Chewing Poem. Poesia da masticare, n.d. [1960?]. Mixed media, 2.5 x 5 cm
Variation/variateur, n.d. [1960?]. Ink on paper, 31 x 21 cm
French Persian Cats Having a Ball, n.d. [1960’s?]. Ink on paper, 24.9 x 18.6 cm
Stelio María Martini
Come si amalgamano, 1963. Collage on paper, 34.5 x 29 cm
B. H. G. B. P. A. G. b2 B3 Poème Partition Exorcisme, Paris: Castel Rose, 1964
Untitled ["müd"], n.d. [c. 1965?]. Typescript text on paper, 29.6 x 20.9 cm
Untitled, 1966. Mixed media, 41.5 x 34 cm
Luce, 1966. Ink on tablex, 33 x 33 cm
Pop…, 1966. Mixed media on cardboard, 12 x 12 cm
Gedicht, 1967. Collage on cardboard, 30 x 20.3 cm
Paul de Vree
Untitled ["lagraphiquedanslapoésie"], n.d. [1967?]. Typescript text on paper, 27.5 x 21.4 cm
M 40/1967, Amsterdam: Multi Art Points, 1967
Una forma di lotta, Verona: Arnoldo Mondadori, 1967
Ian Hamilton Finlay
The Blue and Brown Poems, 1968
Vladimir Dunjić, Milenko Pajić
Studio za Novi Strip: Oslobodenje Znakova, 1976. Mixed on cardboard, 35 x 25 cm
Poezja Konkretna [Utopia], n.d. Collage, letraset and ink on cardboard, 23 x 21 cm
Untitled ["bis"], n.d. Collage and ink on paper, 21 x 23 cm
Untitled [bust], n.d. Ink and pencil on paper, 29.4 x 21 cm
White & Black, n.d.
Untitled [“Yes/No”], 1970
After the Second World War various poets, architects, painters, musicians, designers and choreographers expanded and adulterated their language to express themselves in a shared form of vocabulary that has defined a type of artistic practice generically known by the term ‘experimental’.
In the late fifties, somewhat organised and interrelated groups, composed of poets and artists who wrote and edited texts and books in which mixed words, symbols, graphics and images appeared, began to emerge simultaneously all over the world. Some of these groups defined their work as visual, experimental, concrete, spatialist, lettrist or objectual poetry, among others, seeking to draw distinctions at local level, within what was a decidedly internationalist trend.
All of these categories comes together in this collection under the generic term ‘experimental’, a word that appears profusely, as a differentiating feature, in the majority of these types of works. Based on the varied techniques that their creators employed, there are collages, calligrams, pictograms, ideograms and object poems, as well as all the variants that arose from their fusion. The common denominator of all these works is the written word.
In this collection of documents, contributions from Italians (poesia visiva), the French (spatialists and hypergraphics), Germans (concrete poetry), the Portuguese (visual poetry) and, above all, experimentalists from Eastern European countries, particularly stand out..
Among these documents, particularly noteworthy examples include the artist books B. H. G. B. P. A. G. b2 B3 Poème Partition Exorcisme (1964), by Bernard Heidsieck; and M 40/1967 (1967), by Maurizio Nannucci; the graphic work The Blue and Brown Poems (1968), by Ian Hamilton Finlay; and the original works Untitled (1966), by Franz Mon; Pop... (1966), by John Furnival; Untitled (1967?), by Paul Vree; Poezja Konkretna (undated), by Wojciech Pogonowski; and Untitled (undated), by Andrzej Partum.