#fredericacquaviva — Public Fediverse posts

new issue of ‘oei’ – lettrists & photography

New issue of OEI – Lettrists & Photography
Support OEI by subscribing: https://natverkstan.premium.se/tidskrift/oei

OEI #106–107: Lettrists & Photography (336 pages) is, which is indeed a remarkable fact, the first large-scale synthesis of Lettrist photography as a precise ‘system’. And not least given the often stunning – visual and conceptual – intensity of many of these innovative works, which haven’t lost their relevance and still haven’t received the attention they would merit.
https://www.oei.nu/w/3.html

OEI #106–107: Lettrists & Photography presents the universe of the Lettrist movement’s engagement with photography from the 1950s up until 2013 in three encompassing chapters written by Frédéric Acquaviva. It reproduces around 430 photographic works and documents, and also includes English translations of texts by and interviews with Isidore Isou, Maurice Lemaître and Frédérique Devaux.

“The first phase was to call photography into question. Through scratches and tears, the surface of the image was worked on, transformed within itself. This is the chiselling stage. Then we propose Lettrist photography, which transforms the old object into a letter or sign, redefining it as a simple particle in a system of elements that has become the alphabet of a new script. Hypergraphic photography goes even further, using any sign or graphic design to create a poly-writing system resulting in billions of characters, existing, artificial or new. Going even further, in 1956 our movement introduced infinitesimal photography, creating works composed of elements that exist only insofar as they allow us to imagine other elements, non-existent or possible. Each element must make us think of other elements. Infinitesimal photography is made up of billions of pieces of virtual data!
Then, in 1960, the Lettrist movement unveiled a new dimension: supertemporal photography. With supertemporal photography, I offer a framework within which each viewer can act in his or her own way. Far superior to today’s happenings it has no time limit. The image is forever open to new amateurs who erase or continue what has already been done on the photograph by previous amateurs. It’s a work that has been going on for centuries! This is our creation in photography. […] We amuse ourselves at the level at which things are done, and we see them twenty years ahead of time. To say that Lettrist photography doesn’t exist is to say that no photograph exists …”
(Isidore Isou, 1973)

OEI #106–107: Lettrists & Photography
336 pages, Frédéric Acquaviva (Ed.), 2025
ISSN: 1404-5095
ISBN: 978-91-88829-40-5

#FrédéricAcquaviva #FrédériqueDevaux #IsidoreIsou #lettrists #LettristsPhotography #MauriceLemaître #OEI #photography

new issue of ‘oei’ – lettrists & photography

New issue of OEI – Lettrists & Photography
Support OEI by subscribing: https://natverkstan.premium.se/tidskrift/oei

OEI #106–107: Lettrists & Photography (336 pages) is, which is indeed a remarkable fact, the first large-scale synthesis of Lettrist photography as a precise ‘system’. And not least given the often stunning – visual and conceptual – intensity of many of these innovative works, which haven’t lost their relevance and still haven’t received the attention they would merit.
https://www.oei.nu/w/3.html

OEI #106–107: Lettrists & Photography presents the universe of the Lettrist movement’s engagement with photography from the 1950s up until 2013 in three encompassing chapters written by Frédéric Acquaviva. It reproduces around 430 photographic works and documents, and also includes English translations of texts by and interviews with Isidore Isou, Maurice Lemaître and Frédérique Devaux.

“The first phase was to call photography into question. Through scratches and tears, the surface of the image was worked on, transformed within itself. This is the chiselling stage. Then we propose Lettrist photography, which transforms the old object into a letter or sign, redefining it as a simple particle in a system of elements that has become the alphabet of a new script. Hypergraphic photography goes even further, using any sign or graphic design to create a poly-writing system resulting in billions of characters, existing, artificial or new. Going even further, in 1956 our movement introduced infinitesimal photography, creating works composed of elements that exist only insofar as they allow us to imagine other elements, non-existent or possible. Each element must make us think of other elements. Infinitesimal photography is made up of billions of pieces of virtual data!
Then, in 1960, the Lettrist movement unveiled a new dimension: supertemporal photography. With supertemporal photography, I offer a framework within which each viewer can act in his or her own way. Far superior to today’s happenings it has no time limit. The image is forever open to new amateurs who erase or continue what has already been done on the photograph by previous amateurs. It’s a work that has been going on for centuries! This is our creation in photography. […] We amuse ourselves at the level at which things are done, and we see them twenty years ahead of time. To say that Lettrist photography doesn’t exist is to say that no photograph exists …”
(Isidore Isou, 1973)

OEI #106–107: Lettrists & Photography
336 pages, Frédéric Acquaviva (Ed.), 2025
ISSN: 1404-5095
ISBN: 978-91-88829-40-5

#FrédéricAcquaviva #FrédériqueDevaux #IsidoreIsou #lettrists #LettristsPhotography #MauriceLemaître #OEI #photography

new issue of ‘oei’ – lettrists & photography

New issue of OEI – Lettrists & Photography
Support OEI by subscribing: https://natverkstan.premium.se/tidskrift/oei

OEI #106–107: Lettrists & Photography (336 pages) is, which is indeed a remarkable fact, the first large-scale synthesis of Lettrist photography as a precise ‘system’. And not least given the often stunning – visual and conceptual – intensity of many of these innovative works, which haven’t lost their relevance and still haven’t received the attention they would merit.
https://www.oei.nu/w/3.html

OEI #106–107: Lettrists & Photography presents the universe of the Lettrist movement’s engagement with photography from the 1950s up until 2013 in three encompassing chapters written by Frédéric Acquaviva. It reproduces around 430 photographic works and documents, and also includes English translations of texts by and interviews with Isidore Isou, Maurice Lemaître and Frédérique Devaux.

“The first phase was to call photography into question. Through scratches and tears, the surface of the image was worked on, transformed within itself. This is the chiselling stage. Then we propose Lettrist photography, which transforms the old object into a letter or sign, redefining it as a simple particle in a system of elements that has become the alphabet of a new script. Hypergraphic photography goes even further, using any sign or graphic design to create a poly-writing system resulting in billions of characters, existing, artificial or new. Going even further, in 1956 our movement introduced infinitesimal photography, creating works composed of elements that exist only insofar as they allow us to imagine other elements, non-existent or possible. Each element must make us think of other elements. Infinitesimal photography is made up of billions of pieces of virtual data!
Then, in 1960, the Lettrist movement unveiled a new dimension: supertemporal photography. With supertemporal photography, I offer a framework within which each viewer can act in his or her own way. Far superior to today’s happenings it has no time limit. The image is forever open to new amateurs who erase or continue what has already been done on the photograph by previous amateurs. It’s a work that has been going on for centuries! This is our creation in photography. […] We amuse ourselves at the level at which things are done, and we see them twenty years ahead of time. To say that Lettrist photography doesn’t exist is to say that no photograph exists …”
(Isidore Isou, 1973)

OEI #106–107: Lettrists & Photography
336 pages, Frédéric Acquaviva (Ed.), 2025
ISSN: 1404-5095
ISBN: 978-91-88829-40-5

#FrédéricAcquaviva #FrédériqueDevaux #IsidoreIsou #lettrists #LettristsPhotography #MauriceLemaître #OEI #photography

new issue of ‘oei’ – lettrists & photography

New issue of OEI – Lettrists & Photography
Support OEI by subscribing: https://natverkstan.premium.se/tidskrift/oei

OEI #106–107: Lettrists & Photography (336 pages) is, which is indeed a remarkable fact, the first large-scale synthesis of Lettrist photography as a precise ‘system’. And not least given the often stunning – visual and conceptual – intensity of many of these innovative works, which haven’t lost their relevance and still haven’t received the attention they would merit.
https://www.oei.nu/w/3.html

OEI #106–107: Lettrists & Photography presents the universe of the Lettrist movement’s engagement with photography from the 1950s up until 2013 in three encompassing chapters written by Frédéric Acquaviva. It reproduces around 430 photographic works and documents, and also includes English translations of texts by and interviews with Isidore Isou, Maurice Lemaître and Frédérique Devaux.

“The first phase was to call photography into question. Through scratches and tears, the surface of the image was worked on, transformed within itself. This is the chiselling stage. Then we propose Lettrist photography, which transforms the old object into a letter or sign, redefining it as a simple particle in a system of elements that has become the alphabet of a new script. Hypergraphic photography goes even further, using any sign or graphic design to create a poly-writing system resulting in billions of characters, existing, artificial or new. Going even further, in 1956 our movement introduced infinitesimal photography, creating works composed of elements that exist only insofar as they allow us to imagine other elements, non-existent or possible. Each element must make us think of other elements. Infinitesimal photography is made up of billions of pieces of virtual data!
Then, in 1960, the Lettrist movement unveiled a new dimension: supertemporal photography. With supertemporal photography, I offer a framework within which each viewer can act in his or her own way. Far superior to today’s happenings it has no time limit. The image is forever open to new amateurs who erase or continue what has already been done on the photograph by previous amateurs. It’s a work that has been going on for centuries! This is our creation in photography. […] We amuse ourselves at the level at which things are done, and we see them twenty years ahead of time. To say that Lettrist photography doesn’t exist is to say that no photograph exists …”
(Isidore Isou, 1973)

OEI #106–107: Lettrists & Photography
336 pages, Frédéric Acquaviva (Ed.), 2025
ISSN: 1404-5095
ISBN: 978-91-88829-40-5

#FrédéricAcquaviva #FrédériqueDevaux #IsidoreIsou #lettrists #LettristsPhotography #MauriceLemaître #OEI #photography

new issue of ‘oei’ – lettrists & photography

New issue of OEI – Lettrists & Photography
Support OEI by subscribing: https://natverkstan.premium.se/tidskrift/oei

OEI #106–107: Lettrists & Photography (336 pages) is, which is indeed a remarkable fact, the first large-scale synthesis of Lettrist photography as a precise ‘system’. And not least given the often stunning – visual and conceptual – intensity of many of these innovative works, which haven’t lost their relevance and still haven’t received the attention they would merit.
https://www.oei.nu/w/3.html

OEI #106–107: Lettrists & Photography presents the universe of the Lettrist movement’s engagement with photography from the 1950s up until 2013 in three encompassing chapters written by Frédéric Acquaviva. It reproduces around 430 photographic works and documents, and also includes English translations of texts by and interviews with Isidore Isou, Maurice Lemaître and Frédérique Devaux.

“The first phase was to call photography into question. Through scratches and tears, the surface of the image was worked on, transformed within itself. This is the chiselling stage. Then we propose Lettrist photography, which transforms the old object into a letter or sign, redefining it as a simple particle in a system of elements that has become the alphabet of a new script. Hypergraphic photography goes even further, using any sign or graphic design to create a poly-writing system resulting in billions of characters, existing, artificial or new. Going even further, in 1956 our movement introduced infinitesimal photography, creating works composed of elements that exist only insofar as they allow us to imagine other elements, non-existent or possible. Each element must make us think of other elements. Infinitesimal photography is made up of billions of pieces of virtual data!
Then, in 1960, the Lettrist movement unveiled a new dimension: supertemporal photography. With supertemporal photography, I offer a framework within which each viewer can act in his or her own way. Far superior to today’s happenings it has no time limit. The image is forever open to new amateurs who erase or continue what has already been done on the photograph by previous amateurs. It’s a work that has been going on for centuries! This is our creation in photography. […] We amuse ourselves at the level at which things are done, and we see them twenty years ahead of time. To say that Lettrist photography doesn’t exist is to say that no photograph exists …”
(Isidore Isou, 1973)

OEI #106–107: Lettrists & Photography
336 pages, Frédéric Acquaviva (Ed.), 2025
ISSN: 1404-5095
ISBN: 978-91-88829-40-5

#FrédéricAcquaviva #FrédériqueDevaux #IsidoreIsou #lettrists #LettristsPhotography #MauriceLemaître #OEI #photography

cipm: 8 mars, finissage de l’exposition al dante

rencontre, finissage de l’exposition Al Dante
samedi 8 mars 2025 de 15h à 18h

AL DANTE : FIN DE RAOUT

Frédéric Acquaviva, Amandine André, A.C. Hello, Philippe Simon, Benjamin Fouché, Jean-Marie Gleize, Virginie Lalucq

Un programme de lectures, performances et concert acousmatique mis au point avec Laurent Cauwet et Stéphane Nowak Papantoniou pour clore la séquence du grand raout Al Dante.

Remerciements au GMEM pour sa très amicale participation technique.

Au programme de la journée : 

• Frédéric Acquaviva
« Bonjour Frédéric. Je viens de finir d’écouter “No Soy Un Robot” et c’est inouï. Bien sûr mon commentaire n’a pas beaucoup de valeur car je ne connais rien à la musique en général et contemporaine encore moins. Mais alors que j’ai mis le disque tout en consultant mes mails et autres bidouilleries sur ordinateur, je me suis surpris à tout arrêter et écouter. Je me suis mis à entendre une sorte de vocabulaire des sons. C’est très interessant, marrant, curieux, grave vivant. Quand tout s’est arrêté “No Soy Un Robot” Frédéric Acquaviva, j’ai encore entendu… le son du vieux lecteur de CD, puis quand il s’est mis en pause, mes accouphènes. Bref, merci de partager ce monde sonore singulier. »
E-mail de Fap Eyla,
poète et directeur de Frichez-nous la paix, Paris
• Amandine André
Lecture.

• Micheline (A. C. Hello, Philippe Simon)
« “Micheline est un projet musical avant-gardiste né de la collaboration entre Philippe Simon, musicien noise, et Anne-Claire Hello, liclutréuf c-eoedmr puphfila onaidéconstruit la narration à travers le sampling. Ce groupe s’inspire de l’histoire vraie de Micheline, née en 1944 et décédée en 1964, dont la vie tumultueuse et tragique résonne profondément avecu’linjrhvivr  mmianmeaa ie aetrohmi srttieuugqi  oreieurjsltcss’sifpnl,gqtsleetii ,hmincildeir esevvae eFmv,oiflruopaceeiuosaemol  nn,dinuseuoju ar ltrpae nurnsoe  ilvcde ceitrhqubl  cmo pe  utn qsooei”,onsle irlaeh dnrmqeeio  iasciltidv letaiugmioc iassen netpho foqpc excoisnmoi hln lttennccar llisoioejqmsi fsomoise eonu cepi’hmuitg,h .leem eohtn i sumdle es ehirveth o,”la tioesrsucofse  aisapim – irf ilrosretsroe iohtnshtelu ecd ob nrns  ghr . […]si vous si et si moi et vite si et si et si et si si si si si si si si si si si si si si si si si si si si si si si si si si si si si si si – et si seulement lorsqu’on voyage dans un fragment de crâne ?“»
A. C. Hello
• Benjamin Fouché
Lecture d’extraits de ses deux premiers livres (Du concept de féerie, 2022, Merveilles du monde, 2024) ainsi que de travaux en cours. Les textes évoqueront diverses figures de la littérature pour enfants (Peau d’Ane, Cendrillon, Max et les maximonstres, etc.)

• Jean-Marie Gleize
Lecture.

• Virginie Lalucq
Sans trop en dévoiler, Virginie Lalucq* dira :
Rhapsodie Napalm (extrait de Placide Molotov)
+ « On n’sait plus qui est qui, on n’sait plus quoi est quoi
Qui est qui, quoi est quoi »
(Essai de contre-rituel poétique) =
20
*Antiphagocytaire à poésie.

CIPM
Centre international de poésie
centre de la Vieille Charité
2, rue de la Charité13002 Marseille

#ACHello #AlDante #AmandineAndré #AnneClaireHello #BenjaminFouché #experimentalWriting #FrédéricAcquaviva #GMEM #JeanMarieGleize #LaurentCauwet #lectures #Micheline #PhilippeSimon #reading #StéphaneNowakPapantoniou #VirginieLalucq