{"id":13682,"title":"International Symposium: Engaged Visuality. The Italian and Belgian Poesia Visiva Phenomenon in the 60s and 70s. ","date_begin":"2022-07-07T00:00:00.000+02:00","date_end":"2022-07-08T00:00:00.000+02:00","location":{"readable":"","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/689/large/De_Vree__Hysteria_Makes_History.jpg?1652300297","poster_credits":"Paul De Vree, Hysteria Makes History, 1973 Collection M HKA, Antwerp / Collection Flemish Community © M HKA"},"translations":[{"locale":"en","name":"International Symposium: Engaged Visuality. The Italian and Belgian Poesia Visiva Phenomenon in the 60s and 70s. ","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eAn International Symposium organized by Maria Elena Minuto (ULi\u0026egrave;ge; KU Leuven) and Jan De Vree (M HKA, Antwerp) fifty-one years after \u003cem\u003eLotta Poetica \u003c/em\u003efoundation.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJuly 7, 2022, 9:00 am \u0026ndash; 6:00 pm (Academia Belgica, Rome. Sala Conferenze)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJuly 8, 2022, 10:00 am \u0026ndash; 6:00 pm (Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo;, Rome. Aula Odeion, Museo dell\u0026rsquo;Arte Classica)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eConference\u0026nbsp;language: English, French, and Italian. Open to the public.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/pdf/Engaged+Visuality+Concept.pdf\"\u003e\u003cb\u003e\u003cu\u003eEngaged Visuality Concept\u003c/u\u003e\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/pdf/Engaged+Visuality+Programme.pdf\"\u003e\u003cb\u003e\u003cu\u003eEngaged Visuality Programme\u003c/u\u003e\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003ePRESENTATION\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026ldquo;To write means to construct language, not to explain it.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003eMax Bense, \u003cem\u003eEntwurf einer Rheinlandschaft\u003c/em\u003e, 1962\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;Mi preme sottolineare come uno dei \u003cem\u003etrait-d\u0026rsquo;union\u003c/em\u003e tra queste composizioni concrete, e quelle di molta altra poesia visiva, stia nell\u0026rsquo;urgenza avvertita da tutti questi ricercatori di accostarsi ad un tipo di comunicazione attraverso la parola che sia quanto possibile diretta e visualmente immediata; che si accosti all\u0026rsquo;efficacia drammaticamente coercitiva dello slogan pubblicitario.\u0026rdquo; Gillo Dorfles, \u0026ldquo;Poesia concreta (poesia visuale, poesia trovata, poesia tecnologica, poesia sperimentale),\u0026rdquo; \u003cem\u003eModulo\u003c/em\u003e no. 1, 1966\u003c/p\u003e\r\n\r\n\u003cp\u003eSince the 1950s, from Europe to Brazil, from North America to Japan, a dense network of poets and artists has given birth to an extensive body of new visual forms in poetry that have revolutionized accepted notions of linguistic production by attaching increasing value to the \u0026ldquo;verbivocovisual\u0026rdquo; (Joyce, 1939) nature of words. Traced back to the legacy of Futurist free-word compositions, Dadaist mixed-media poetry, Lettrist and Surrealist photo-collages, the broader and eclectic field of poetic concretism and visuality spans different traditions and locations and designates an international, intercultural, and multilingual movement that is both artistic and literary.\u003c/p\u003e\r\n\r\n\u003cp\u003eInfluenced by Modernist art and structural linguistics, concrete poets experimented with the material presence of words, whereas visual poets trigger a more political and social-media approach in verbo-visual experimentations by using a large variety of different techniques (collages, cut-ups, fold-ins, ready-mades). The Vietnam War and the May 1968 revolt marked a turning point in the change of aims and tendencies between Concrete and Visual Poetry by extending poetic concretism into \u003cem\u003eengaged visuality\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn Italy, this critical and paradigm shift in the concept of poetry took the name of \u003cem\u003epoesia tecnologica\u003c/em\u003e (Gruppo 63, 1963-69) and \u003cem\u003epoesia visiva\u003c/em\u003e, which, since their inception in the early 1960 (Gruppo 70, 1963-68) and their distinctive manifestations during the 1970s (Gruppo Internazionale di Poesia Visiva, also known as Gruppo dei Nove, 1972-79), enacted \u0026ldquo;a real semiotic guerrilla war\u0026rdquo; (Ori, 1979).\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eClosely related to counterculture and social activism, \u003cem\u003epoeti visivi\u003c/em\u003e created intermedia dialogues between poetry, technology, and the products of consumer society by introducing political tensions in the poetic body through the collage of words and images taken from mass culture (advertisements, magazines, photographs, graphic novels, and so on).\u003c/p\u003e\r\n\r\n\u003cp\u003eWe are faced with an extremely rich and hybrid scenario, in which different approaches, research, and tendencies greatly intersect, ranging from the technological collage-poems of Lamberto Pignotti, Lucia Marcucci, Eugenio Miccini, and Michele Perfetti, to the gender and media-critical investigations of Ketty La Rocca and Patrizia Vicinelli, from the Tape Mark poems of Nanni Balestrini and the performative actions of Alain Arias-Misson, Julien Blaine, Jean-Fran\u0026ccedil;ois Bory, and Giuseppe Chiari, to the photographic text-compositions of Paul De Vree and Sarenco, or to the works of a series of artists (e.g. Gianni Bertini, Roberto Malquori, Luciano Ori, Franco Verdi) who have located in the relationship between verbal and figurative arts one of the expressive means with which to discuss the state of the poetry according to the logic of mediatized culture.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe terms adopted by art history and literary criticism to illustrate the daring and diversified expressions of \u003cem\u003epoesia visiva\u003c/em\u003e in the 1960s and 1970s are numerous, and every attempt to reconstruct its lineages and development is frustrated by its shifting contours and media. As Herman Damen pointed out in \u003cem\u003epoesia visiva\u003c/em\u003e (Studio Brescia, 1972) \u0026ldquo;a living \u003cem\u003epoesia visiva\u003c/em\u003e uses all available information and participation media,\u0026rdquo; and could present itself as \u0026ldquo;phono-, ideo-, typo-, icono, photographical; mono-, stereo-, quadro-, ambiophonic; phonographic, bioscopic, kinetic; kinesic, eatable, odorous, tangible.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1965, Paul De Vree described this hybrid dimension as a form of \u0026ldquo;integratie po\u0026euml;zie\u0026rdquo; (\u003cem\u003eDe Tafelronde \u003c/em\u003eX/I, 1965) by advocating the groundbreaking principle whereby \u0026ldquo;de kunsten zijn met elkaar in fusie getreden\u0026rdquo; (\u0026ldquo;the arts have entered into a fusion\u0026rdquo;), while Dick Higgins (\u003cem\u003eD\u0026eacute;-collage\u003c/em\u003e no. 6, 1967) and Adriano Spatola (\u003cem\u003eGeiger\u003c/em\u003e no. 5, 1972) defined it as \u0026ldquo;intermedia.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eCombining insights from the fields of art history, literary criticism, and media studies, the conference aims at investigating the impact of new media, political imagery, and technologies on the \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon by focusing on a bilateral case study rarely analyzed from a comparative and transcultural perspective: the foundation of the poetry magazine\u0026nbsp;\u003cem\u003eLotta Poetica\u0026nbsp;\u003c/em\u003e(first series: 1971-75) by Sarenco and Paul De Vree, i.e., the aim of Italian and Belgian international visual poetics, co-authored initiatives, and\u0026nbsp;cross-disciplinary inquiries. The voice of a militant critic and in opposition to the capitalist and institutional artworld system, \u003cem\u003eLotta Poetica\u003c/em\u003e drew a cutting-edge roadmap within the wider and multifaceted context of neo-avant-garde experimental poetry by creating a unique model of interdisciplinary cooperation where verbo-visual research, media discourses, and social criticism strongly converged.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn \u003cem\u003eProfilo storico della poesia visiva\u003c/em\u003e (1972), Sarenco and De Vree called for an aesthetic and cultural integration of knowledge in poetry and grounded it firmly in the soil of ideological commitment: \u0026ldquo;la po\u0026eacute;sie visive entre en lice comme un moyen de transformation actif de la soci\u0026eacute;t\u0026eacute;, soit au niveau du langage et des moyens para-linguistiques, soit au niveau de l\u0026rsquo;appui \u0026agrave; la lutte de classe.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eWithout losing sight of the vast cultural heritage and references of the historic avant-gardes as well as of Beat Poetry, Fluxus, and Conceptual Art verbo-visual production, the symposium examines a key moment in the international history of Visual Poetry and focuses on some pivotal questions regarding the specificity of the Italian and Belgian critical axis: What particular sources were re-examined and re-enacted through the critical reception of the historical avant-gardes, notably in the context of Belgian multilingualism and in the highly politicized scene of the 1960s and 1970s? To what extent and in which ways did the advent of information aesthetics and technologies work in post-war visual poetics, and what, on the other hand, changed in the visual writing forms of the Italian and Belgian poets? How did \u003cem\u003eLotta Poetica\u003c/em\u003e leave a mark on the development of the Visual Poetry movement, and what political, cultural and social factors made it the core of interartistic exchanges between Italy and Belgium in the second half of twentieth century? Why and how \u003cem\u003eLotta Poetica\u003c/em\u003e differs from literary magazines such as \u003cem\u003eRot\u003c/em\u003e (1960-97), \u003cem\u003eLabris\u003c/em\u003e (1962-73), \u003cem\u003eIntegration\u003c/em\u003e (1965-72), \u003cem\u003eT\u0026egrave;chne \u003c/em\u003e(1969-76), and \u003cem\u003eL\u0026rsquo;humidit\u0026eacute;\u003c/em\u003e (1970-78), and in which ways did it contribute to foster verbivocovisual experimentations and artists\u0026rsquo; publications with regard to intermediality and interdisciplinarity? How does the Italian and Belgian \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon perform \u0026ldquo;genetic interaction in the fields of arts\u0026rdquo; (Miccini and Perfetti, 1972), and how does it still reverberate today through engaged visualities, performative, and dissent poetry?\u003c/p\u003e\r\n\r\n\u003cp\u003eWe welcome proposals from scholars, research fellows, artists, and poets of any discipline in order to prompt a cross-disciplinary, dynamic, and international debate on the issues, and to examine an outstanding and collaborative editorial project that reflects the scope and the importance of Italian and Belgian cultural transfers in the 1960s and 1970s, deepening the historical and critical understanding of its legacy in the history of neo-avant-garde visual poetics.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKey Words\u003c/strong\u003e: Neo-Avant-Garde; Visual Poetry; \u003cem\u003ePoesia visiva\u003c/em\u003e; \u003cem\u003eLotta Poetica\u003c/em\u003e; Protest Poetry; Interdisciplinarity; Intermediality; Transculturalism; Italy; Belgium.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExhibition and \u003c/strong\u003e\u003cstrong\u003eBeinecke Library\u0026rsquo;s holdings projections on \u003cem\u003epoesia visiva\u003c/em\u003e\u003c/strong\u003e: Based on documentary archival materials from the Paul De Vree Archive, Beinecke\u0026nbsp;Rare Book \u0026amp; Manuscript\u0026nbsp;Library, and M HKA Collection, the showcase exhibition and holdings projections in the library of the Academia Belgica of Rome will provide a concise and refined overview of \u003cem\u003eLotta Poetica\u003c/em\u003e\u0026rsquo;s transnational network and counterculture activities during the early 1970s. In addition to the question of the impact of mass image circulation, political imagery, and technologies on \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon, the participating scholars, artists, and poets will deal with the representation and reception of neo-avant-garde visual poetics in international cultural, theoretical and socio-critical production since the 1960s to the present.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKeynote Speakers\u003c/strong\u003e: \u003cstrong\u003eDirk De Geest\u003c/strong\u003e (KU Leuven), \u003cstrong\u003eNancy Lynn Perloff\u003c/strong\u003e (Getty Research Institute), \u003cstrong\u003eKevin Repp\u003c/strong\u003e (Beinecke Library, Yale), \u003cstrong\u003eAnnalisa Rimmaudo\u003c/strong\u003e (Mus\u0026eacute;e national d\u0026rsquo;art moderne -Centre Pompidou), \u003cstrong\u003eCarla Subrizi\u003c/strong\u003e (Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma), \u003cstrong\u003eClaudio Zambianchi\u003c/strong\u003e\u0026nbsp;(Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma), \u003cstrong\u003eGiorgio Zanchetti\u003c/strong\u003e (Universit\u0026agrave; degli Studi di Milano).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eGuests Artists\u003c/strong\u003e: \u003cstrong\u003eAlain Arias-Misson\u003c/strong\u003e, \u003cstrong\u003eG. J. de Rook\u003c/strong\u003e, \u003cstrong\u003eAnna Oberto\u003c/strong\u003e, \u003cstrong\u003eLamberto Pignotti\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eChairs\u003c/strong\u003e: \u003cstrong\u003eFlorian Mussgnug \u003c/strong\u003e(UCL London), \u003cstrong\u003eEmanuela Patti (\u003c/strong\u003eUniversity of Edinburgh), \u003cstrong\u003eBartolomeo Pietromarchi \u003c/strong\u003e(MAXXI, Roma), \u003cstrong\u003eFranca Sinopoli \u003c/strong\u003e(Università degli Studi \u0026lsquo;La Sapienza\u0026rsquo; di Roma), \u003cstrong\u003eFrancesca Terrenato (\u003c/strong\u003eUniversità degli Studi \u0026lsquo;La Sapienza\u0026rsquo; di Roma).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eScientific Partnerships\u003c/strong\u003e: Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma \u0026ndash; Department of History, Anthropology, Religions, Art History, Media, and Performing Arts; Beinecke\u0026nbsp;Rare Book \u0026amp; Manuscript\u0026nbsp;Library (Yale University); Universit\u0026eacute; de Li\u0026egrave;ge, Belgium \u0026ndash; Department of Modern Languages and Department of Historical Sciences; KU Leuven, Belgium \u0026ndash; Department of French, Italian and Spanish Literature; Royal Holloway University of London \u0026ndash; Department of Languages, Literatures and Culture; Universit\u0026agrave; degli Studi di Milano \u0026ndash; Department of Cultural Heritage\u0026nbsp;and Environment.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIn collaboration with\u003c/strong\u003e: Academia Belgica, Rome; M HKA Museum and Royal Academy of Fine Arts, Antwerp; the Society for Italian Studies (SIS); the Centre Interdisciplinaire\u0026nbsp;de Po\u0026eacute;tique Appliqu\u0026eacute;e (CIPA, ULi\u0026egrave;ge); the Service d\u0026#39;histoire de l\u0026#39;art de l\u0026#39;\u0026eacute;poque contemporaine (SHA\u0026Eacute;C, ULi\u0026egrave;ge); the UR Traverses (ULi\u0026egrave;ge); the Handling (UCLouvain); the Collection for Research on Artists\u0026rsquo; Publications\u0026nbsp;- \u003cem\u003eC\u003c/em\u003eR\u003cem\u003eA\u003c/em\u003eP, Ekeren.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eScientific Committee\u003c/strong\u003e: Jan BAETENS (KU Leuven), Julie BAWIN (Universit\u0026eacute; de Li\u0026egrave;ge), Laurence BROGNIEZ (Universit\u0026eacute; Libre de Bruxelles), Michel DELVILLE (Universit\u0026eacute; de Li\u0026egrave;ge), Jan DE VREE (M HKA Museum, Antwerp), Elio GRAZIOLI (Universit\u0026agrave; degli Studi di Bergamo), Maria Elena MINUTO (Universit\u0026eacute; de Li\u0026egrave;ge; KU Leuven), Johan PAS (Royal Academy of Fine Arts, Antwerp), Giuliana PIERI (Royal Holloway University of London), Kevin REPP (Beinecke Library, Yale), Bart VAN DEN BOSSCHE (KU Leuven).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e\u003cem\u003ePoesia visiva\u003c/em\u003e\u0026nbsp;is one of the numerous and diverse tendencies displayed by Italian experimental poetry in the 1960s and 1970s. The extension of poetry beyond the conventional limits of its genre took place, among others, in\u0026nbsp;\u003cem\u003eAna Etcetera\u003c/em\u003e\u0026rsquo;s integration of verbal-graphic signs and\u0026nbsp;\u003cem\u003eContinuum\u003c/em\u003e\u0026rsquo;s experiments in the liminality of word-image, as well as in \u003cem\u003eScrittura simbiotica\u003c/em\u003e and \u003cem\u003eNuova Scrittura\u003c/em\u003e\u0026rsquo;s logo-iconic interactions. In 1965, poet and artist Martino Oberto employed the adjective\u0026nbsp;\u003cem\u003evisuale\u003c/em\u003e\u0026nbsp;instead of\u0026nbsp;\u003cem\u003evisiva\u003c/em\u003e, to underline not only the visual, but also the mental process behind the transformation of traditional poetry into a complex artistic form.\u003c/p\u003e\r\n"},{"locale":"nl","name":"International Symposium: Engaged Visuality. The Italian and Belgian Poesia Visiva Phenomenon in the 60s and 70s. ","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eAn International Symposium organized by Maria Elena Minuto (ULi\u0026egrave;ge; KU Leuven) and Jan De Vree (M HKA, Antwerp) fifty-one years after \u003cem\u003eLotta Poetica \u003c/em\u003efoundation.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJuly 7, 2022, 9:00 am \u0026ndash; 6:00 pm (Academia Belgica, Rome. Sala Conferenze)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJuly 8, 2022, 10:00 am \u0026ndash; 6:00 pm (Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo;, Rome. Aula Odeion, Museo dell\u0026rsquo;Arte Classica)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eConference\u0026nbsp;language: English, French, and Italian. Open to the public.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/pdf/Engaged+Visuality+Concept.pdf\"\u003e\u003cb\u003e\u003cu\u003eEngaged Visuality Concept\u003c/u\u003e\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/pdf/Engaged+Visuality+Programme.pdf\"\u003e\u003cb\u003e\u003cu\u003eEngaged Visuality Programme\u003c/u\u003e\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003ePRESENTATION\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026ldquo;To write means to construct language, not to explain it.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003eMax Bense, \u003cem\u003eEntwurf einer Rheinlandschaft\u003c/em\u003e, 1962\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;Mi preme sottolineare come uno dei \u003cem\u003etrait-d\u0026rsquo;union\u003c/em\u003e tra queste composizioni concrete, e quelle di molta altra poesia visiva, stia nell\u0026rsquo;urgenza avvertita da tutti questi ricercatori di accostarsi ad un tipo di comunicazione attraverso la parola che sia quanto possibile diretta e visualmente immediata; che si accosti all\u0026rsquo;efficacia drammaticamente coercitiva dello slogan pubblicitario.\u0026rdquo; Gillo Dorfles, \u0026ldquo;Poesia concreta (poesia visuale, poesia trovata, poesia tecnologica, poesia sperimentale),\u0026rdquo; \u003cem\u003eModulo\u003c/em\u003e no. 1, 1966\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSince the 1950s, from Europe to Brazil, from North America to Japan, a dense network of poets and artists has given birth to an extensive body of new visual forms in poetry that have revolutionized accepted notions of linguistic production by attaching increasing value to the \u0026ldquo;verbivocovisual\u0026rdquo; (Joyce, 1939) nature of words. Traced back to the legacy of Futurist free-word compositions, Dadaist mixed-media poetry, Lettrist and Surrealist photo-collages, the broader and eclectic field of poetic concretism and visuality spans different traditions and locations and designates an international, intercultural, and multilingual movement that is both artistic and literary.\u003c/p\u003e\r\n\r\n\u003cp\u003eInfluenced by Modernist art and structural linguistics, concrete poets experimented with the material presence of words, whereas visual poets trigger a more political and social-media approach in verbo-visual experimentations by using a large variety of different techniques (collages, cut-ups, fold-ins, ready-mades). The Vietnam War and the May 1968 revolt marked a turning point in the change of aims and tendencies between Concrete and Visual Poetry by extending poetic concretism into \u003cem\u003eengaged visuality\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn Italy, this critical and paradigm shift in the concept of poetry took the name of \u003cem\u003epoesia tecnologica\u003c/em\u003e (Gruppo 63, 1963-69) and \u003cem\u003epoesia visiva\u003c/em\u003e, which, since their inception in the early 1960 (Gruppo 70, 1963-68) and their distinctive manifestations during the 1970s (Gruppo Internazionale di Poesia Visiva, also known as Gruppo dei Nove, 1972-79), enacted \u0026ldquo;a real semiotic guerrilla war\u0026rdquo; (Ori, 1979).\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eClosely related to counterculture and social activism, \u003cem\u003epoeti visivi\u003c/em\u003e created intermedia dialogues between poetry, technology, and the products of consumer society by introducing political tensions in the poetic body through the collage of words and images taken from mass culture (advertisements, magazines, photographs, graphic novels, and so on).\u003c/p\u003e\r\n\r\n\u003cp\u003eWe are faced with an extremely rich and hybrid scenario, in which different approaches, research, and tendencies greatly intersect, ranging from the technological collage-poems of Lamberto Pignotti, Lucia Marcucci, Eugenio Miccini, and Michele Perfetti, to the gender and media-critical investigations of Ketty La Rocca and Patrizia Vicinelli, from the Tape Mark poems of Nanni Balestrini and the performative actions of Alain Arias-Misson, Julien Blaine, Jean-Fran\u0026ccedil;ois Bory, and Giuseppe Chiari, to the photographic text-compositions of Paul De Vree and Sarenco, or to the works of a series of artists (e.g. Gianni Bertini, Roberto Malquori, Luciano Ori, Franco Verdi) who have located in the relationship between verbal and figurative arts one of the expressive means with which to discuss the state of the poetry according to the logic of mediatized culture.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe terms adopted by art history and literary criticism to illustrate the daring and diversified expressions of \u003cem\u003epoesia visiva\u003c/em\u003e in the 1960s and 1970s are numerous, and every attempt to reconstruct its lineages and development is frustrated by its shifting contours and media. As Herman Damen pointed out in \u003cem\u003epoesia visiva\u003c/em\u003e (Studio Brescia, 1972) \u0026ldquo;a living \u003cem\u003epoesia visiva\u003c/em\u003e uses all available information and participation media,\u0026rdquo; and could present itself as \u0026ldquo;phono-, ideo-, typo-, icono, photographical; mono-, stereo-, quadro-, ambiophonic; phonographic, bioscopic, kinetic; kinesic, eatable, odorous, tangible.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1965, Paul De Vree described this hybrid dimension as a form of \u0026ldquo;integratie po\u0026euml;zie\u0026rdquo; (\u003cem\u003eDe Tafelronde \u003c/em\u003eX/I, 1965) by advocating the groundbreaking principle whereby \u0026ldquo;de kunsten zijn met elkaar in fusie getreden\u0026rdquo; (\u0026ldquo;the arts have entered into a fusion\u0026rdquo;), while Dick Higgins (\u003cem\u003eD\u0026eacute;-collage\u003c/em\u003e no. 6, 1967) and Adriano Spatola (\u003cem\u003eGeiger\u003c/em\u003e no. 5, 1972) defined it as \u0026ldquo;intermedia.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eCombining insights from the fields of art history, literary criticism, and media studies, the conference aims at investigating the impact of new media, political imagery, and technologies on the \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon by focusing on a bilateral case study rarely analyzed from a comparative and transcultural perspective: the foundation of the poetry magazine\u0026nbsp;\u003cem\u003eLotta Poetica\u0026nbsp;\u003c/em\u003e(first series: 1971-75) by Sarenco and Paul De Vree, i.e., the aim of Italian and Belgian international visual poetics, co-authored initiatives, and\u0026nbsp;cross-disciplinary inquiries. The voice of a militant critic and in opposition to the capitalist and institutional artworld system, \u003cem\u003eLotta Poetica\u003c/em\u003e drew a cutting-edge roadmap within the wider and multifaceted context of neo-avant-garde experimental poetry by creating a unique model of interdisciplinary cooperation where verbo-visual research, media discourses, and social criticism strongly converged.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn \u003cem\u003eProfilo storico della poesia visiva\u003c/em\u003e (1972), Sarenco and De Vree called for an aesthetic and cultural integration of knowledge in poetry and grounded it firmly in the soil of ideological commitment: \u0026ldquo;la po\u0026eacute;sie visive entre en lice comme un moyen de transformation actif de la soci\u0026eacute;t\u0026eacute;, soit au niveau du langage et des moyens para-linguistiques, soit au niveau de l\u0026rsquo;appui \u0026agrave; la lutte de classe.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eWithout losing sight of the vast cultural heritage and references of the historic avant-gardes as well as of Beat Poetry, Fluxus, and Conceptual Art verbo-visual production, the symposium examines a key moment in the international history of Visual Poetry and focuses on some pivotal questions regarding the specificity of the Italian and Belgian critical axis: What particular sources were re-examined and re-enacted through the critical reception of the historical avant-gardes, notably in the context of Belgian multilingualism and in the highly politicized scene of the 1960s and 1970s? To what extent and in which ways did the advent of information aesthetics and technologies work in post-war visual poetics, and what, on the other hand, changed in the visual writing forms of the Italian and Belgian poets? How did \u003cem\u003eLotta Poetica\u003c/em\u003e leave a mark on the development of the Visual Poetry movement, and what political, cultural and social factors made it the core of interartistic exchanges between Italy and Belgium in the second half of twentieth century? Why and how \u003cem\u003eLotta Poetica\u003c/em\u003e differs from literary magazines such as \u003cem\u003eRot\u003c/em\u003e (1960-97), \u003cem\u003eLabris\u003c/em\u003e (1962-73), \u003cem\u003eIntegration\u003c/em\u003e (1965-72), \u003cem\u003eT\u0026egrave;chne \u003c/em\u003e(1969-76), and \u003cem\u003eL\u0026rsquo;humidit\u0026eacute;\u003c/em\u003e (1970-78), and in which ways did it contribute to foster verbivocovisual experimentations and artists\u0026rsquo; publications with regard to intermediality and interdisciplinarity? How does the Italian and Belgian \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon perform \u0026ldquo;genetic interaction in the fields of arts\u0026rdquo; (Miccini and Perfetti, 1972), and how does it still reverberate today through engaged visualities, performative, and dissent poetry?\u003c/p\u003e\r\n\r\n\u003cp\u003eWe welcome proposals from scholars, research fellows, artists, and poets of any discipline in order to prompt a cross-disciplinary, dynamic, and international debate on the issues, and to examine an outstanding and collaborative editorial project that reflects the scope and the importance of Italian and Belgian cultural transfers in the 1960s and 1970s, deepening the historical and critical understanding of its legacy in the history of neo-avant-garde visual poetics.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKey Words\u003c/strong\u003e: Neo-Avant-Garde; Visual Poetry; \u003cem\u003ePoesia visiva\u003c/em\u003e; \u003cem\u003eLotta Poetica\u003c/em\u003e; Protest Poetry; Interdisciplinarity; Intermediality; Transculturalism; Italy; Belgium.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExhibition and \u003c/strong\u003e\u003cstrong\u003eBeinecke Library\u0026rsquo;s holdings projections on \u003cem\u003epoesia visiva\u003c/em\u003e\u003c/strong\u003e: Based on documentary archival materials from the Paul De Vree Archive, Beinecke\u0026nbsp;Rare Book \u0026amp; Manuscript\u0026nbsp;Library, and M HKA Collection, the showcase exhibition and holdings projections in the library of the Academia Belgica of Rome will provide a concise and refined overview of \u003cem\u003eLotta Poetica\u003c/em\u003e\u0026rsquo;s transnational network and counterculture activities during the early 1970s. In addition to the question of the impact of mass image circulation, political imagery, and technologies on \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon, the participating scholars, artists, and poets will deal with the representation and reception of neo-avant-garde visual poetics in international cultural, theoretical and socio-critical production since the 1960s to the present.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKeynote Speakers\u003c/strong\u003e: \u003cstrong\u003eDirk De Geest\u003c/strong\u003e (KU Leuven), \u003cstrong\u003eNancy Lynn Perloff\u003c/strong\u003e (Getty Research Institute), \u003cstrong\u003eKevin Repp\u003c/strong\u003e (Beinecke Library, Yale), \u003cstrong\u003eAnnalisa Rimmaudo\u003c/strong\u003e (Mus\u0026eacute;e national d\u0026rsquo;art moderne -Centre Pompidou), \u003cstrong\u003eCarla Subrizi\u003c/strong\u003e (Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma), \u003cstrong\u003eClaudio Zambianchi\u003c/strong\u003e\u0026nbsp;(Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma), \u003cstrong\u003eGiorgio Zanchetti\u003c/strong\u003e (Universit\u0026agrave; degli Studi di Milano).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eGuests Artists\u003c/strong\u003e: \u003cstrong\u003eAlain Arias-Misson\u003c/strong\u003e, \u003cstrong\u003eG. J. de Rook\u003c/strong\u003e, \u003cstrong\u003eAnna Oberto\u003c/strong\u003e, \u003cstrong\u003eLamberto Pignotti\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eChairs\u003c/strong\u003e: \u003cstrong\u003eFlorian Mussgnug \u003c/strong\u003e(UCL London), \u003cstrong\u003eEmanuela Patti (\u003c/strong\u003eUniversity of Edinburgh), \u003cstrong\u003eBartolomeo Pietromarchi \u003c/strong\u003e(MAXXI, Roma), \u003cstrong\u003eFranca Sinopoli \u003c/strong\u003e(Università degli Studi \u0026lsquo;La Sapienza\u0026rsquo; di Roma), \u003cstrong\u003eFrancesca Terrenato (\u003c/strong\u003eUniversità degli Studi \u0026lsquo;La Sapienza\u0026rsquo; di Roma).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eScientific Partnerships\u003c/strong\u003e: Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma \u0026ndash; Department of History, Anthropology, Religions, Art History, Media, and Performing Arts; Beinecke\u0026nbsp;Rare Book \u0026amp; Manuscript\u0026nbsp;Library (Yale University); Universit\u0026eacute; de Li\u0026egrave;ge, Belgium \u0026ndash; Department of Modern Languages and Department of Historical Sciences; KU Leuven, Belgium \u0026ndash; Department of French, Italian and Spanish Literature; Royal Holloway University of London \u0026ndash; Department of Languages, Literatures and Culture; Universit\u0026agrave; degli Studi di Milano \u0026ndash; Department of Cultural Heritage\u0026nbsp;and Environment.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIn collaboration with\u003c/strong\u003e: Academia Belgica, Rome; M HKA Museum and Royal Academy of Fine Arts, Antwerp; the Society for Italian Studies (SIS); the Centre Interdisciplinaire\u0026nbsp;de Po\u0026eacute;tique Appliqu\u0026eacute;e (CIPA, ULi\u0026egrave;ge); the Service d\u0026#39;histoire de l\u0026#39;art de l\u0026#39;\u0026eacute;poque contemporaine (SHA\u0026Eacute;C, ULi\u0026egrave;ge); the UR Traverses (ULi\u0026egrave;ge); the Handling (UCLouvain); the Collection for Research on Artists\u0026rsquo; Publications\u0026nbsp;- \u003cem\u003eC\u003c/em\u003eR\u003cem\u003eA\u003c/em\u003eP, Ekeren.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eScientific Committee\u003c/strong\u003e: Jan BAETENS (KU Leuven), Julie BAWIN (Universit\u0026eacute; de Li\u0026egrave;ge), Laurence BROGNIEZ (Universit\u0026eacute; Libre de Bruxelles), Michel DELVILLE (Universit\u0026eacute; de Li\u0026egrave;ge), Jan DE VREE (M HKA Museum, Antwerp), Elio GRAZIOLI (Universit\u0026agrave; degli Studi di Bergamo), Maria Elena MINUTO (Universit\u0026eacute; de Li\u0026egrave;ge; KU Leuven), Johan PAS (Royal Academy of Fine Arts, Antwerp), Giuliana PIERI (Royal Holloway University of London), Kevin REPP (Beinecke Library, Yale), Bart VAN DEN BOSSCHE (KU Leuven).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e\u003cem\u003ePoesia visiva\u003c/em\u003e\u0026nbsp;is one of the numerous and diverse tendencies displayed by Italian experimental poetry in the 1960s and 1970s. The extension of poetry beyond the conventional limits of its genre took place, among others, in\u0026nbsp;\u003cem\u003eAna Etcetera\u003c/em\u003e\u0026rsquo;s integration of verbal-graphic signs and\u0026nbsp;\u003cem\u003eContinuum\u003c/em\u003e\u0026rsquo;s experiments in the liminality of word-image, as well as in \u003cem\u003eScrittura simbiotica\u003c/em\u003e and \u003cem\u003eNuova Scrittura\u003c/em\u003e\u0026rsquo;s logo-iconic interactions. In 1965, poet and artist Martino Oberto employed the adjective\u0026nbsp;\u003cem\u003evisuale\u003c/em\u003e\u0026nbsp;instead of\u0026nbsp;\u003cem\u003evisiva\u003c/em\u003e, to underline not only the visual, but also the mental process behind the transformation of traditional poetry into a complex artistic form.\u003c/p\u003e\r\n"},{"locale":"fr","name":"International Symposium: Engaged Visuality. The Italian and Belgian Poesia Visiva Phenomenon in the 60s and 70s. ","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eAn International Symposium organized by Maria Elena Minuto (ULi\u0026egrave;ge; KU Leuven) and Jan De Vree (M HKA, Antwerp) fifty-one years after \u003cem\u003eLotta Poetica \u003c/em\u003efoundation.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJuly 7, 2022, 9:00 am \u0026ndash; 6:00 pm (Academia Belgica, Rome. Sala Conferenze)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJuly 8, 2022, 10:00 am \u0026ndash; 6:00 pm (Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo;, Rome. Aula Odeion, Museo dell\u0026rsquo;Arte Classica)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eConference\u0026nbsp;language: English, French, and Italian. Open to the public.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/pdf/Engaged+Visuality+Concept.pdf\"\u003e\u003cb\u003e\u003cu\u003eEngaged Visuality Concept\u003c/u\u003e\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/pdf/Engaged+Visuality+Programme.pdf\"\u003e\u003cb\u003e\u003cu\u003eEngaged Visuality Programme\u003c/u\u003e\u003c/b\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003ePRESENTATION\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026ldquo;To write means to construct language, not to explain it.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003eMax Bense, \u003cem\u003eEntwurf einer Rheinlandschaft\u003c/em\u003e, 1962\u003c/p\u003e\r\n\r\n\u003cp align=\"right\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;Mi preme sottolineare come uno dei \u003cem\u003etrait-d\u0026rsquo;union\u003c/em\u003e tra queste composizioni concrete, e quelle di molta altra poesia visiva, stia nell\u0026rsquo;urgenza avvertita da tutti questi ricercatori di accostarsi ad un tipo di comunicazione attraverso la parola che sia quanto possibile diretta e visualmente immediata; che si accosti all\u0026rsquo;efficacia drammaticamente coercitiva dello slogan pubblicitario.\u0026rdquo; Gillo Dorfles, \u0026ldquo;Poesia concreta (poesia visuale, poesia trovata, poesia tecnologica, poesia sperimentale),\u0026rdquo; \u003cem\u003eModulo\u003c/em\u003e no. 1, 1966\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSince the 1950s, from Europe to Brazil, from North America to Japan, a dense network of poets and artists has given birth to an extensive body of new visual forms in poetry that have revolutionized accepted notions of linguistic production by attaching increasing value to the \u0026ldquo;verbivocovisual\u0026rdquo; (Joyce, 1939) nature of words. Traced back to the legacy of Futurist free-word compositions, Dadaist mixed-media poetry, Lettrist and Surrealist photo-collages, the broader and eclectic field of poetic concretism and visuality spans different traditions and locations and designates an international, intercultural, and multilingual movement that is both artistic and literary.\u003c/p\u003e\r\n\r\n\u003cp\u003eInfluenced by Modernist art and structural linguistics, concrete poets experimented with the material presence of words, whereas visual poets trigger a more political and social-media approach in verbo-visual experimentations by using a large variety of different techniques (collages, cut-ups, fold-ins, ready-mades). The Vietnam War and the May 1968 revolt marked a turning point in the change of aims and tendencies between Concrete and Visual Poetry by extending poetic concretism into \u003cem\u003eengaged visuality\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn Italy, this critical and paradigm shift in the concept of poetry took the name of \u003cem\u003epoesia tecnologica\u003c/em\u003e (Gruppo 63, 1963-69) and \u003cem\u003epoesia visiva\u003c/em\u003e, which, since their inception in the early 1960 (Gruppo 70, 1963-68) and their distinctive manifestations during the 1970s (Gruppo Internazionale di Poesia Visiva, also known as Gruppo dei Nove, 1972-79), enacted \u0026ldquo;a real semiotic guerrilla war\u0026rdquo; (Ori, 1979).\u003ca href=\"#_ftn1\" name=\"_ftnref1\" title=\"\"\u003e[1]\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eClosely related to counterculture and social activism, \u003cem\u003epoeti visivi\u003c/em\u003e created intermedia dialogues between poetry, technology, and the products of consumer society by introducing political tensions in the poetic body through the collage of words and images taken from mass culture (advertisements, magazines, photographs, graphic novels, and so on).\u003c/p\u003e\r\n\r\n\u003cp\u003eWe are faced with an extremely rich and hybrid scenario, in which different approaches, research, and tendencies greatly intersect, ranging from the technological collage-poems of Lamberto Pignotti, Lucia Marcucci, Eugenio Miccini, and Michele Perfetti, to the gender and media-critical investigations of Ketty La Rocca and Patrizia Vicinelli, from the Tape Mark poems of Nanni Balestrini and the performative actions of Alain Arias-Misson, Julien Blaine, Jean-Fran\u0026ccedil;ois Bory, and Giuseppe Chiari, to the photographic text-compositions of Paul De Vree and Sarenco, or to the works of a series of artists (e.g. Gianni Bertini, Roberto Malquori, Luciano Ori, Franco Verdi) who have located in the relationship between verbal and figurative arts one of the expressive means with which to discuss the state of the poetry according to the logic of mediatized culture.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe terms adopted by art history and literary criticism to illustrate the daring and diversified expressions of \u003cem\u003epoesia visiva\u003c/em\u003e in the 1960s and 1970s are numerous, and every attempt to reconstruct its lineages and development is frustrated by its shifting contours and media. As Herman Damen pointed out in \u003cem\u003epoesia visiva\u003c/em\u003e (Studio Brescia, 1972) \u0026ldquo;a living \u003cem\u003epoesia visiva\u003c/em\u003e uses all available information and participation media,\u0026rdquo; and could present itself as \u0026ldquo;phono-, ideo-, typo-, icono, photographical; mono-, stereo-, quadro-, ambiophonic; phonographic, bioscopic, kinetic; kinesic, eatable, odorous, tangible.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1965, Paul De Vree described this hybrid dimension as a form of \u0026ldquo;integratie po\u0026euml;zie\u0026rdquo; (\u003cem\u003eDe Tafelronde \u003c/em\u003eX/I, 1965) by advocating the groundbreaking principle whereby \u0026ldquo;de kunsten zijn met elkaar in fusie getreden\u0026rdquo; (\u0026ldquo;the arts have entered into a fusion\u0026rdquo;), while Dick Higgins (\u003cem\u003eD\u0026eacute;-collage\u003c/em\u003e no. 6, 1967) and Adriano Spatola (\u003cem\u003eGeiger\u003c/em\u003e no. 5, 1972) defined it as \u0026ldquo;intermedia.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eCombining insights from the fields of art history, literary criticism, and media studies, the conference aims at investigating the impact of new media, political imagery, and technologies on the \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon by focusing on a bilateral case study rarely analyzed from a comparative and transcultural perspective: the foundation of the poetry magazine\u0026nbsp;\u003cem\u003eLotta Poetica\u0026nbsp;\u003c/em\u003e(first series: 1971-75) by Sarenco and Paul De Vree, i.e., the aim of Italian and Belgian international visual poetics, co-authored initiatives, and\u0026nbsp;cross-disciplinary inquiries. The voice of a militant critic and in opposition to the capitalist and institutional artworld system, \u003cem\u003eLotta Poetica\u003c/em\u003e drew a cutting-edge roadmap within the wider and multifaceted context of neo-avant-garde experimental poetry by creating a unique model of interdisciplinary cooperation where verbo-visual research, media discourses, and social criticism strongly converged.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn \u003cem\u003eProfilo storico della poesia visiva\u003c/em\u003e (1972), Sarenco and De Vree called for an aesthetic and cultural integration of knowledge in poetry and grounded it firmly in the soil of ideological commitment: \u0026ldquo;la po\u0026eacute;sie visive entre en lice comme un moyen de transformation actif de la soci\u0026eacute;t\u0026eacute;, soit au niveau du langage et des moyens para-linguistiques, soit au niveau de l\u0026rsquo;appui \u0026agrave; la lutte de classe.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eWithout losing sight of the vast cultural heritage and references of the historic avant-gardes as well as of Beat Poetry, Fluxus, and Conceptual Art verbo-visual production, the symposium examines a key moment in the international history of Visual Poetry and focuses on some pivotal questions regarding the specificity of the Italian and Belgian critical axis: What particular sources were re-examined and re-enacted through the critical reception of the historical avant-gardes, notably in the context of Belgian multilingualism and in the highly politicized scene of the 1960s and 1970s? To what extent and in which ways did the advent of information aesthetics and technologies work in post-war visual poetics, and what, on the other hand, changed in the visual writing forms of the Italian and Belgian poets? How did \u003cem\u003eLotta Poetica\u003c/em\u003e leave a mark on the development of the Visual Poetry movement, and what political, cultural and social factors made it the core of interartistic exchanges between Italy and Belgium in the second half of twentieth century? Why and how \u003cem\u003eLotta Poetica\u003c/em\u003e differs from literary magazines such as \u003cem\u003eRot\u003c/em\u003e (1960-97), \u003cem\u003eLabris\u003c/em\u003e (1962-73), \u003cem\u003eIntegration\u003c/em\u003e (1965-72), \u003cem\u003eT\u0026egrave;chne \u003c/em\u003e(1969-76), and \u003cem\u003eL\u0026rsquo;humidit\u0026eacute;\u003c/em\u003e (1970-78), and in which ways did it contribute to foster verbivocovisual experimentations and artists\u0026rsquo; publications with regard to intermediality and interdisciplinarity? How does the Italian and Belgian \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon perform \u0026ldquo;genetic interaction in the fields of arts\u0026rdquo; (Miccini and Perfetti, 1972), and how does it still reverberate today through engaged visualities, performative, and dissent poetry?\u003c/p\u003e\r\n\r\n\u003cp\u003eWe welcome proposals from scholars, research fellows, artists, and poets of any discipline in order to prompt a cross-disciplinary, dynamic, and international debate on the issues, and to examine an outstanding and collaborative editorial project that reflects the scope and the importance of Italian and Belgian cultural transfers in the 1960s and 1970s, deepening the historical and critical understanding of its legacy in the history of neo-avant-garde visual poetics.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKey Words\u003c/strong\u003e: Neo-Avant-Garde; Visual Poetry; \u003cem\u003ePoesia visiva\u003c/em\u003e; \u003cem\u003eLotta Poetica\u003c/em\u003e; Protest Poetry; Interdisciplinarity; Intermediality; Transculturalism; Italy; Belgium.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eExhibition and \u003c/strong\u003e\u003cstrong\u003eBeinecke Library\u0026rsquo;s holdings projections on \u003cem\u003epoesia visiva\u003c/em\u003e\u003c/strong\u003e: Based on documentary archival materials from the Paul De Vree Archive, Beinecke\u0026nbsp;Rare Book \u0026amp; Manuscript\u0026nbsp;Library, and M HKA Collection, the showcase exhibition and holdings projections in the library of the Academia Belgica of Rome will provide a concise and refined overview of \u003cem\u003eLotta Poetica\u003c/em\u003e\u0026rsquo;s transnational network and counterculture activities during the early 1970s. In addition to the question of the impact of mass image circulation, political imagery, and technologies on \u003cem\u003epoesia visiva\u003c/em\u003e phenomenon, the participating scholars, artists, and poets will deal with the representation and reception of neo-avant-garde visual poetics in international cultural, theoretical and socio-critical production since the 1960s to the present.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eKeynote Speakers\u003c/strong\u003e: \u003cstrong\u003eDirk De Geest\u003c/strong\u003e (KU Leuven), \u003cstrong\u003eNancy Lynn Perloff\u003c/strong\u003e (Getty Research Institute), \u003cstrong\u003eKevin Repp\u003c/strong\u003e (Beinecke Library, Yale), \u003cstrong\u003eAnnalisa Rimmaudo\u003c/strong\u003e (Mus\u0026eacute;e national d\u0026rsquo;art moderne -Centre Pompidou), \u003cstrong\u003eCarla Subrizi\u003c/strong\u003e (Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma), \u003cstrong\u003eClaudio Zambianchi\u003c/strong\u003e\u0026nbsp;(Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma), \u003cstrong\u003eGiorgio Zanchetti\u003c/strong\u003e (Universit\u0026agrave; degli Studi di Milano).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eGuests Artists\u003c/strong\u003e: \u003cstrong\u003eAlain Arias-Misson\u003c/strong\u003e, \u003cstrong\u003eG. J. de Rook\u003c/strong\u003e, \u003cstrong\u003eAnna Oberto\u003c/strong\u003e, \u003cstrong\u003eLamberto Pignotti\u003c/strong\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eChairs\u003c/strong\u003e: \u003cstrong\u003eFlorian Mussgnug \u003c/strong\u003e(UCL London), \u003cstrong\u003eEmanuela Patti (\u003c/strong\u003eUniversity of Edinburgh), \u003cstrong\u003eBartolomeo Pietromarchi \u003c/strong\u003e(MAXXI, Roma), \u003cstrong\u003eFranca Sinopoli \u003c/strong\u003e(Università degli Studi \u0026lsquo;La Sapienza\u0026rsquo; di Roma), \u003cstrong\u003eFrancesca Terrenato (\u003c/strong\u003eUniversità degli Studi \u0026lsquo;La Sapienza\u0026rsquo; di Roma).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eScientific Partnerships\u003c/strong\u003e: Universit\u0026agrave; degli Studi \u0026ldquo;La Sapienza\u0026rdquo; di Roma \u0026ndash; Department of History, Anthropology, Religions, Art History, Media, and Performing Arts; Beinecke\u0026nbsp;Rare Book \u0026amp; Manuscript\u0026nbsp;Library (Yale University); Universit\u0026eacute; de Li\u0026egrave;ge, Belgium \u0026ndash; Department of Modern Languages and Department of Historical Sciences; KU Leuven, Belgium \u0026ndash; Department of French, Italian and Spanish Literature; Royal Holloway University of London \u0026ndash; Department of Languages, Literatures and Culture; Universit\u0026agrave; degli Studi di Milano \u0026ndash; Department of Cultural Heritage\u0026nbsp;and Environment.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eIn collaboration with\u003c/strong\u003e: Academia Belgica, Rome; M HKA Museum and Royal Academy of Fine Arts, Antwerp; the Society for Italian Studies (SIS); the Centre Interdisciplinaire\u0026nbsp;de Po\u0026eacute;tique Appliqu\u0026eacute;e (CIPA, ULi\u0026egrave;ge); the Service d\u0026#39;histoire de l\u0026#39;art de l\u0026#39;\u0026eacute;poque contemporaine (SHA\u0026Eacute;C, ULi\u0026egrave;ge); the UR Traverses (ULi\u0026egrave;ge); the Handling (UCLouvain); the Collection for Research on Artists\u0026rsquo; Publications\u0026nbsp;- \u003cem\u003eC\u003c/em\u003eR\u003cem\u003eA\u003c/em\u003eP, Ekeren.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eScientific Committee\u003c/strong\u003e: Jan BAETENS (KU Leuven), Julie BAWIN (Universit\u0026eacute; de Li\u0026egrave;ge), Laurence BROGNIEZ (Universit\u0026eacute; Libre de Bruxelles), Michel DELVILLE (Universit\u0026eacute; de Li\u0026egrave;ge), Jan DE VREE (M HKA Museum, Antwerp), Elio GRAZIOLI (Universit\u0026agrave; degli Studi di Bergamo), Maria Elena MINUTO (Universit\u0026eacute; de Li\u0026egrave;ge; KU Leuven), Johan PAS (Royal Academy of Fine Arts, Antwerp), Giuliana PIERI (Royal Holloway University of London), Kevin REPP (Beinecke Library, Yale), Bart VAN DEN BOSSCHE (KU Leuven).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr align=\"left\" size=\"1\" width=\"33%\" /\u003e\r\n\u003cp\u003e\u003ca href=\"#_ftnref1\" name=\"_ftn1\" title=\"\"\u003e[1]\u003c/a\u003e\u003cem\u003ePoesia visiva\u003c/em\u003e\u0026nbsp;is one of the numerous and diverse tendencies displayed by Italian experimental poetry in the 1960s and 1970s. The extension of poetry beyond the conventional limits of its genre took place, among others, in\u0026nbsp;\u003cem\u003eAna Etcetera\u003c/em\u003e\u0026rsquo;s integration of verbal-graphic signs and\u0026nbsp;\u003cem\u003eContinuum\u003c/em\u003e\u0026rsquo;s experiments in the liminality of word-image, as well as in \u003cem\u003eScrittura simbiotica\u003c/em\u003e and \u003cem\u003eNuova Scrittura\u003c/em\u003e\u0026rsquo;s logo-iconic interactions. In 1965, poet and artist Martino Oberto employed the adjective\u0026nbsp;\u003cem\u003evisuale\u003c/em\u003e\u0026nbsp;instead of\u0026nbsp;\u003cem\u003evisiva\u003c/em\u003e, to underline not only the visual, but also the mental process behind the transformation of traditional poetry into a complex artistic form\u003c/p\u003e\r\n"},{"locale":"ru","name":null,"short_description":"","description":""},{"locale":"de","name":null,"short_description":"","description":""},{"locale":"es","name":null,"short_description":"","description":""},{"locale":"el","name":null,"short_description":"","description":""}],"actors":[],"items":[]}