U-Y, Z; 3. A-C, D-F, G-I, J-L, M, N-P, O-R, S-T, V-Y, Z on four levels: black/poetic, green/poetry, blue/ABC, red/biography of mine.
Within this work are personal experiences of many visits in the USA and the absurd idea, that a letter has its own meaning/importance. The ABC as an own sign-world and as an example for the dealing with seeming/apparent unliberties and so called rules.
I work on the sequences usually in that way, to make first all collages on the pages and then the text-elements in addition with a follow-up of a few corrections in the existing collages.
The work should have 28 pages and was done for an exhibition in the Buch- und Schriftmuseum Museum of the Deutsche Bibliothek Leipzig with the opening at the 8th of november 2001.
At the 11th of september all collages on the pages were done and also some pages with text-elements. Looking back from this day on over my work I noticed some elements which I can`t declare, I saw some disturbing connections. So on pages: F, M, O and Z. That was the reason why I put n after the 11th of september some new elements only in the existing collages of page R and Y, and just when all was finished, I added the last two pages after Z. So that now the work have 32 pages as a consequence of the 11. september and was finished at the 21st of october 2001.

The work has the size of DIN A 4 each page/letraset, handwriting, collages and is now part of the Dencker-Archive Kunstbibliothek Berlin/Stiftung Preußischer Kulturbesitz and was first printed in my monograph: Klaus Peter Dencker, Visuelle Poesie 1965-2005. Ed. Kunstbibliothek Berlin. Weitra/Austria 2006, p. 252-281.

K.S. Ernst

k NOT s

goals gaols


half of this relationship is me

philosophy - thoughts in knots

point of view

castle's turret

affirmative, not positive

Hassan Massoudy

selections from The Calligrapher's Garden

The moon goes west
the shadow of flowers
stretches to the east.

Buson (1716 - 1783)

Simply take it by the root,
don't get distracted by the branches.

Yoka Gengaku (665 - 713)

The tree is known by its fruit,
not by its roots.

Spanish proverb

A storm cannot uproot a forest.

African proverb

Paul Zelevansky

selections from sweepthe exploration of a word in multiple directions

SWEEP. To move in a continuous curve or circuit.


By drawing two views of the train, a "coming" and "going", by describing two events that occur at different times along the circular track, MOTION is described. The advantage of an AERIAL PERSPECTIVE (IN PLAN), that is, a view of the activity from above where the entire event can be seen at one time, would be difficult to experience from the ground.
Similarly, MAPS, CHARTS and DIAGRAMS provide an overview of situations, events and information on a wide scale and from many vantage points.

The train is an American Flyer "Pennsylvania K-5 Locomotive and Tender."

SWEEP. To move in a continuous curve or circuit.


The drawing describes four separate places experiencing four types of weather, at four different times. In fact, we are dealing with the same group of houses throughout the changing seasons, and the same bird is circling over the same rooftops. As in the previous drawing an attempt is made to get around the limitation of one vantage point on the ground. In this situation, so as to replace the time spent standing, or flying for that matter, viewing the houses, for a full year.

FROM ABOVE, in plan, we begin to consider the relative movements of snow, wind, sunshine, rain, seasons, birds and years.

SWEEP. To move in a continuous curve or circuit.


The drawing is worked out on a POLAR EQUATION GRAPH.* The pattern of repeated, concentric circles laid over a network of lines which project, like the spokes of a wheel, from the center, sets the surface in motion. The speed of the train is described through a PROGRESSION of drawings which repeat and overlap, in a chain-like fashion, and change in intensity from dark to light. A similar progression is used (with the aid of a STENCIL) on the moving bird, which is mechanically rooted to the ground and kept to a defined path by the arm that restrains it.
The contrasts in direction and speed between the circling train, the rotating bird, the "projecting" graph and the free floating bird moving across the page, offer a great number of possible relationships.

*A Polar Equation Graph is used to locate and describe the position of a given point or place, in relation to an original reference point. The reference point is called a POLE. The line between the pole and the distant point is called THE POLAR AXIS. The DISTANCE and the DIRECTION from the pole to the point are called the COORDINATES of that position.


© 1966

Carol Stetser

selections from path of the word

from artist trading card walls series

from walls

from vista 2010

To mark the end of the first decade of the 21st century I made a chapbook with inserts called Vista 2010 about the most important influence of that period, the computer. At the same time I read the 1970 book, Concrete Poetry: A World View edited by Mary Ellen Solt which presents the international poetical movement of 40 years ago. Believing that the sonnet no longer provided the structure appropriate for depicting their world, these poets developed visual poems as "constellations in space".
Building on the historical antecedents of shaped poetry, Futurist typograms, calligrams, and picture writing, the poets of the 50s and 60s asserted that the "visual poem is a unique new art form"..."a material object in space which can achieve spiritual influence". Radically employing the mechanical tools of reproduction of the day, the typewriter and tape recorder, the poets presented a new linguistic world based on the word independent of syntax and grammar.
These artists were powerfully influenced by the design and texts of advertising. However, they were often dependent upon typographers to set their poems. This left the presentation of their words on the page open to interpretation by these professionals. Those poets wishing to avoid this hassle and expense used a typewriter or cut letters out from magazines to maintain control of their designs.
These poets would be astounded to see the experimental forms of poetry created today. If they believed every word is a poem, today they would see every letter is a poem. The "visual" aspect of visual poetry is revolutionary. Lacking duration, outside the oral tradition, without grammatical structure, often asemic, the visual poetry of the 21st century is truly without boundaries or restrictions. It too is global in scope but without any need for language translation. It is experienced all at once, in a flash, intuitively before intellectually.
Artists are no longer dependent on intermediaries to publish their poems. We have become our own typographers, printers and publishers - first with presstype and copy machines through the mail, now with computers in cyberspace. Primarily incomprehensible to the uninitiated, vispo is spectacularly beautiful and enriching to its practitioners. I doubt it will ever become mainstream, although it has appeared in the establishment "Poetry" magazine, so who knows. Where is it going? Online, for sure, which means it will attract younger practitioners who will take it off in directions we can't imagine. In 40 years we wouldn't recognize it.
I have a passion for vispo. I think about letters all the time: visions of letters dance in my head. But I think of them on the page - the printed page. I want to cut them out - with scissors, press or glue them - on paper, sew pages together to make a physical object - a handmade object. It is the receipt of a personal, beautiful handmade object that I miss the most in this computer age.
There is a sameness to computer-generated visual poetry that bothers and bores me. Digital pixel art looks too perfect; you've lost the flaws of the human touch in a digital medium. The artist designs the poem but doesn't make it, the software makes it. Using an interface to direct the software is not the same as creating a handmade image. There is no longer the personal stamp of the visual poet on the poem.
We tend to reward innovation over expertise, especially in America. But I think we should learn from the Japanese and Native Americans who designate artists who have demonstrated exceptional skill over a long period of time as "national treasures". We need art and music and poetry even if our governments fail to recognize their value. As visual poets we should pursue excellence whether we choose collage, woodcuts, letterpress, calligraphy, or photoshop as our medium. It's a new millenium and a new century and visual poetry can help us understand the world we live in.
Pierre Garnier's words in Solt's book still ring true 40 years later:

If the poem has changed
It is that I have changed
It is that we all have changed
It is that the universe has changed.

Carol Stetser
April 2011

Andrew Topel


painting is war

Klaus Peter Dencker

aesthetic of the existence

latin american unit

feta (fate)

Shinichi Maruyama

selections from Kusho

kusho means writing in the sky
The Kusho series consists of twenty-three large-scale color photographs that represent the interplay of black ink and water, both in mid-air and on white surfaces. The phenomenon that I capture – two liquids colliding the millisecond before they merge into grey – is the result of various actions and devices. The resultant images literally deconstruct the material elements of ink drawing and calligraphy, allowing us to see in extraordinary detail chemical and physical processes invisible to the naked eye.

Shinichi Maruyama

Ebon Heath

selections from stereo.type - typographic mobiles

This visual journey began as a love affair with letters and a question: how do we fuse our typographic language with the physicality of our body language? I want our type to jump, scream, whisper and dance, versus lay flat, dead and dormant, to be used and discarded with no concern for its intricate beauty of form, function, and meaning. We use type daily yet rarely appreciate the form of a letter. By liberating type from the confines of the page we not only free the words to express the content in a new dimension of scale, volume, and movement, but also force the reader to become a viewer. This process reveals the form of our letters while creating a new relationship to our language in our ability to feel versus only read the content.
Ebon Heath

Andrew Topel

selections from a music of the spheres

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