Asemic Front 2: January 2020

Friday, January 31, 2020

New Asemic Front 2 Collabs by Chaya-Malkah Frank & De Villo Sloan

"Asemic Translation" by Chaya-Malkah Frank (Ohio, USA)

& De Villo Sloan (New York, USA)

Visual poet Chaya-Malkah Frank was a contributor to the first phase Asemic Front and I was pleased to share her "asemic object poem" on Asemic Front 2. Interacting with her work again inspired me to complete a new series of collaborations shown here. I created one-dimensional materials from the strands of material she mailed me.

Deepest thanks to Chaya-Malkah Frank for her continued participation in Asemic Front.

- DVS

By Chaya-Malkah Frank & De Villo Sloan

Wednesday, January 29, 2020

CANTO CXVII by Federico Federici (concrete asemic)

"CANTO CXVII" by Federico Federici (Berlin, Germany)

I was very fortunate during the first part of the Asemic Front project to discover the highly thought-provoking image-text compositions of Federico Federici.

Federici's work invites the reader/viewer to consider multiple perspectives and grapple with the indeterminate. Specifically, though, I was intrigued by his highly original synthesis of asemic and concrete poetry elements. His work gave depth and breadth to the works gathered on the first Asemic Front where I had stated an intention to explore the relationship of contemporary asemic writing with classical, text-based concrete poetry. (However, Asemic Front welcomes all styles of visual poetry!)

I am now pleased to welcome Federico Federici to Asemic Front 2. I deeply appreciate his permission to reprint "CANTO CXVII." This work is, in my view, an example of Federici at his best. "CANTO CXVII" also has a subjective meaning to me. (Isn't our "reading" of asemic texts and many forms of visual poetry a deeply personal and ultimately ineffable experience?)

Starting with the title and continuing to the poem's shape on the page, structure and modernist poetics, I personally associate the piece with The Cantos of Ezra Pound. With Pound's grounding in Imagism and his use ideograms in his massive composition, we can view The Cantos today as a significant step in the evolution of the image-text. Thus, I see Federico's Federici placing itself as a later successor to this tradition. Thus "CANTO CXVII" can be viewed as a meditation upon the self-referential nature of language and a work that can be understood in the context of similar works.

Note that I make no claim here to pronounce the definitive "meaning" of Federici's composition or to claim any insight into his "intention" in creating the work. With visual poetry and asemics, these ideas of proper reading are irrelevant. I simply report my encounter with a work I find of great interest.

Deepest thanks to Federico Federici for his continued participation in Asemic Front.

- DVS

Vispo by Luc Fierens (Belgium) (Part 2)

Vispo by Luc Fierens (Belgium)

Reverse:

In June of 2019, I published Part I of work received in the form of mail art from visual poet Luc Fierens of Weerde, Belgium. Here is a link to Part I:

http://asemicfront2.blogspot.com/2019/06/collaborative-visual-poetry-book-by.html

Now, without further delay, here is the second posting of the extraordinary work Luc Fierens generously shared with Asemic Front 2.

In addition to being a visual poet of growing stature, Luc Fierens is a strong proponent and activist in the international mail art network (aka Eternal Network). One can readily assume that he is drawn to the network's egalitarian spirit, avant garde leanings and historic role as a refuge for concrete poetry and now visual poetry and asemics. Certainly his work radiates these qualities.

I point out his network involvement because he has sent compelling visual poetry and this material posted shows an excellent application of mail art forms developed by such figures as Ray Johnson and members of Fluxus. In particular, please note Fierens' use of the envelope as extended space for artistic expression.

Recently, critic and theorist Tom Hibbard has explored the work of Luc Fierens at length and in depth, exposing Fierens to a larger audience in the United States. Previously, I have also praised Fierens and other Belgian visual poets for their innovations; but I have not attempted to offer an analysis as comprehensive as Hibbard's.

I do feel a certain obligation to state clearly why I find the work of Luc Fierens so important. I plan to rectify this situation soon on Asemic Front 2. So, as they say, stay tuned for more discussion of Luc Fierens.

- DVS

By Luc Fierens

Monday, January 27, 2020

Asemic object poem by Chaya-Malkah Frank

Asemic object poem by Chaya-Malkah Frank (Columbus, Ohio, USA)

By Chaya-Malkah Frank

Tuesday, January 21, 2020

Two New Asemic Visual Poetry Collaborations by Kristine & Jay Snodgrass

By Kristine & Jay Snodgrass (Florida, USA)

By Kristine & Jay Snodgrass (detail #1)

By Kristine & Jay Snodgrass (detail #2)

By Kristine & Jay Snodgrass

By Kristine & Jay Snodgrass (detail #3)

By Kristine & Jay Snodgrass (detail #4)

Monday, January 13, 2020

Asemic Front Review: "palingEnesia" by Michael Orr (Timglaset Editions - Sweden)

Cover of palingEnesia by Michael Orr (aka Orzechowski). Published

in 2019 by Joakim Norling's Timglaset Editions (Sweden)

Asemic Front 2 is thrilled to share news of the publication of Michael Orr's palingEnesia by Timglaset Editions in Sweden.

Michael Orr is a contributor to the Asemic Front project, and I look forward to sharing more of his work in the future. In the spirit of full disclosure, I must note that I wrote the introduction to palingEnesia. So you can find my theoretical views on Orr's visual poems in the book; obviously I am a longtime Orrian or in other words a huge Michael Orr fan.

I will try not to use this space to recycle my essay or meta-criticism. I am compelled to tell you that I see palingEnesia as a significant book in the genre of visual poetry and in Michael Orr's evolution as an artist and visual poet.

In an age of look-a-likes, copycats and knackers ("You're living off the corpse of the old world, Max."), Orr introduces us to his highly original vispo and asemics that achieve the elusive synthesis of text and image, a feat often promised by visual poets but seldom delivered. For me, palingEnesia marks a breakthrough for Orr from a skilled (as well as conceptual) visual artist into a true visual poet who has discovered a new world of symbols and forms. The excitement of the discovery is a factor that gives the collection energy.

Pages from palingEnesia by Michael Orr (Timglaset Editions, Sweden)

I am sure that many readers know the feeling - akin to struggling in quicksand - of trying to explain rationally in words the subjective experience of entering an asemic text or visual poem. (Have we evolved to visual poetry precisely because previous modes of poetry are no longer adequate?)

I was humbled and enlightened, then, upon receiving my copy of Orr's book with commentary by Bibiana Padilla Maltos. In a few words she offers clear insights into Orr's work that eluded me in paragraphs. I share these words by Bibiana: "Michael Orr's paling Enesia balances visuals and textuality in an array of exceptional concrete imagery. He creates a semiotic study that helps us scrutinize our personalities and cognition."

From palingEnesia by Michael Orr (Timglaset Editions, Sweden)

Joakim Norling's Timglaset Editions is becoming, if it has not already achieved the status of, a world leader in visual poetry, asemic writing and concrete poetry publishing. palingEnesia is beautifully printed and the color, especially, is remarkable. All in all, this is a superb book that offers hours of contemplation and joy.

- De Villo Sloan