Eterografia
Lamberto Pignotti
1976
Eterografia
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This artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.   The title in Italian, eterografia derives from the Greek roots heteros (other, different) and graphia (writing, inscription), ...
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Eterografia
Lamberto Pignotti
1976
Pollenza-Macerata: La Nuova Foglio Editrice
136 pages
23.7 × 13.3 cm
signed

This artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.


 


The title in Italian, eterografia derives from the Greek roots heteros (other, different) and graphia (writing, inscription), literally meaning "other writing" or "different writing." In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.


 


Prefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.


 


An incisive critique on media manipulation and the instability of meaning, the book reconnects with the “eterografia” explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.

Pollenza-Macerata: La Nuova Foglio Editrice
136 pages
23.7 × 13.3 cm
signed

This artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.

 

The title in Italian, eterografia derives from the Greek roots heteros (other, different) and graphia (writing, inscription), literally meaning "other writing" or "different writing." In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.

 

Prefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.

 

An incisive critique on media manipulation and the instability of meaning, the book reconnects with the “eterografia” explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.

DESCRIPTION

This artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.

 

The title in Italian, eterografia derives from the Greek roots heteros (other, different) and graphia (writing, inscription), literally meaning "other writing" or "different writing." In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.

 

Prefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.

 

An incisive critique on media manipulation and the instability of meaning, the book reconnects with the “eterografia” explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.

Pollenza-Macerata: La Nuova Foglio Editrice
136 pages
23.7 × 13.3 cm
signed

This artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.

 

The title in Italian, eterografia derives from the Greek roots heteros (other, different) and graphia (writing, inscription), literally meaning "other writing" or "different writing." In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.

 

Prefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.

 

An incisive critique on media manipulation and the instability of meaning, the book reconnects with the “eterografia” explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.

MORE BOOKS

This artist's book was published by the same publisher as Fabio Mauri's editions, La Nuova Foglio Editrice.

 

The title in Italian, eterografia derives from the Greek roots heteros (other, different) and graphia (writing, inscription), literally meaning "other writing" or "different writing." In the context of Italian experimental visual poetry, the term refers to forms of writing that move beyond conventional linguistic communication.

 

Prefaced by three brief quotations on the relationship between signifier and signified by Umberto Eco, Angus Fletcher, and Michel Foucault, the book investigates the semantic interplay between text and image. A discerning collector of printed matter and ephemera, Pignotti juxtaposes newspaper and postcard imagery with handwritten interventions that disrupt any immediate correspondence between text and image, transforming their relationship into a semantic inquiry with profound philosophical and political implications.

 

An incisive critique on media manipulation and the instability of meaning, the book reconnects with the “eterografia” explored by other Italian experimental artists, including Eugenio Miccini, Lucia Marcucci, and Mirella Bentivoglio.

MORE BOOKS