An expansive anthology focused on concrete poetry written by women in the groundbreaking movement’s early history. It features 50 writers and artists from Europe, Japan, Latin America, and the United States selected by editors Alex Balgiu and Mónica de la Torre.
Women in Concrete Poetry: 1959-1979 takes as its point of departure Materializzazione del linguaggio—the groundbreaking exhibition of visual and concrete poetry by women curated by Italian feminist artist Mirella Bentivoglio for the Venice Biennale in 1978. Through this exhibition and others she curated, Bentivoglio traced constellations of women artists working at the intersection of the verbal and visual who sought to “reactivate the atrophied tools of communication” and liberate words from the conventions of genre, gender, and the strictures of the patriarchy and normative syntax.
The works in this volume evolved from previous manifestations of concrete poetry as defined in foundational manifestos by Öyvind Fahlström, Eugen Gomringer, and the Brazilian Noigandres Group. While some works are easily recognized as concrete poetry, as documented in canonical anthologies edited by Mary Ellen Solt and Emmett Williams in the late ’60s, it also features expansive, serial works that are overtly feminist and often trouble legibility. Women in Concrete Poetry: 1959-1979 revisits the figures in Bentivoglio’s orbit and includes works by women practicing in other milieus in the United States, Eastern Europe, and South America who were similarly concerned with activating the visual and sonic properties of language and experimenting with poetry’s spatial syntax.
Artists and writers include Lenora de Barros, Ana Bella Geiger, and Mira Schendel from Brazil; Mirella Bentivoglio, Tomaso Binga, Liliana Landi, Anna Oberto, and Giovanna Sandri from Italy; Amanda Berenguer from Uruguay; Suzanne Bernard and Ilse Garnier from France; Blanca Calparsoro from Spain; Paula Claire and Jennifer Pike from the UK; Betty Danon from Turkey; Mirtha Dermisache from Argentina; Bohumila Grögerová from the Czech Republic; Ana Hatherly and Salette Tavares from Portugal; Madeline Gins, Mary Ellen Solt, Susan Howe, Liliane Lijn, and Rosmarie Waldrop from the US; Irma Blank and Ruth Wolf-Rehfeldt from Germany; Chima Sunada from Japan; and Katalin Ladik and Bogdanka Poznanović from the former Yugoslavia.
David Wojnarowicz's In the Shadow of Forward Motion was originally published as a photocopied zine/artist's book to accompany an exhibition of the same name at PPOW Gallery in 1989. Despite its meager print run of just 50 copies, the publication has garnered a legendary status, and for good reason.
In it we find, for the first time, Wojnarowicz's writing and visual art, two mediums for which he is renowned, playing off each other in equal measure. We glimpse the artist's now iconic mixed-media works, with motifs of ants, locomotives, money, tornados and dinosaurs, juxtaposed with journal-like texts or "notes towards a frame of reference" that examine historical and global mechanisms of power symbolized through the technology of their times.
Wojnarowicz uses the fractured experience of his day-to-day life (including dreams, which he recorded fastidiously) to expose these technologies as weapons of class, cultural and racial oppression. The artist's experience living with HIV is a constant subject of the work, used to shed light on the political and social mechanisms perpetuating discrimination against not only himself, but against women and people of color, who faced additional barriers in their efforts to receive treatment for the illness. Rooted in the maelstrom of art, politics, religion and civil rights of the 1980s, the book provides a startling glimpse into an American culture that we have not yet left behind. Félix Guattari provides an introduction.
Painter, photographer, writer, filmmaker, performance artist, songwriter and activist, David Wojnarowicz was born in Redbank, New Jersey, in 1954 and died of AIDS in New York in 1992. The author of five books--most famously Close to the Knives: A Memoir of Disintegration--Wojnarowicz attained national prominence as a writer and advocate for AIDS awareness, and for his stance against censorship.
Originally published in 1973, The New Woman's Survival Catalog is a seminal survey of the second-wave feminist effort across the US. Edited by Kirsten Grimstad and Susan Rennie in just five months, The New Woman's Survival Catalog makes a nod to Stewart Brand's influential Whole Earth Catalog, mapping a vast network of feminist alternative cultural activity in the 1970s.
rile* is a bookshop and project space for publication and performance. rile* is into poetry, theory, choreography, artist writing and various other text based experiments. rile* organizes performances, meetings, launches, readings... rile* is the base word for silence in Láadan, a feminist constructed language developed by Suzette Haden Elgin in 1982. The language was included in her science fiction Native Tongue series. Láadan contains a number of words that are used to make unambiguous statements that include how one feels about what one is saying. According to Elgin, this is designed to counter language's limitations to those who are forced to respond I know I said that, but I meant this.
Our bookshop is open on Wednesday and Thursday from 11h to 17h, and from Friday to Sunday from 11h to 19h.
If you are interested to stock with us, get in touch, we are open for conversation and new friendships.
Hosted by Chloe Chignell & Sven Dehens
contact : email@example.com
Supported by VGC-
Site by Sven Dehens