Augusto De Campos

Linguaviagem, 1967
White card stock printed with blue, green and black text, 250 x 255 mm folded. Printed in an edition of 100 in conjunction with the Brighton Concrete Poetry Festival, 1967. 

Linguaviagem: poemcube by the Brazilian Concrete Poet and founding member of the Noigandres movement, Augusto de Campos. Unfolds to cube shape with three letters screen printed on each side – the outer sides in blue, the inner sides in green. The three letter groupings are LIN / GUA / VIA / GEM. The letter groups combine (as is printed on one page) to make: “LINGUA: tongue / VIA: via / LINGUAGEM: Language / VIAGEM: voyage”. One of De Campos’ most successful and famous poems. A beautiful poetry object/sculpture. Very rare. See Form magazine no.4 (Bann & Steadman) for advert for this item and full listings for the 1967 festival.


Caixa Preta, 1975
Augusto de Campos, Julio Plaza and Caetano Veloso, Edições Invenção, São Paulo, 1975. Edition of 1000. Black and red print on white stock, folded portfolio, 305 x 237 mm.

One of de Campos’s most ambitious publications, published together with Julio Plaza: effectively an exhibition within a portfolio; the mixed-media contents creating numerous paper-sculpture possibilities. Indeed, large-scale versions of VIVA VAIA and Cubogramas Montaveis, originally featured in Caixa Preta, were exhibited in Poesia concreta: o projeto Verbivocovisual (Artemeios, São Paulo, 2008, p. 155 of the catalogue). Caixa Preta (1975) is also richly illustrated in the Poesia concreta catalogue across two pages, showing its contents constructed. The author discusses the significance of Caixa Preta to the development of de Campos’s practice: ‘The kind of work with the visual aspect of the word ‘in concrete parameters: construction, critical intentionality’, with which Augusto de Campos already experimented in his Popcretes of 1964/66 (montages from newspaper clippings…), acquires new dimensions through the poet’s collaborations with another artist, Julio Plaza. Together, they launch Poemobiles (1974) and Caixa Preta (1975), consisting of object-poems that invite the “reader” to handle them.’ (ref: Poesia Concreta: o projeto verbivocovisual, Artemeious, Sao Paulo, Brazil, 2008, p.54). This is one of de Campos’s most sought after publications and despite being an edition of 1000, it is very rare to find.