Published by the artist, Rio de Janeiro, Brazil. Printed brown envelope. Complete with original Virgula emblem printing block, as used for all Virgula envelopes. All folding and single sheets c. 220 x 160 mm.
Edited by Wlademir Dias-Pino, one of the founders of concrete poetry. Assembling magazine in printed envelope – the contents varied in each issue. Contributors include: Dailor Varela, Neide Sa, PJ. Ribeiro, Anchieto Fernandes, Sanderson Negreiros, Alderico Leandro, Sebastiao de Carvalho Leonaro de Castro, Ronaldo Werneck, Falves Silva and Dias-Pino himself. No date given but this publication was published in 1972 – the final year of the process/poem movement (the movement that Dias-Pino founded in 1967 – it can be seen as a fanfare of this important Brazilian Avant Garde genre).
Includes: Wlademir Dias-Pino, ‘Limit Situation: Distinctions and Consequences’ – a manifesto in English signed by Dias-Pino in red felt top pen; P.J.Ribeiro, ‘Ubi Troia Fuit’; Clemente Padin, Untitled visual poem; Neide Sá, ‘Transparência’; Dailor Varela, ‘Opinião - 70’; Neide Sá, Visual poems printed on blue and cream stock (two folded sheets); Wlademir Dias-Pino, ‘3 Gráficos Sobrepostos de A Ave’; Folded sheet with contributions by Nei Leadro de Castro, Anchieta Fernandes, and Dailor Varela; Folded sheet with visual poems by Alderico Leandro and Falves Silva, and a text in Portuguese titled ‘Operação / Poema’ by Sanderson Negreiros; Folded sheet of visual poems, untitled, author unknown.
Brasil Meia Meia, 1966
A collage of the events in Brazil in 1966 drawn from newspaper text and imagery. This was released both as an individual publication as well as being a component of Ponto 1. No edition size given. Thought to be c.200 copies within Ponto 1 and c.100 copies printed as individual booklets. Published by the artist, 1967. Dias-Pino claimed that Noigandres Poesia Concreta was not political enough and also that a concrete poem did not have to involve words. This seminal publication involves purely visual poema processo works alongside strong collage elements reminiscent of the authoritarian military dictatorship that begun in 1964. It comes together with Dias-Pino’s folded and laid-in, signed manifesto titled ‘Limit Situation: Distinctions and Consequences’.
The process poem is both free from structure (word) and from author (psychological).
— Dias-Pino, ‘Limit Situation: Distinctions and Consequences’, 1966
Versão: disciplina para a apropiação, 1956
Printed envelope containing two loose sheets, folded, printed black on white stock. Enclosed are three versions of a work titled ‘Solida’. Published for the 1st Exposição Nacional De Arte Concreta, 1956.
Ponto – Revista de Poemas de Processo, Complete Set, 1967
Numbers 1 and 2 of the seminal journal of the Brazilian Poemas de Processo movement, edited by one of the movement’s founders Wlademir Dias-Pino. Both journals are composed of loose leaf sheets with contributions by the key figures in Brazilian artistic and poetic avant-garde, including Álvaro and and Neide de Sá, Anchieta Fernandes, Moacy Cirne, Dailor Varela, Wlademir Dias-Pino, Jose Luiz Sera, and many others.
A Separação Entre Inscrever e Escrever (Exposição), Catalogo, 1982
Edições do Meio, Cuiabá, 1982. 160 x 220 mm, 224pp, printed black and white in printed wraps. A comprehensively illustrated catalogue produced on the occasion of Dias-Pino’s exhibition organised by the Department of Letters of UFMT, Brasil.