Klaus Peter Dencker – VISUELLE POESIE [Bände I & II im Schuber]
2 Bde. im Schuber: 29 x 24 cm, 320 + 320 Seiten, zahlr. vierfärbige Abb., Hardcover
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[Mit Beiträgen von Hans Peter Althaus, Gabriele Beger, Heimito von Doderer, Björn Engholm, Bernd Evers, Ulrich Fülleborn, Jochen Gerz, Anselm Glück, Eugen Gomringer, Bob Grumman, Ludwig Harig, Dick Higgins, Ernst Jandl, Dietrich Mahlow, Friederike Mayröcker, Walter Mehring, Franz Mon, Shutaro Mukai, Ladislav Novák, Lamerto Pignotti, Alan Prohm, Thomas Ring, Eino Ruutsalo, Gerhard Schmidt-Henkel, John Solt, Vagn Steen Hiroshi Tanabu, Timm Ulrichs, Christina Weiss, Karl Young und einer kompletten Bibliografie von 1960 bis 2015 aller Veranstaltungen, Ausstellungen und Veröffentlichungen (Print, TV, HF, Schallplatte/CD usw.).]
RezensionenPaula Claire: Your stupendous Publication
Dear Klaus Peter
I have been mulling over the 2-volume publication of your lifetime’s work (up to 2015) you kindly had sent for my Archive from publisher Bibliothek der Provinz.
All we practitioners of visual poetry should rejoice that this major BOOKx2 has been produced; and through the cooperation and support of various German institutions and cultural organisations.
It enhances our subject and gives increased validation to each one of us, both those who have a high profile AND the many that as yet are not properly recognised – women especially have been ignored. However, grievance is a waste of energy and in due course the best will rise.
I love and believe in the BOOK FORM – a tangible concrete reality – as my recent British Library performance of THE BOOK demonstrates, so I am particularly delighted to be able to show this publication to the visitors to my Archive. It is so lavish, handsome, beautifully illustrated.
This does NOT denigrate those who choose the opposite approach: online free publication. My longstanding fellow poet karl kempton has just released through Philip Davenport’s Applepie Editions a lifetime’s study of how visual poetry is not an isolated expression but connects with ways of expressing wordandimage synthesis in cultural and spiritual traditions worldwide throughout history. That phenomenal publication is the other side of the coin. A coin is made of 2 faces. Not either/or but BOTH.
Comments re my favourites from your bookx2. Because I know little German, it is the visual impact I am expressing. Those that appeal to me most show a dynamic relationship between the blank space of the page and the text/images. LW-Sequenz 1996 the 26 letters of the alphabet that all incorporate the Statue of Liberty in an amazing variety of guises and distortions. E, P (the shock of the prawn) and Y the most riveting for me.
Your huge array of PoemObjects are an important addition to this area of visual poetry. In particular I love the stark power of T/RAUM; the eerie quality of the HANDY items and the elegance of MANKIND.
I am committed to the handwritten in visual poetry because it is unique to each person – see my SCRAWL SCRIBBLE SCRIPT I performed at the British Library. In Epigraph to (2010) your variety of straight and curving lines is so expressive, especially as these works are minimalist – what a run pp144/5/6/7.
You rightly challenge the viewer with the combination of weird infantile scribbles and clashing images in von OZ über OZ für OZ andeven more alarming Caput.
Warmest good wishes
[E-Mail von Paula Claire (☞) an Klaus Peter Dencker]