I altered some pages of my own PhD dissertation which was about “extreme texts in the Italian New Avant-Garde of the ’60s and ’70s,” thus creating, simultaneously, a mise en abyme and a “critical” void. Above: detail from “Auto-extremity.”
In 2016 I composed a few texts called Extremities, which were the deletion of preexistent texts, mostly historical experimental poetry (by Pound, Eliot, Girondo, etc.), with only the physical margins of the poems left visible.
Right: Joaquín Torres-García, Uruguayan artist whose work originated the term “America Invertida,” in 1903. Image via Wikimedia Commons.
It is common that, when speaking about Uruguay and its culture outside the country, the name of Joaquín Torres-García — Uruguay’s most notorious visual artist — pops up, and now, after MoMA’s 2015 retrospective consecration, perhaps even more so. Here, for instance, it is found in the title of the anthology.
The following is an occassional dialogue composed for this occassion. Divya Victor, Swantje Lichtenstein, and Riccardo Boglione may not have met apart from the artifice of this conversation.
Conceptualist Autopoiesis: A dialogue between Divya Victor (United States/India/Singapore), Swantje Lichtenstein (Germany), and Riccardo Boglione (Italy/Uruguay)
20 April 2013
The following is an occassional dialogue composed for this occassion. Divya Victor, Swantje Lichtenstein, and Riccardo Boglione may not have met apart from the artifice of this conversation.