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Publicado por Pinacoteca do Estado de São Paulo, São Paulo, 2014
Librería: Caixa Baixa, Florianopolis, SC, Brasil
Libro
Encuadernación de tapa blanda. Condición: Como Nuevo. Edição Facsimilar do catálogo da mostra Projeto Construtivo Brasileiro na Arte. 356 páginas. Acompanha uma pequena separata com textos de Aracy Amaral, Ivo Mesquita e Claudio Filus.
Publicado por Kingsland Prospect Press Ltd., London, 1964
Librería: William Allen Word & Image, London, Reino Unido
Paperback. Condición: Good only. Book. 265 x 210 mm, 64 pp. in printed stapled wraps. Front cover image ('Portrait of Andree Dantu by Richard Hardwick: three phases of a Dantu polaroid light mobile') in colour, contents illustrated with both colour and b/w images. Three issues of Image (usually a 'careers' magazine for young graduates) were effectively taken over by important Cambridge academics of the day, all with a specific interest in concrete poetry and kinetic art: Philip Steadman, Stephen Bann and Reg Gadney. The issues of Image dedicated to kinetic and concrete poetry were particularly noteworthy for their commitment to translation and reprinting 'lost' texts, an imaginative use of layout and photography, and enlightening academic essays on their given subjects. This particular issue is entirely dedicated to kinetic art and concrete poetry (as the title suggests), and the editorial (which is idiosyncratically placed in the middle of the publication) reads: 'This issue of IMAGE is largely devoted to Kinetic Art: art, that is, incorporating real movement as opposed to the painted or static illusion of movement.' It is illustrated with a photograph of the editors and contributors - Stephen Bann, Reg Gadney, Frank Popper, Phil Steadman and Citroen - strolling through Paris. The issue features an essay by the concrete poetry specialist Stephen Bann, entitled 'Communication and Structure in Concrete Poetry', which comes with a reprinted letter from Ian Hamilton Finlay to Pierre Garnier, dated September 17th 1963. Translated by Bann are extracts from 'Manifesto for a new poetry, visual and phonic' by the concrete poet Pierre Garnier: 'The word is an element. / The word is a material. / The word is an object.' Also included in this section is a manifesto by Eugen Gomringer, entitled 'from line to consideration', and translated by Mike Weaver. It was 'first printed in augenblick no 2 agis verlag baden-baden 1954'. Works by Augusto de Campos, Ronaldo Azeredo, Decio Pignatari and Haraldo de Campos are also reprinted here. The second academic essay featured is a text by Mike Weaver entitled 'Concrete and Kinetic: the poem as Functional Object', which is illustrated with reproduced typestracts by Dom Sylvester Houedard. Also featured is a text by the editor Philip Steadman, entitled 'Colour Music and the Art of Lumia, and an essay by Reg Gadney entitled 'An Introduction: Kinetic Art', which is illustrated with images of works by Alexander Calder and Alexander Schoffer's Chronus sculptures. There are artist profiles of Frank Malina (by Reg Gadney); Gregoria Vardanega (by Stephen Bann); Martha Boto (by R.G); J-M. Cruxent (by S.B); Andree Dantu (by R.G); Knud Hvidberg and William Soya (by R.G); Nino Calos (by R.G). Condition: some wear to covers, mark to back cover, 1 page (p.37/38) is loose from the binding though all pages are present, priced accordingly.
Softcover. Condición: Gut. 8 Seiten. Original-Kartoniert. - (Serielle Manifeste, III) - Erschien in einer limitierten und nummerierten Auflage von 1000 Exemplaren. - 8 pp. Original paperback. - (Serielle Manifeste, III) - Published in a limited and numbered edition of 1000 copies.
Publicado por Faculdade de Filosofia, Ciências e Letras de Assis, 1963
Librería: Biblioteca de Babel, São Paulo, SP, Brasil
Libro Original o primera edición
Soft cover. Condición: Very Good. 1st Edition. 23x15cm, 666p. With the most important names of Brazilian literary scene. [corr].
Publicado por UIA-Artes de México, 1999
Librería: Datura, Ciudad de México, CDMX, México
Libro Original o primera edición
Encuadernación de tapa blanda. Condición: Muy bien. 1ª Edición. Una amplia antología del Movimiento de Poesía Concreta, profusamente ilustrada. Incluye: Poesía; Ensayos y manifiestos; Transcreaciones. 21.5 x 26 cms. 307 págs.
Publicado por Duas Cidades, São Paulo, 1975
Librería: Biblioteca de Babel, São Paulo, SP, Brasil
Libro
Soft cover. Condición: Good. 2nd Edition. In Portuguese. 2a. edição em parte original, contém dois textos não presentes na 1a. edição de 1965. Capa com leves desgastes. Manifestos do concretismo. [esq 3 3].
Publicado por Editora Brasiliense, Sao Paulo, 1987
Librería: William Allen Word & Image, London, Reino Unido
Condición: Good +. 155 x 225 mm. 205pp. Printed black and white in wraps printed black and pink. Handling and rubbing to covers, ding to top right and bottom right corners of recto.
Publicado por Codigo, Salvador, Bahia, Brazil, 1980
Librería: William Allen Word & Image, London, Reino Unido
Original o primera edición
Condición: Very good +. Erthos Albino de Souza (ed.), 'Codigo 4', Salvador, Bahia, 1980. 245 x 220 mm. 40pp unpaginated, invisible bound printed black and orange on cream, printed black on white stock. Front cover by Regina Silveira with Codigo emblem top left, back cover by Julio Plaza. Contributors include: Aldo Fortes, Alice Ruiz, Augusto de Campos, Antonio Riserio, Caetano Veloso, Decio Pignatari, Duda Machado, Haroldo de Campos, Ines Oseki-Depre, Jose Lino Grunewald, Nelson Ascher, Paulo Leminski, Pedro Xisto, Pericles Cavalcante, Regis Bonvicino, Vinicius Dantas, translation and note on Allen Ginsberg poem by Duda Machado and Regis Bonvicino, E.E. Cummings translated also by Machado, translation of Yoko Ono poems by Monica Costa. Edited by Erthos Albino de Souza in Salvador, Brazil, 'Codigo' can be considered as a significant South American concrete poetry periodical. It was also one of the most long-standing, remaining in circulation from the late 1970s until 1990. Though not widely known the quality and importance of this periodical is apparent from its contributors and content. Codigo, as a Noigandres-based periodical can be seen as a natural progression from the earlier Noigandres and Invenção publications. In total 12 issues were published. All of issues feature the circular Codigo logo designed by Augusto de Campos on cover or inside cover. Text in Portuguese. Condition: wear to spine, including 20mm closed tear(no paper missing), slight wear to edges of covers and minor toning to the edges of some pages. Very good+.
Publicado por Kingsland Prospect Press Ltd., London, 1964
Librería: William Allen Word & Image, London, Reino Unido
Paperback. Condición: Near fine. Book. 265 x 210 mm, 64 pp. in printed stapled wraps. Front cover image ('Portrait of Andree Dantu by Richard Hardwick: three phases of a Dantu polaroid light mobile') in colour, contents illustrated with both colour and b/w images. Three issues of Image (usually a 'careers' magazine for young graduates) were effectively taken over by important Cambridge academics of the day, all with a specific interest in concrete poetry and kinetic art: Philip Steadman, Stephen Bann and Reg Gadney. The issues of Image dedicated to kinetic and concrete poetry were particularly noteworthy for their commitment to translation and reprinting 'lost' texts, an imaginative use of layout and photography, and enlightening academic essays on their given subjects. This particular issue is entirely dedicated to kinetic art and concrete poetry (as the title suggests), and the editorial (which is idiosyncratically placed in the middle of the publication) reads: 'This issue of IMAGE is largely devoted to Kinetic Art: art, that is, incorporating real movement as opposed to the painted or static illusion of movement.' It is illustrated with a photograph of the editors and contributors - Stephen Bann, Reg Gadney, Frank Popper, Phil Steadman and Citroen - strolling through Paris. The issue features an essay by the concrete poetry specialist Stephen Bann, entitled 'Communication and Structure in Concrete Poetry', which comes with a reprinted letter from Ian Hamilton Finlay to Pierre Garnier, dated September 17th 1963. Translated by Bann are extracts from 'Manifesto for a new poetry, visual and phonic' by the concrete poet Pierre Garnier: 'The word is an element. / The word is a material. / The word is an object.' Also included in this section is a manifesto by Eugen Gomringer, entitled 'from line to consideration', and translated by Mike Weaver. It was 'first printed in augenblick no 2 agis verlag baden-baden 1954'. Works by Augusto de Campos, Ronaldo Azeredo, Decio Pignatari and Haraldo de Campos are also reprinted here. The second academic essay featured is a text by Mike Weaver entitled 'Concrete and Kinetic: the poem as Functional Object', which is illustrated with reproduced typestracts by Dom Sylvester Houedard. Also featured is a text by the editor Philip Steadman, entitled 'Colour Music and the Art of Lumia, and an essay by Reg Gadney entitled 'An Introduction: Kinetic Art', which is illustrated with images of works by Alexander Calder and Alexander Schoffer's Chronus sculptures. There are artist profiles of Frank Malina (by Reg Gadney); Gregoria Vardanega (by Stephen Bann); Martha Boto (by R.G); J-M. Cruxent (by S.B); Andree Dantu (by R.G); Knud Hvidberg and William Soya (by R.G); Nino Calos (by R.G). Condition: near fine (contents fine minor rubbing to covers).
Publicado por Sao Paulo, 2008
Librería: William Allen Word & Image, London, Reino Unido
Condición: Fine. Lenora de Barros, João Bandeira (org), Poesia Concreta: o projecto verbicovisual, Artemeios, Sao Paulo, 2008. 300 x 233 mm. Book, 256 pp. Printed in colour, glue bound in colour printed wraps. A comprehensive reference book on the Brasilian concrete poetry project. Texts in English and Portugese, include Texts: Plano Piloto para Poesia Concreta; Haroldo de Campos: A obra está aberta, Poesia e Modernidade; Augusto de Campos: Poesia Concreta, Pós-Música: Ouviar as pedras; Décio Pignatari: Nova Poesia: Concreta, Por um Design Brasileiro; José Lino Grunewald: Reto, Direto e Concreto; Carlos Adriano: A Promeira entrevista de Ronaldo Azeredo; + Gonzalo Aguilar, Antonio Riserio, Kenneth Goldsmith, Carlos Avila, Livio Tragtenberg. Includes CD on concrete poetry and music. Sealed copy. Condition: Fine Heavy item, extra postage required.
Publicado por Cultrix, 2006
ISBN 10: 8531600014ISBN 13: 9788531600012
Librería: LibreriaElcosteño, Ciudad de Buenos Aires, BA, Argentina
Libro
Tapa Blanda. Condición: Bien. IMAGENES: En caso que no exista imagen de tapa. no dude en solicitarla. Ejemplar Usado, puede (o no) contener signos de uso como firma, anotaciones o subrayados, consultenos para mayor informacion del estado.
Publicado por Indiana University Press, 1970
Librería: The Idea of the Book, Portland, OR, Estados Unidos de America
Soft cover. Condición: Very Good. Softcover 4to in illustrated wrappers with pages printed in black and white, several plates in color, and one tipped in foldout. 312 pp. To which is added an 8 x 8" three-panel pamphlet printed in black on recto and verso. A comprehensive global survey of concrete poetry edited by the inimitable Mary Ellen Solt. With contributions by Edgardo Antonio Vigo, Augusto and Haroldo de Campos, Edgard Braga, Décio Pignatari, Pedro Xisto, Claus Bremer, Max Bense, Paul de Vree, Hansjörg Mayer, Franz Mon, Ferdinand Kriwet, Ernst Jandl, Diter Rot (Dieter Roth), Ladislav Novák, Öyvind Fahlström, Pierre and Ilse Garnier, Henri Chopin, Julien Blaine, Jean-François Bory, Arrigo Lora-Totino, Adriano Spatola, E. M. de Melo e Castro, Salette Tavares, Ian Hamilton Finlay, Dom Sylvester Houédard (dsh), John Furnival, Robert Lax, and Emmett Williams among several others. Includes an expansive introduction by Mary Ellen Solt, manifestos and statements about concrete poetry by various artists, and short biographies of each contributing artist. Also includes a laid in program of the exhibition held at Indiana University in February 1970 titled 'expose: concrete poetry.' Cover panel illustrated with a concrete poem by Aram Saroyan, and inside panels with an essay on the topic of concrete poetry, a list of contributors organized by country, the exhibition calendar with talk, lectures, and performances, and exhibition credits. Trace amounts of rubbing and wear to covers, including a small black ink mark at left front cover margin, three faint stains at right front cover margin, scattered foxing at top of text block and fore edge, trace amounts of age toning to pages, and a small erasure abrasion at upper right corner of front end paper. Very good. Program with trace amounts of age toning and a faint vertical fold line at middle. Very good.
Librería: LibreriaElcosteño, Ciudad de Buenos Aires, BA, Argentina
Tapa Blanda. Condición: Bien. IMAGENES: En caso que no exista imagen de tapa. no dude en solicitarla. Ejemplar Usado, puede (o no) contener signos de uso como firma, anotaciones o subrayados, consultenos para mayor informacion del estado.
Librería: LibreriaElcosteño, Ciudad de Buenos Aires, BA, Argentina
Tapa Blanda. Condición: Bien. IMAGENES: En caso que no exista imagen de tapa. no dude en solicitarla. Ejemplar Usado, puede (o no) contener signos de uso como firma, anotaciones o subrayados, consultenos para mayor informacion del estado.
Publicado por 196
Librería: LibreriaElcosteño, Ciudad de Buenos Aires, BA, Argentina
Tapa Blanda. Condición: Bien. IMAGENES: En caso que no exista imagen de tapa. no dude en solicitarla. Ejemplar Usado, puede (o no) contener signos de uso como firma, anotaciones o subrayados, consultenos para mayor informacion del estado.
Publicado por Correio Paulistano, 1960
Librería: Caixa Baixa, Florianopolis, SC, Brasil
Libro
Sin Encuadernar. Condición: Aceptable. 2 páginas Invenção publicadas pelo Correio Paulistano. Mais tarde a página daria origem a revista de mesmo nome. Páginas escurecidas. Uma delas possui um desenho à caneta. A outra apresenta desgastes nas dobraduras.
Publicado por Nomuque, São Paulo, 1975
Librería: Caixa Baixa, Florianopolis, SC, Brasil
Libro
Encuadernación de tapa blanda. Condición: Muy Bien. Wears to front covers and general handling marks. Staple rust mark.
Sin Encuadernar. Condición: Bien. 24 X 34 cm (envelope + sacola de plástico transparente) Caderno: 15,5 X 21,5 cm. Offset, tipografia, serigrafia e carimbo Trabalhos acondicionados em envelope. Em diversos formatos: serigrafia, tipografia. 1000 exemplares.
Publicado por Serviço de Propaganda e Expansão Comercial da Embaixada do Brasil, Lisboa, 1962
Librería: The Idea of the Book, Portland, OR, Estados Unidos de America
Original o primera edición
First edition. Softcover 8vo in die cut wrappers printed in yellow and green. Endpapers printed in black on light gray paper, and text printed in black on white paper. 32 + 2 pp. Text in Portuguese. Catalogue issued on the occasion of this 1962 concrete poetry exhibition introducing several Brazilian concrete poets to Portugal and the rest of Europe. Illustrated throughout with works by Augusto de Campos, Décio Pignatari, Haroldo de Campos, José Lino Grünewald, Manuel Bandeira, Marcelo Moura, Pedro, Xisto, Ronaldo Azeredo, and Wladimir Dias Pino. Includes a two-page introduction by the Noigandres Augusto de Campos, Décio Pignatari, and Haroldo de Campos unfolding the foundational principles of concrete poetry and poema/processo. Very good with light foxing to covers, an area of darkening along lower cover margin and front endpaper on account of the die cut cover, trace amounts of age toning to pages, and oxidation to staples.
Publicado por Sao Paulo, Edicoes invencao, 1965
Librería: Libreria Giorgio Maffei, Torino, Italia
Brossura. prima edizione. pp.190. 23x16 cm molto buone (bruniture e ingiallimenti sulla copertina, nessuna mancanza, interno perfetto).
Publicado por Ediciones Invencao, 1965
Librería: Libros del Ayer ABA/ILAB, Santiago, Chile
Libro Original o primera edición
Encuadernación de tapa blanda. Condición: Bien. 1ª Edición. Sao Paulo, Ediciones Invencao: 1965. Rústica, 190 páginas, 23 x 16 cm. 1era edición. Libro en portugués.
Publicado por Edições Invenção,, Sao Paulo, 1965
Librería: William Allen Word & Image, London, Reino Unido
Condición: Very Good. 155 x 238 mm. printed black and white in black and red printed wraps. First edition. Condition: binding in tact but most of spine has disappeared, 10mm closed clear to recto cover. Tanning and spotting, no internal tears.
Publicado por Produzido na Kraft, Communicacao S/C Ltda, Sao Paulo, 1988
Librería: William Allen Word & Image, London, Reino Unido
Condición: Near Fine. 445 x 310 mm, 144 pp., edition of 1500. Large format publication containing full page artist contributions (some printed b&w, some printed colour). Printed red hardback covers with grey and white endpapers that feature a repeated globe-like design. Artists featured include: Paulo Leminski, Leon Ferrari, Duda Machado, Walter Silveira, Augusto de Campos, Edgard Braga, Regis Bonvicino, Alice Ruiz, Jose Lino Grunewald, Decio Pignatari, Helio Oiticica, Jose Agrippino de Paula, Haroldo de Campos, Pedro Xisto, Waly Salamao, Luiz Antonio de Figueiredo et al. Condition: Some foxing and ownership signature to early pages and occasional spotting within but the majority of pages are in near fine condition.
Publicado por s. n. (in terza di copertina: Impreso nas oficìnas aralc | carlos m. teiceira & sobrinhos ltda. | indústria gráfica),, 1956
Librería: Libreria Antiquaria Pontremoli SRL, Milano, MI, Italia
Libro Original o primera edición Ejemplar firmado
São Paulo [San Paolo], s. n. (in terza di copertina: Impreso nas oficìnas aralc | carlos m. teiceira & sobrinhos ltda. | indústria gráfica), 1956, dezembro, Edizione originale. Straordinario esemplare dalla biblioteca del poeta José Escobar Faria, pregiato dalla dedica autografa di tutti i poeti / artisti sulla pagina del colophon: «para escobar faria || cordialmente || h. campos | d. pignatari | augusto | r. azaredo | s. paulo 13. 1. 1957». In seconda di copertina etichetta vintage della «Livraria "Atréia" Editôra Ltda | Praça Ramos de Azevedo, 209 | 1.a Sobre-loja | São Paulo». Traccia di piega appena percettibile all angolo alto del piatto superiore e delle prima ventina di carte; tracce di ruggine alla pinzatura appena visibili sul dorso; una leggera puntinatura interessa molte delle pagine del libro; nel complesso, un più che buon esemplare, quasi ottimo, di questo rarissimo libro. Rarissimo terzo numero della leggendaria rivista del gruppo Noigandres, fondato nel 1952 a San Paolo da Décio Pignatari che aveva origini italiane per parte di entrambi i genitori e dai fratelli De Campos. Come da migliore tradizione, il trio si era conosciuto studiando legge all università, ma nessuno dei tre pensò mai a praticare la professione: erano poeti e avanguardisti. La rivista omonima fu il loro unico strumento di comunicazione. Ne uscirono solo cinque numeri con cadenza assolutamente irregolare e per lo più a distanza di anni tra l uno e l altro: ciascuno di essi è, pertanto, un vero e proprio libro d artista assemblato all insegna della sperimentazione più libera e creativa. I primi due volumi (1952 e 1955) sono in qualche modo gemelli, autoprodotti in tiratura limitatissima (si parla di un centinaio di copie) con copertine identiche (ma l una l inverso dell altra: bianco/nero e nero/bianco) e solo nel secondo di essi comincia a farsi strada la sperimentazione verbovisuale che porterà al concretismo. La poesia concreta nasce ufficialmente l anno successivo, precisamente lanciata in questo numero terzo, un monografico intitolato «Poesia concreta» e lanciato in contemporanea alla seminale «Exposição nacional de Arte concreta» nel dicembre del 1956 al museo di arte moderna di San Paolo. -- La tiratura del terzo numero non è specificata negli studi che si sono occupati di Noigandres ma, come per i due precedenti fascicoli, si tratta di un autoedizione realizzata con scarsi mezzi, carte singole stampate solo recto e pinzate assieme entro una copertina rosso fiammante; l investimento principale fu sulla realizzazione tipografica delle pagine, composte da carte di varia foggia stampate con tecniche diverse, dall offset alla serigrafia: «lo stampatore lavorava con una combinazione di lastre per ciascuna impressione richiesta: da due a sei, più il nero del testo delle poesie, perché non si trattava di una selezione di colori, ma di un impressione separata per ciascuno dei colori» (Khouri, tradotto dal portoghese). Solo con i numeri 4 (1958) e 5 (1962) il gruppo poté permettersi una lavorazione tipografica professionale e tirature appena più cospicue (si parla di un migliaio di copie per fascicolo), tant è che sono gli unici due volumi di «Noigandres» che abbiamo potuto rintracciare in istituzioni pubbliche e private (per esempio alla Fondazione Bonotto). Lo storico Omar Khouri, appassionato collezionista di concretismo, ha scritto nel 2006: «La mia conoscenza delle riviste concretiste è avvenuta per gradi e lentamente, poiché l accesso a tali pubblicazioni era, se non impossibile, molto difficile. [ ] fino al 1975 era praticamente impossibile trovare nelle nostre librerie opere che contenessero poesie concrete. Ho avuto gli ultimi due numeri di "Noigandres" [ ]. Per il resto, ho fortunatamente potuto contare sulla benevolenza degli amici con le loro collezioni private [ ]. In queste riviste, le tirature variavano: da 100 a 1000 copie, il che, sommandosi al trascorrere del tempo, rende queste pubblicazioni delle rarità che entrano nel novero della leggenda» (tradotto dal portoghese). -- Il terzo numero di «Noigandres» vide aggiungersi al trio dei fondatori il giovanissimo poeta carioca Ronaldo Azaredo, la cui suite «mínimo múltiplo comun» chiude il libro, aperto da «vértebra» di Pignatari, «anovelo» di Augusto e «o âmago do ômega» di Haroldo De Campos tutto rigorosamente in minuscolo, come insegnava Max Bill. Pignatari compone dei calligrammi piuttosto classici, utilizzando tutto il campionario del genere, comprese alcune soluzioni parolibere come l uso di caratteri e corpi tipografici diversi. Augusto De Campos costruisce forme più identificabili, come gli antichi carmina figurata, ma poi diventa completamente originale ruotando il senso di composizione da orizzontale a verticale e introducendo i colori a dotare specialmente singole parole o frasi di un ulteriore livello semantico e tonale. «Il culmine è Haroldo de Campos con "o âmago do ômega", una serie di poesie stampate in bianco su fondo nero» (Khouri) tramite doppia colorazione del fondo successivamente sovrastampato col bianco (che riesce pertanto grigio chiaro) in una soluzione di eccezionale impatto visivo. Non esagera Khouri quando scrive che «a poesia concreta revolucionou o mundo da poesia»: a metà degli anni cinquanta la neo-avanguardia era ancora in embrione un po in tutto il mondo, la tragedia della seconda guerra mondiale aveva spazzato via le sperimentazioni poetiche delle avanguardie storiche, che in Brasile, peraltro, avevano attecchito poco e male. Le straordinarie sperimentazioni visive dei poeti di Noigandres, fondatori del concretismo brasiliano, funsero da innesco per la ripresa dell avanguardia poetica nel secondo Novecento. Bibl. Khouri, Noigrandes e Invençaõ revistas porta-vozes da Poesia Concreta (Facom 16, 2ndo semestre de 2006, pp. 20-33), p. 26. in 8° (230 x 160 mm), legatura a punto metallico con copertina in cartoncino stampato in nero su fondo rosso al solo piatto superiore, [60] carte (ovvero [120] pagine) di d.