15 Unedited Poems
Mario Diacono
1974
15 Unedited Poems
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This rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue Italian Visual Poetry (Finch College Museum, New ...
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15 Unedited Poems
Mario Diacono
1974
Montréal: Véhicule Art (Montréal) Inc.
Unpaginated [40 pages]
24.7 × 17.5 cm
Edition of 232; numbered 81/232

This rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue Italian Visual Poetry (Finch College Museum, New York, 1973):
"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications..."


 


Since the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.


 


The book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.

Montréal: Véhicule Art (Montréal) Inc.
Unpaginated [40 pages]
24.7 × 17.5 cm
Edition of 232; numbered 81/232

This rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue Italian Visual Poetry (Finch College Museum, New York, 1973):
"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications..."

 

Since the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.

 

The book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.

DESCRIPTION

This rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue Italian Visual Poetry (Finch College Museum, New York, 1973):
"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications..."

 

Since the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.

 

The book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.

Montréal: Véhicule Art (Montréal) Inc.
Unpaginated [40 pages]
24.7 × 17.5 cm
Edition of 232; numbered 81/232

This rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue Italian Visual Poetry (Finch College Museum, New York, 1973):
"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications..."

 

Since the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.

 

The book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.

MORE BOOKS

This rare artist's book is accompanied by the original promotional leaflet containing a brief biography of Mario Diacono and a quotation from Luigi Ballerini's introduction to the catalogue Italian Visual Poetry (Finch College Museum, New York, 1973):
"Mario Diacono is one of those who have carried extralinguistic research to its farthest possible implications..."

 

Since the late 1950s, Diacono has been actively engaged with concrete and non-verbal poetry, while participating in the development of the new artistic avant-gardes in both Italy and the United States. This remarkable publication may be read either as a sequence of fifteen autonomous poems or as a single composition whose interdependent pages form a visual, rather than textual, novel.

 

The book unfolds as a rigorously structured sequence of descending square word grids, progressing from 15 × 30 words to 14 × 28, 13 × 26, and so forth, until the composition dissolves into a final grid of only 1 × 2 words. At once poetic and mathematical, this gradual reduction embodies the principles of concrete poetry, in which visual structures become the primary vehicle of meaning.

MORE BOOKS