Noigandres

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Noigandres was a group of Brazilian Concrete Poets , founded in São Paulo in 1952 , originally consisting of Augusto de Campos , Haroldo de Campos and Décio Pignatari . It published a magazine of the same name, later renamed Invenção , and gained further popularity. The concrete poetry in Brazil, the Arte Concreta, is considered an independent movement, as it was largely independent of European developments. It is attributed to the modernism there.

Origin and manifest

The name of the group comes from a word by Ezra Pound , who in turn had taken it from the Provencal troubadour Arnaut Daniel and quoted it in Canto XX, a word with no real meaning, something like "what drives boredom away".

An exhibition on "Arte Concreta" (Concrete Art), the 1st Exposição Nacional de Arte Concreta, took place between 1956 and 1958 in São Paulo and Rio de Janeiro.

In 1958 Noigandres published the manifesto “Plano-piloto para poesia concreta” (German: Leadership plan for concrete poetry ). Max Bense referred to the manifesto and the group in 1965 in his work, Brazilian Intelligence . They invoked the authority of the avant-garde from Mallarmé to James Joyce , Ezra Pound and E. E. Cummings . In addition to the word, concrete painting was important: Piet Mondrian's boogie-woogie picture series and Alexander Calder's mobiles , Anton Webern's timbre melody and Ezra Pound's theory of the ideogram , with which he followed Ernest Fenollosa's theory of the Chinese character. The word should no longer be perceived as a mere bearer of meaning, but in its entirety. It was supposed to become poetic as an artefact, the separation of the signified and the signified was to be abolished in poetry, and phonetic and verbal material of language was to be placed in direct aesthetic relation to the printed surface.

effect

Concrete poetry revolutionized Brazilian poetry. Concrete poetry, as introduced by Noigandres, developed a great influence in the late 1960s on tropicalism artists such as Caetano Veloso , Gilberto Gil , Gal Costa , Chico Buarque , José Carlos Capinam , Jards Macalé and others. a., also to foreign artists such as the floral poems by Mary Ellen Solt . With the Tropicalismo one succeeded in overcoming the ideological trench warfare among the poets. At the same time, Concrete Poetry flowed into modern Brazilian music. Especially since the 1970s, Brazilian concrete poetry has led to a graphic renewal of the word at all levels of society; its innovations have been used in advertising as well as in political propaganda. The influence of Concrete Poetry can still be felt today, with artists like Arnaldo Antunes continuing the tradition.

literature

  • Language in the technical age , vol. 5, no . 15, July – September 1965. Special issue noigandres

Essays

Web links

Individual evidence

  1. ↑ Antologia noigandres do verso à poesia concreta. Grupo Noigandres. Massao Ohno, São Paulo 1.1952 - 5.1962 ( ZDB -ID 2648602-7 )
  2. ↑ Invenção. Revista de arte de vanguardia. ( ZDB ID 1216267-x ).
  3. ^ 1. Exposição Nacional de Arte Concreta , Museu de Arte Moderna, São Paulo, 4. – 18. December 1956, Ministry of Culture and Education, Rio de Janeiro, February 1958.
  4. ↑ Augusto de Campos, Décio Pignatari, Haroldo de Campos: Plano-piloto para poesia concreta . In: Noigandres , No. 4, March 1958. The first number of the magazine, with poems in verse, appeared in 1952. The second edition of February 1955 brought the more radical Poetamenos poems (written from January to July 1953) and theoretical articles in which the expression Concrete poetry is used for the first time.
  5. ↑ Max Bense : Brazilian Intelligence. Limes, Wiesbaden 1965, p. 60.