Lange Nacht der Lyrik

Lange Nacht der Lyrik – Jahrbuch Der Lyrik 2021, hosted and curated by Christoph Buchwald, Carolin Callies, Florian Kind, 23/04, 18:00-01:00, Frankfurt am Main.

Über 60 Autor:innen lesen ihre Gedichte aus dem »Jahrbuch der Lyrik 2021«. Die Herausgeber Carolin Callies & Christoph Buchwald moderieren. Jede Stunde lesen 10 Autor:innen ihr eigenes Gedicht aus dem aktuellen Jahrbuch der Lyrik und ein anderes Gedicht aus einem Jahrbuch ihrer Wahl. Live auf Facebook. Es lesen: Urs Allemann// Dorothee Arndt// Michael Augustin// Kathrin Bach// Franziska Beyer-Lallauret// Elke Bludau// Markus Breidenich// Lars-Arvid Brischke// Helwig Brunner// Ralf Burnicki// Mara-Daria Cojocaru// Dominik Dombrowski// Ruta Dreyer// Raoul Eisele// Hasune El-Choly// Carl-Christian Elze// Federico Federici// David Fuchs// Claudia Gabler// Sylvia Geist// Nora Gomringer// Mathias Göritz// Uta Gosmann// Julia Grinberg// Sandra Gugić// Alexander Gumz// Friederike Haerter// Wilfried Happel// Dorina Marlen Heller// Guy Helminger// Judith Hennemann// Anna Hetzer// Marius Hulpe// Andreas Hutt// Anja Kampmann// Christian T. Klein// Barbara Maria Kloos// Kornelia Koepsell// Sascha Kokot// Birgit Kreipe// Philip Krömer// Jan Kuhlbrodt// Wiel Kusters// Sünje Lewejohann// Tristan Marquardt// Hartwig Mauritz// Elena Mpei// Marcus Neuert// Kathrin Niemela// Harry Oberländer// Johann Reißer// Ulrije Almut Sandig// Simone Scharbert// Iris Lilja Schmidt// Emanuel Schneider// Katharina Schultens// Judith Sombray// Hans Thill// Asmus Trautsch// Julia Trompeter// Andreas Unterweger// Monika Vasik// Dirk von Petersdorff// Florian Voß// Lea Wahode// Mirko Wenig// Christoph Wenzel// Christa Wißkirchen// Peter Zemla
Moderation: Carolin Callies, Christoph Buchwald, Florian Kind

On the trail of the dead trees – Trunk 3

«Exploring asemic patterns found in nature, Berlin-based physicist, translator, and writer Federico Federici offers a meditation on trees and wind. This volume contains a wide variety of mark-making—from thin curved lines and printed text to thick smooth brushstrokes and small illustrations.» David Ebony in “Art in America” – May 2020

A private notebook of winds, KDP/lulu.com, 2019 (Asemic-Eng), ISBN 979-8640410952 / 978-0244791414
The original of this book belongs to the Academy of Fine Arts Palermo artists’ book collection [1] [2]. Featured by David Ebony in «Art In America» May issue, 2020.
buy: barnes&noble | amazon.com | .uk

Transcripts from demagnetized tapes – Vol. 1

Transcripts from demagnetized tapes, Vol. 1, foreword by Sloan De Villo, LN 2021, ISBN 979-8688757347 [Asemic-Concrete-Eng]
buy: Lulu | amazon.com | .uk • read: archive | behance | download

Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement.
Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic.
Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures.
Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc. The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied.
The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across).
Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings. Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work.
The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities.

Sloan De Villo