školská 28



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noční pták na noční pták

Stefan Weisser
Fri 10.4. - 18:00

noční pták na noční pták

in 1964 i read Naked Lunch by William S. Burroughs for the first time

in 1969 at California Institute of the Arts i met concrete poet/fluxus artist Emmett Williams
which meeting transformed me as an artist.
on entering C.I.A. i was a drummer who wrote poetry and produced occasional 2 or 3D art pieces
one year later i left, a budding concrete poet specializing in sound and visual poetries
and who, by the way, also no longer considered themselves a drummer

in 1974, when i first began producing large scale vistual poetries
i referred to them as HAGIOGRAMMZ,
a constructed word with a meaning of 'revealed communications'.
revealed then alluding to the visual nature of the written communique.
these visual poems were produced using an extension of the cut-up method,
which was introduced into the cultural sphere by DADAist Tristan Tzara c. 1920

while i eventually became aware of Tzara,
my introduction to the technique was through the work of William S. Burroughs
and his referring to the technique as a means to 'rub out the word'
eventually i discovered that it was the polymath/artist Brion Gysin
who introduced Burroughs to the cut-up concept in 1958
and it was Gysin who was and continues to be a major influence

so while the cut-up technique is defined as:
an aleatory literary technique in which a text is cut up and rearranged to create a new text
i took it one step further, to a cutting up and re-ordering of individual words themselves
bascially because i was producing visual poetries,
so my intention was:
by cutting-up and overlaying multiple renderings of one word
to articulate the visual space within and between its' letters

in 1976 i was working on a process poem to be a score for a performance --
and the process was that i was translating the original words of the poem
into some words from their definitions in the oxford english dictionary --
for example> original word = extra -- replaced by definition = on the outside
and so i looked up context
and BAM! there it was defined as > the weaving together of language
so i immediately stopped working on that piece and made the first CONTEXT
and so rather than overlaying the strips of the pages i had cut up
i began to weave them on both the horizontal and vertical planes

noční pták na noční pták was produced feb 21& 22 2015 at Školská 28
it was produced by the a/v poet S.Weisser
it primarily uses overlaying with a bit of the weaving technique
the source words were taken from emails written by veronika and z'ev
and sent and received in december 2014

25 feb 2015 paris

About the Artist