Ugo Carrega
Ugo Carrega | |
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Born | Genoa, Italy | 17 August 1935
Died | 7 October 2014 Milan, Italy | (aged 79)
Nationality | Italian |
Movement | Visual poetry |
Ugo Carrega (17 August 1935 – 7 October 2014)
Life
Youth and studies
Ugo Carrega was born in
In 1958, Carrega started working with Martino Oberto, and it was through this collaboration that he began his activity as a verbo-visual artist.[3][4] In 1963, he became editor of the magazine Ana eccetera, directed by Martino Oberto and his wife Anna Bontempi.[2] In 1965, he published in the magazine the article Analisi grafica del linguaggio. Rapporto tra il poeta e il suo lavoro, a true theoretical program where he presented his ideas about art and poetry.[2][3][4][5] From literary positions, Carrega proposed the foundation of a new language integrating the alphabetic script with graphical elements of a different nature.[3] The cornerstone of the work of the verbo-visual artist is the written page intended as an "instrument-in-itself-of expression". The elements that form the page are the verbal element and the graphical one, which constitute respectively the "technical relationship" and the "essential relationship" that is tied to the energy of the organization of the written page.
Tool
On the basis of the experience of Ana eccetera, in 1965 Carrega founded the magazine Tool with Rodolfo Vitone, Lino Matti, Vincenzo Accame, Rolando Mignani, and Liliana Landi.[2][3][4][5] Like Ana eccetera, Tool aims to extend the area of writing through an analysis and restructuring of languages, but in a more practical way. The magazine, whose name refers to the tool of the poet, is published in six mimeographed notebooks in which the use of the mimeograph is chosen to give immediate emphasis to the graphical signs. In Tool there will be a concrete elaboration of "symbiotic writing", a form of experimental poetry in which signs of different nature act in a harmonious way.[3][5] Starting from the idea of the "Global Page", an ideal place where writing is enriched by expressions and graphical signs, Carrega defines "symbiotic writing" as a form of writing that visualizes not only an interaction, but a symbiosis between verbal and graphical signs.[3]
In Tool, Carrega lists the six conceptual categories of graphical and verbal expression that freely combine in the space of the white page:
Cultural centers and other magazines
In 1966, Carrega moved to Milan, artistic junction of verbo-visual research.[3][4][5] In 1969, he founded and directed the Centro Suolo (Soil Center), a center for research and sharing of advanced poetry, with Antonio Agriesti, Alfonso Galasso, Giustino Gasbarri, Tomaso Kemeny, and Raffaele Perrotta.[4][5] The center, located in via Morgagni 35 in Milan, aimed to stimulate and promote poetic research through frequent exhibitions. At the Centro Suolo, Carrega organized the first international exhibition of "advanced poetry". The center closed down a few months later. In May 1970, Carrega's works were exhibited for the first time in the Arturo Schwarz gallery in Milan. Since that moment he abandoned his job of translator to work full-time on his art and the promotion of that of fellow visual artists.[3][5] Since the end of the 1960s, he increased his activity of cultural promoter and exhibition organizer with the foundation of other cultural centers dedicated to verbo-visual research.
In April 1968, Carrega began publishing Bollettino Tool (Tool Bulletin), a new aperiodical magazine collecting news and examples of advanced poetry including works by Vincenzo Accame, Mirella Bentivoglio, Gianni Bertini, Henri Chopin, Ian Hamilton Finlay, Eugen Gomringer, Anselm Hollo, Emilio Isgrò, Marcello Landi, Ugo Locatelli, Arrigo Lora Totino, Stelio Maria Martini, Eugenio Miccini, Magdalo Mussio, Sarenco, Franco Vaccari, and Ben Vautier. From February to June 1969, Carrega and Mario Diacono published the magazine aaa.[2][6] The magazine continued the work of Tool, publishing documents of visual, concrete and total poetry including contributions by Vincenzo Accame, Luciano Caruso, Carlfriedrich Claus, Hans Clavin, Davanzo & Gunzberg, Antonio Dias, Jean Françoise Dillon, Jan Hamilton Finlay, Stelio Maria Martini, Rolando Mignani, Jean Claude Moineau, Ito Motoyuki, Hidetoshi Nagasawa, Joel Rabinowitz, Giose Rimanelli, Shohachiro Takahashi, and lastly Emilio Villa, who since the 1960s became a sort of "godfather" for Carrega.[5][6]
In January 1971, Carrega founded a new exhibition space: the Centro Tool (Tool Center), located in via Borgonuovo 20 in Milan, that continued the research of Centro Suolo e di pubblicare con lo stesso nome le ricerche del centro stesso.
In April 1974, the artist opened a new gallery called “Mercato del Sale” (Salt Market), honoring Marcel Duchamp (who had been called Marchand du Sel by Robert Desnos in 1921), whose activity was dedicated to the concept of a New Writing (Nuova Scrittura).[2][4][5] The gallery, first located in via Borgonuovo 20, was transferred to a new venue in via degli Orti 16 in 1980.[2] Sono importantissime in particolare le mostre Raccolta italiana di Nuova Scrittura (1977) e SCRITTURA ATTIVA. Processi artistici di scrittura in dodici dimostrazioni ESpositive (1979–1980).[2] In 1982 Carrega supported the "Artescrittura" writing a short manifesto signed by Vincenzo Ferrari, Luca Patella, and Magdalo Mussio.[5] In 1986 he collaborated with Sarenco, Eugenio Miccini, Lamberto Pignotti, and Stelio Maria Martini to re-found visual poetry.[4] In 1993 he founded the new center Euforia Costante (Constant Euphory), a name that homaged Marcel Duchamp. This new experience ended in 1994, after having hosted a few exhibitions including one about the work of Nanni Balestrini.
Archive of new writing
In 1988 Paolo Della Grazia, collector of works of the verbo-visual movements since the 1960s, founded the
Publications
- The list of publications is partially compiled from catalogue "Poesia visiva: 5 maestri" and book "Libri d'artista in Italia: 1960–1998", excluding one-off artist's books.[8][9]
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Main works
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Personal exhibitions
- The list of exhibitions is compiled from catalogue "Poesia visiva: 5 maestri".[4]
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References
- ^ "Milano. Se n'è andato Ugo Carrega, maestro della "Poesia simbiotica"". 9 October 2014.
- ^ a b c d e f g h i j k l m n o Daniela Ferrari (2012). Archivio di Nuova Scrittura Paolo Della Grazia: storia di una collezione / Geshichte einer Sammlung. Cinisello Balsamo: Silvana Editoriale.
- ^ a b c d e f g h i j k l m n o p Giorgio Zanchetti, ed. (1995). Emorragia dell'io: l'esperimento di poesia di Ugo Carrega. Milan: Archivio di Nuova Scrittura.
- ^ a b c d e f g h i j k l Lamberto Pignotti; Stefania Stefanelli (1980). La scrittura verbo-visiva. Rome: Editoriale L'Espresso.
- ^ a b c d e f g h i j k l m n o p Paolo Berardelli; Pietro Berardelli, eds. (2007). La mente in mano: Ugo Carrega. Brescia: Fondazione Berardelli.
- ^ a b c Giorgio Maffei; Patrizio Peterlini (2005). Riviste d'arte d'avanguardia: esoeditoria negli anni Sessanta e Settanta in Italia. Milan: Sylvestre Bonnard.
- ^ a b c d Francesco Poli; Mirella Bandini; Giorgio Zanchetti; Silvia Bignami (2003). Verbovisuali: ricerche di confine fra linguaggio verbale e arte visiva. Milan: Skira.
- ^ Poesia visiva 1963–1988: 5 maestri. Illasi: La Favorita. 1988.
- ^ Liliana Dematteis; Giorgio Maffei (1998). Libri d'artista in Italia: 1960–1998. Turin: Regione Piemonte.
Essential bibliography
- Vincenzo Accame (1973). Verso una terza dimensione della scrittura. Pollenza (MC): La Nuova Foglio Editrice.
- Maria Teresa Balboni; Aldo Rossi (1976). Ugo Carrega. Assisi (PG: Beniamino Carucci Editore.
- Maria Teresa Balboni (1977). La pratica visuale del linguaggio: dalla poesia concreta alla nuova scrittura. Pollenza (MC): La Nuova Foglio Editrice.
- Marco Bazzini; Melania Gazzotti, eds. (2011). Controcorrente: riviste e libri d'artista delle case editrici della Poesia visiva. Torino: Umberto Allemandi.
- Luigi Ballerini, ed. (1973). Scrittura visuale in Italia. Torino: Galleria d'Arte Moderna.
- Luigi Ballerini (1973). La piramide capovolta: scritture visuali e d'avanguardia. Venezia: Marsilio Editore.
- Paolo Berardelli; Pietro Berardelli, eds. (2007). La mente in mano: Ugo Carrega. Brescia: Fondazione Berardelli.
- Paolo Della Grazia; Ugo Carrega; Vincenzo Accame; Vittorio Fagone (1989). Archivio di Nuova Scrittura, Associazione per lo Scritturalismo. Milan.
{{cite book}}
: CS1 maint: location missing publisher (link) - Duccio Dogheria (2014). Giosuè Allegrini; Lara-Vinca Masini (eds.). Ritratti in forma d'archivio. Le carte di Ugo Carrega e Stelio Maria Martini all'Archivio del '900 del Mart di Rovereto. Milan: Skira.
{{cite book}}
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ignored (help) - Gillo Dorfles; Alain Arias-Misson (1990). Sei lirici della poesia visuale internazionale: Alain Arias-Misson, Ugo Carrega, Carlfriedrich Claus, Ian Hamilton Finlay, Tom Phillips, Shoachiro Takahashi. Milan: Archivio di Nuova Scrittura.
- Liliana Dematteis; Giorgio Maffei (1998). Libri d'artista in Italia: 1960–1998. Torino: Regione Piemonte.
- Daniela Ferrari (2012). Archivio di Nuova Scrittura Paolo Della Grazia: storia di una collezione / Geshichte einer Sammlung. Cinisello Balsamo: Silvana Editoriale.
- Ariella Giulivi; Raffaela Trani (1995). Arturo Schwarz: la galleria 1954–1974. Milan: Fondazione Mudima.
- Giorgio Maffei; Patrizio Peterlini (2005). Riviste d'arte d'avanguardia: esoeditoria negli anni Sessanta e Settanta in Italia. Milan: Sylvestre Bonnard.
- Pino Masnata, ed. (1994). Poesia visiva: storia e teoria. Rome: Bulzoni.
- Luciano Ori, ed. (1979). La poesia visiva (1963–1979). Firenze: Vallecchi.
- Lamberto Pignotti; Stefania Stefanelli (1980). La scrittura verbo-visiva. Rome: Editoriale L'Espresso.
- Lamberto Pignotti; Stefania Stefanelli (1981). Il segno poetico: materiali e riferimenti per una storia della ricerca poetico-visuale e interdisciplinare. Milan: Edizioni d'arte Zarathustra / Spirali Edizioni.
- Carla Roncato, ed. (2014). Ugo Carrega. Non c'è niente di più: è tutto qui!. Milan: Carla Roncato Derbylius.
- Francesco Poli; Mirella Bandini; Giorgio Zanchetti; Silvia Bignami (2003). Verbovisuali: ricerche di confine fra linguaggio verbale e arte visiva. Milan: Skira.
- Luigi Tola; Rodolfo Vitone (1995). Una stagione dissipata: poesia visiva a Genova tra gli anni sessanta e settanta. Genova: Sagep.
- Giorgio Zanchetti, ed. (1995). Emorragia dell'io: l'esperimento di poesia di Ugo Carrega. Milan: Archivio di Nuova Scrittura.
- AA.VV. (1987). Segnoepoesia: Vincenzo Accame, Mirella Bentivoglio, Ugo Carrega, Magdalo Mussio, Lamberto Pignotti, Giò Pomodoro, Adriano Spatola, Walter Valentini, Arturo Vermi, William Xerra. Milan: Centro Culturale d'Arte Bellora.
External links
- Fondo Fraccaro-Carrega at Mart's Archivio del '900
- Relativamente, 1971 performance by Carrega digitized by the Archivio del '900
- "Carrega Imprimavit", 2015 Docu-film about Ugo Carrega
- Ugo Carrega Artwork. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.