Hugo Pontes
started his literary activities with the Group VIX, in Oliveira city in 1963. From 1972 onward, he made Visual Poetry works, published them and took part in exhibitions in Brazil and beyond. His work is recognised in Brazil for its social emphasis.
www.poemavisual.com.br
(b. 1945,Três Corações, Brazil.)
VISUAL POEM
We can say that the daring of the experimentation poetic didn't park in Concretismo. The experiences continued and they continue until our days with surprising results.Starting from the decade of 70, in Brazil, the visual poets appear timidly, promoting its first exhibitions and alternative publications.
With passing of the time, countless followers integrate into the movement of the visual poem and each one manifests its art being used of the most varied resources: xerography, computer-Art, digital-Art, holography, video, printed posters, laser, postcards, stamps, etc.
The thematic explored, in universal sense, it is the man and its be-knot-world. In private character, Brazil, they are explored the incompetence of the national politics, the poverty, the foreign debt, the illusion of the lottery, the human dilemma of the atomic energy, the psychological conflict of being and the erotic themes. The visual poem is characterized by valuing the image as universal entity. The word, in the case, is very well an appendix explored and placed, composing an all harmonic one capable to allow to the " vleitor " an infinity of readings, in agreement with the level of its knowledge, experience, culture and school level.
The visual poem, in Brazil, finds echo in some rare publications, mainly the alternatives that shelter poets' works as Joaquim Branco, Márcio Almeida, Marcelo Dolabela, Sebastião Nunes, Geraldo Magela and Hugo Pontes (MG); Paulo Bruscky and Antônio Andrade (PE),; Fred Maia, Philadelpho Menezes, Constança Lucas, Elson Fróes and Artur Soares (SP); Maynand Sobral (CE); Ricardo Alfaya, Moacy Cirne (RJ), Gilberto Mendonça Teles; Rubervan du Nascimento (PI); Hugo Mund Júnior (SC); Falves Silva, Avelino de Araújo, J. Medeiros and Bianor Paulino (RN); Sérgio Almeida (PR)
Minas Gerais have a lot of history to count on the visual poem, because here it is one of the most vigorous and consistent nucleous of that manifestation. (Essay: Hugo Pontes. Translation: Ana Maria Sarti)
started his literary activities with the Group VIX, in Oliveira city in 1963. From 1972 onward, he made Visual Poetry works, published them and took part in exhibitions in Brazil and beyond. His work is recognised in Brazil for its social emphasis.
www.poemavisual.com.br
(b. 1945,Três Corações, Brazil.)
VISUAL POEM
We can say that the daring of the experimentation poetic didn't park in Concretismo. The experiences continued and they continue until our days with surprising results.Starting from the decade of 70, in Brazil, the visual poets appear timidly, promoting its first exhibitions and alternative publications.
With passing of the time, countless followers integrate into the movement of the visual poem and each one manifests its art being used of the most varied resources: xerography, computer-Art, digital-Art, holography, video, printed posters, laser, postcards, stamps, etc.
The thematic explored, in universal sense, it is the man and its be-knot-world. In private character, Brazil, they are explored the incompetence of the national politics, the poverty, the foreign debt, the illusion of the lottery, the human dilemma of the atomic energy, the psychological conflict of being and the erotic themes. The visual poem is characterized by valuing the image as universal entity. The word, in the case, is very well an appendix explored and placed, composing an all harmonic one capable to allow to the " vleitor " an infinity of readings, in agreement with the level of its knowledge, experience, culture and school level.
The visual poem, in Brazil, finds echo in some rare publications, mainly the alternatives that shelter poets' works as Joaquim Branco, Márcio Almeida, Marcelo Dolabela, Sebastião Nunes, Geraldo Magela and Hugo Pontes (MG); Paulo Bruscky and Antônio Andrade (PE),; Fred Maia, Philadelpho Menezes, Constança Lucas, Elson Fróes and Artur Soares (SP); Maynand Sobral (CE); Ricardo Alfaya, Moacy Cirne (RJ), Gilberto Mendonça Teles; Rubervan du Nascimento (PI); Hugo Mund Júnior (SC); Falves Silva, Avelino de Araújo, J. Medeiros and Bianor Paulino (RN); Sérgio Almeida (PR)
Minas Gerais have a lot of history to count on the visual poem, because here it is one of the most vigorous and consistent nucleous of that manifestation. (Essay: Hugo Pontes. Translation: Ana Maria Sarti)
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