Comunicação apresentada por Bruno Ministro em “II Jornades Internacionals de Poesia: arxius, poètiques, recepcions” sobre electrografia portuguesa. [Tecto. Ligações]
Universidade de Barcelona / MACBA, 27 e 28 de outubro de 2016. + info @ http://jornadespoesia2016.mydocumenta.com/
Abstract > This paper is part of the ongoing research for my PhD thesis entitled Every Copy is Original: Electrography and Copy Art in Portugal. The goal here, in this presentation, is to try to reflect upon the place of Electrography and Copy Art within the history of Portuguese Experimental Literature. As such, the question that will lead this reflection is: Can Electrography and Copy Art be considered as an extension of Experimental Literature practices?
As hybrid artefacts, Electrography and Copy Art (both terms mean the same and are interchangeable) deal with experimental uses of word and image. These objects are characterized by the exploration of the self-reflexivity of the medium. Electrography, developed through the expressive use of the photocopier machine, introduce us to forms that go beyond the paper materiality, embracing various media and languages. To a certain extent, Copy Art works resembles Visual Poetry and other intersignic and intermedial forms fitting in the radiant constellation of radical experimental objects. Thus, the affinities and differences between Copy Art and Experimental Literature will be discussed, questioning if Copy Art represents or not a particular poetic form within the experimental scene.
The Electrography and Copy Art Collection (hosted by the Digital Archive of PO.EX, work in progress) will be used in order to show particular examples of works created by Portuguese Copy Artists, such as António Aragão, António Dantas, António Nelos and César Figueiredo.
Creative works cited or analyzed >
- António Aragão, Electrografia 1 (1990)
- António Dantas, [PÂNICO] (1987)
- António Dantas, [sentado quo / statu cus] (1981)
- António Nelos, PRAVDA (1993)
- César Figueiredo, from the desk (2007)