Archives for category: concrete / visual poetry

I’m pleased to announce that Prose of the Trans Canada will be included in Language to Cover a Wall: Visual Poetry through its changing Media (Nov 17, 2011 – Feb 18, 2012) at The UB Art Gallery, Buffalo, NY.

Language to Cover a Wall: Visual Poetry through its changing Media abounds in visual and concrete poetry, in which the visual arrangement of text, images, and symbols combine to create an intended effect. This alternative to standard linear poetry occupies a space between poetry and visual art but some of it — “intermedia” poetry — blurs the distinction between writing, graphic art, video, dance, music, and digital media.

I’m thrilled to announce that Wordfest 2011 is augmenting my appearance at the festival in support of Seen of the Crime by projecting Prose of the Trans-Canada on the side of the Calgary Tower for the duration of the festival:

derek beaulieu’s work is consistently praised as some of the most radical and challenging contemporary Canadian writing. A towering moment in beaulieu’s on-going exploration of letraset as a medium for concrete poetry, Prose of the Trans-Canada, will be on display, after dark, as an “illuminated light sculpture” on the façade of the Calgary Tower from October 11–14. Rising over 20 metres, the visual poem will illuminate the Calgary Tower and provide a new platform for this cutting-edge artist.

As part of my on-going “Abstract Language” column at Abstract Comics: The Blog, this month I discuss ottar ormstad’s 2007 op art visual poetry suite  bokstavteppekatalogen.

UBUWEB began as an online repository for concrete and visual poetry scanned from aging anthologies and re-imagined as back-lit transmissions from a potential future. As the archive has progressed, the concentration on visual poetry has waned in favour of an reconnoitering of diverse avant-gardes.

UBUWEB: VISUAL POETRY exposes little-seen exemplars of historical praxis and models of contemporary insight to a wider audience. This section includes anthologies, ephemeral publications, criticism and sporadic journals dedicated to visual poetry. Due to the elusive and ephemeral nature of concrete and visual poetry publications, there is a perceived lack of innovation in the genre. Without exposure to radical practice, artistic precedent and innovative models, concrete poets too often fall back upon familiar tropes and unchallenging forms.

UBUWEB: VISUAL POETRY is not presented under the rubric of historical coverage or indexical completeness, but rather as a document of isloate moments of what Haroldo de Campos argued was a “notion of literature not as craftsmanship but […] as an industrial prcoess” where the poem is a “prototype” rather than the “typical handiwork of artistic artistry.”

— derek beaulieu, curator.

Melanie Kloetzel and John Masserini commissioned me to create a suite of visual poems (which eventually became my chapbook Fierce Indulgence) as a projected backdrop for their collaborative dance/clarinet performance “Icarus Refried.” “Icarus Refried: A Pro-Creative Process”, a short film by Kurt Lancaster is now available on vimeo about their performance.

Berfrois Magazine online has recently published a poem of mine — check it out here.

Audiatur Print (Norway) has just released a new print of my work, as designed Judith Naerland. More information can be found here (in Norwegian)

German typography magazine Slanted features a piece of mine in their discussion of the typographic grotesque. They commissioned me to create a Helvetica-based response to the Sex Pistol’s “Something Else” which can be found on page 87 of #14 of Slanted, available in print and online here.

Lori Emerson has just interviewed me on her blog about concrete poetry, technology and obsolescence…

The Calgary Herald takes an interest in my work in a piece entitled “alt.poet: Derek Beaulieu thinks outside the linguistic box