Telephone Sem Fio: Word-Things of Augusto de Campos Revisited

November 4—December 17, 2011

Curated by Sharmila Cohen, Paul Legault, and Michelle Levy, with lead consultant Charles Perrone

Jean-Sébastien Baillat
Jen Bervin
Ray Bianchi
Bibi Calderaro
Macgregor Card
Deric Carner
Nico Pam Dick
Brendan Fernandes
Kenneth Goldsmith
Angela Detanico & Rafael Lain
Thessia
Rossana Martinez
Tom Moody
Machado
Benjamin Moreno
Trong Gia Nguyen
Charles Perrone
Steve Savage
Jennifer Schmidt
Dannielle Tegeder
Edwin Torres
Andrea Van Der Straeten

EFA Project Space, in collaboration with Telephone present Telefone Sem Fio: Word-Things of Augusto de Campos Revisted. This exhibition uses the work of the Brazilian poet Augusto de Campos as a catalyst for an experimental multi-disciplinary exercise in which an outstanding group of poets, translators and artists, who exist across a continuum of text, sound and visual expression, invent translations of select examples of De Campos' work.

Augusto de Campos is a poet, translator, music critic, and visual artist whose work emphasizes the direct connections between language, sound, and image. He was one of the originators of Concrete Poetry, an international movement that began in the 1950s and continues to influence the work of musicians, visual artists, and writers today.

EVENTS

November 4, 2011, 7:45 PM
Opening Reception & Performances by Thessia Machado and Nico Pam Dick.

November 11, 2011, 6:00 – 8:00 PM
The Inter-Arts Poetics of Augusto de Campos, A Conversation with Charles A. Perrone and Guests

December 16, 2011, 6:00 – 8:00 PM
A Night of Collaborative Translation

Telefone Sem Fio10.jpg — **Edwin Torres**, *solocoptro,* 2011. Ink on paper.

MEDIA

Press Release

PRESS

Zing Magazine, Interview: Telephone

Bomblog, Telephone Sem Fio

Installation View of Telefone Sem Fio

Rossana Martinez, See the World in Orange and Blue, 2011. Series of momentary performances, orange and blue woodless colored pencils, paint, hands, wall, sketchbook, and paper.

Jennifer Schmidt, Dialogue for Two, 2011. Screen-printed graphics on muslin, 14 ¼ x 12 ¼ inches.

Jennifer Schmidt, Dialogue for Two, 2011. 5 screen-printed posters of a poem written by the artist in response to “Dialogue for Two” by Augusto de Campos, 22 ¼ x 17 ½ inches each.

Edwin Torres, solocoptro, 2011. Ink on paper, 22 x 30 inches.

Benjamin Moreno, Augustocities, 2011. Interactive digital feature.

Andrea van der Straeten, QUASI_without, 2011. Installation of various laser cuts of deli paper and 1:15 minute looping HD video. Dimensions vary.

Installation View of Telefone Sem Fio

Steve Savage & Jean-Sébastien Baillat, Translating Augusto de Campos, 2011. 120 posters (3 with vinyl lettering), 24 x 35 inches each.

Brendan Fernandes, Wandering Speech, 2011. Vinyl on floor, dimensions vary.

Deric Carner, Dialog for Two, 2011. Unique hand-finished inkjet prints and colored gels. 9 x 11 inches each.

Tom Moody, Criptocardiograma Remix, 2011. Animated GIF.

Bibi Calderaro, Piece with No Name, 2011. Installation of a notebook (recycled paper, velum, recycled cardboard, and plastic spiral), 2 industrial fans, table, air, and electricity.

Dannielle Tegeder, In Between the Lines: de Campos Library Project, 2011. Black paper insert into Augusto de Campos’ Paul Valery: a Serpente e o Pensar (page 82), 11 x 9 inches.

In Between the Lines: de Campos Library Project, 2011. Black paper insert into Augusto de Campos’ translation of Vladimir Mayakovsky’s Poemas (page 85), 11 x 9 inches.

In Between the Lines: de Campos Library Project, 2011. Black paper insert into Augusto de Campos’ Poesia Concreta in Brasile (page 23), 16 ¾ x 12 ¾ inches.

In Between the Lines: de Campos Library Project, 2011. Black paper insert into Augusto de Campos’ Poesia 1949 – 1979, 16 ¾ x 12 ¾ inches.

In Between the Lines: de Campos Library Project, 2011. Black paper insert into Lucio Urubatan de Abreu’s Navilouca (page 5), 16 ¾ x 12 ¾ inches.

Trong Gia Nguyen, Campos Anthology, 2011. Rice kernels, mylar, ink, gold paint, 4 x 3 x ¼ inches each.

Kenneth Goldsmith, código, 2011. Ink on paper, QR code, 8 ½ x 11 inches.

Todo o código do Código, 2011. Ink on paper, QR code, 8 ½ x 11 inches.