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Performance: Poetry Is Risk

"Poetry is a good way to restate the beautiful moments of our lives." —Augusto de Campos (2012)

As Hurricane Sandy struck in October 2012, legendary Brazilian poet and founder of the Concrete Poetry movement Augusto de Campos and his son, the musician Cid Campos, were holed up in a Manhattan hotel. As part of the MoMA series Modern Poets, the pair were due to present an intermedia performance integrating word, music, and image, what they call a "verbivocovisual" presentation aiming to be "free of the strictures of logical discourse." The allusion to danger in the title of the performance, Poetry Is Risk, seemed apt given the circumstances, but it has an alternative meaning in Portuguese: risco can also mean "score" or "scratch out"—in other words, to make a mark.

The performance was postponed until the following day, and as New York reeled from the devastating effects of the storm, an impressive crowd gathered for a magical and restorative night of visual poetry spanning the career of one of the genre's greatest innovators. Throughout Campos’s long career working within the expanded territory of poetry, he has used sound and image to activate associative thinking and explore the possibilities of language.

The poet dealt sensitively with the issue of translation, a process he refers to as re-criação (re-creation), by carefully overlaying his spoken English performance with gentle melodies provided by Cid Campos in the original Portuguese and projections of his poems. Aged 83, he also stunned the audience with a one-breath reading of his poem "cidade/city/cité" and a bossa nova rendition of "Our Share of the Night to Bear," a "lyrical jewel" by Emily Dickinson.

Zanna Gilbert

Author

Augusto de Campos, Cid Campos
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Performance: Poetry Is Risk

"Poetry is a good way to restate the beautiful moments of our lives." —Augusto de Campos (2012)

As Hurricane Sandy struck in October 2012, legendary Brazilian poet and founder of the Concrete Poetry movement Augusto de Campos and his son, the musician Cid Campos, were holed up in a Manhattan hotel. As part of the MoMA series Modern Poets, the pair were due to present an intermedia performance integrating word, music, and image, what they call a "verbivocovisual" presentation aiming to be "free of the strictures of logical discourse." The allusion to danger in the title of the performance, Poetry Is Risk, seemed apt given the circumstances, but it has an alternative meaning in Portuguese: risco can also mean "score" or "scratch out"—in other words, to make a mark.

The performance was postponed until the following day, and as New York reeled from the devastating effects of the storm, an impressive crowd gathered for a magical and restorative night of visual poetry spanning the career of one of the genre's greatest innovators. Throughout Campos’s long career working within the...

Show More

"Poetry is a good way to restate the beautiful moments of our lives." —Augusto de Campos (2012)

As Hurricane Sandy struck in October 2012, legendary Brazilian poet and founder of the Concrete Poetry movement Augusto de Campos and his son, the musician Cid Campos, were holed up in a Manhattan hotel. As part of the MoMA series Modern Poets, the pair were due to present an intermedia performance integrating word, music, and image, what they call a "verbivocovisual" presentation aiming to be "free of the strictures of logical discourse." The allusion to danger in the title of the performance, Poetry Is Risk, seemed apt given the circumstances, but it has an alternative meaning in Portuguese: risco can also mean "score" or "scratch out"—in other words, to make a mark.

The performance was postponed until the following day, and as New York reeled from the devastating effects of the storm, an impressive crowd gathered for a magical and restorative night of visual poetry spanning the career of one of the genre's greatest innovators. Throughout Campos’s long career working within the expanded territory of poetry, he has used sound and image to activate associative thinking and explore the possibilities of language.

The poet dealt sensitively with the issue of translation, a process he refers to as re-criação (re-creation), by carefully overlaying his spoken English performance with gentle melodies provided by Cid Campos in the original Portuguese and projections of his poems. Aged 83, he also stunned the audience with a one-breath reading of his poem "cidade/city/cité" and a bossa nova rendition of "Our Share of the Night to Bear," a "lyrical jewel" by Emily Dickinson.

Zanna Gilbert

     

Augusto de Campos and Cid Campos Performance: Poetry Is Risk (Introduction)

Augusto de Campos and Cid Campos

Augusto de Campos and Cid Campos Performance: Poetry Is Risk (Performance)

Augusto de Campos and Cid Campos

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Performance: Poetry Is Risk

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Kk

Installation by Giorgi Janiashvili and David Janiashvili (Republic of Georgia, Tbilisi), 2011

Caption goes here.

Mannequin, wool, wood/metal construction, tank, hose, glycerin, natural paint, engine, vine switch, reservoir, incense, lighting, quadraphonic sound installation The installation is created by Giorgi Janiashvili, a composer/ multimedia artist (b. 1989; the author of the concept of project, music/sound and design) and David Janiashvili, a designer/visual artist (b. 1981; design, construction). The piece was presented in June 2011 at the Prague Quadrennial of Performance Design and Space as part of the Georgian National Exposition (the curator Ketevan Kintsurashvili). In 2012 it was presented at the Tbilisi Art Festival Artisterium (Georgia). The purpose of Static Drama is to create a space, in which different arts collaborate to involve the viewer (visitor) into the process of thinking about the proposed theme (the sacrificial offering in this case). The space is designed in such a way that hearing, sight, touch, smell - almost all senses are involved in perceiving dramatic concept.
A specially created visual symbolic world reflects the dramatic idea of the installation. Original electroacoustic music composition is specially produced for the project and creates the time structure of the installation. In addition, fragrance (the smell of incense is one of the elements of the installation on the theme of Sacrifice), physical contact with organic materials (the visitors are requested to leave shoes outside the installation space and walk on wool), other visual/audio meanings (“blood” falling in drops from the head of the main figure) are applied to create such a performance space where concepts from the artists pass through the viewer’s thinking process, permitting an extensive range of interpretation. The authors direct the viewer’s thinking so that the latter could perceive the act of Sacrifice from various angles: general, historic, temporal, memorial, personal, metaphysical, mystical, depending on the observer’s background, knowledge, interests and feelings. Upon entering the space the viewer involuntarily becomes a participant within the installation and plunges into the ambience of music and visual symbols, showing violence through poetry. The design of the installation is flexible for transformation and adjustable to a new place, but the space must always be exclusive so that the visitors (alone or with companions) should feel isolated within the offered environment, in which every detail speaks about the proposed theme.

Sacrifice001
Caption goes here.
Show less »

Installation by Giorgi Janiashvili and David Janiashvili (Republic of Georgia, Tbilisi), 2011

Show more »
Kk

Installation by Giorgi Janiashvili and David Janiashvili (Republic of Georgia, Tbilisi), 2011

Caption goes here.

Mannequin, wool, wood/metal construction, tank, hose, glycerin, natural paint, engine, vine switch, reservoir, incense, lighting, quadraphonic sound installation The installation is created by Giorgi Janiashvili, a composer/ multimedia artist (b. 1989; the author of the concept of project, music/sound and design) and David Janiashvili, a designer/visual artist (b. 1981; design, construction). The piece was presented in June 2011 at the Prague Quadrennial of Performance Design and Space as part of the Georgian National Exposition (the curator Ketevan Kintsurashvili). In 2012 it was presented at the Tbilisi Art Festival Artisterium (Georgia). The purpose of Static Drama is to create a space, in which different arts collaborate to involve the viewer (visitor) into the process of thinking about the proposed theme (the sacrificial offering in this case). The space is designed in such a way that hearing, sight, touch, smell - almost all senses are involved in perceiving dramatic concept.
A specially created visual symbolic world reflects the dramatic idea of the installation. Original electroacoustic music composition is specially produced for the project and creates the time structure of the installation. In addition, fragrance (the smell of incense is one of the elements of the installation on the theme of Sacrifice), physical contact with organic materials (the visitors are requested to leave shoes outside the installation space and walk on wool), other visual/audio meanings (“blood” falling in drops from the head of the main figure) are applied to create such a performance space where concepts from the artists pass through the viewer’s thinking process, permitting an extensive range of interpretation. The authors direct the viewer’s thinking so that the latter could perceive the act of Sacrifice from various angles: general, historic, temporal, memorial, personal, metaphysical, mystical, depending on the observer’s background, knowledge, interests and feelings. Upon entering the space the viewer involuntarily becomes a participant within the installation and plunges into the ambience of music and visual symbols, showing violence through poetry. The design of the installation is flexible for transformation and adjustable to a new place, but the space must always be exclusive so that the visitors (alone or with companions) should feel isolated within the offered environment, in which every detail speaks about the proposed theme.

Sacrifice001
Caption goes here.
Show less »

Installation by Giorgi Janiashvili and David Janiashvili (Republic of Georgia, Tbilisi), 2011

Show more »