Thursday, June 23, 2011

untitled book pages by Rappel

Cecil Touchon

Typographic Abstraction - Asemic Collage - 6x6 inches - material: poster from Berlin, Germany




Martino Oberto (1925-2011)

Martino Oberto passed away yesterday, June 22nd, 2011.

Born in 1925, Oberto ("OM") was a visual poet, asemic writer, anarchist, anartist, founder of the seminal vispo mag "Ana etcetera" (1958-70). His works have been exposed in solo and collective shows (with Munari, Dorfles, Fontana and many others) from the 50s up to now. He also made experimental movies, and wrote philosophical essays about writing & art. He lived in New York for a decade or so, then came back to Genoa in the 90s. His visions and projects of "powerless words" and "anart" [something like "anti-art"] are absolutely relevant, right now, even if they belong to his 1968 short movie "Before anarchism (freedom from culture)".

Here are a few links:

Cecil Touchon

asemic calligraphy - 12x50 inches
typographic abstraction - asemic collage - 18x50 inches - material: old roadside billboard paper

on ne va jamais aussi loin / Martino Oberto (1925-2011)



Wednesday, June 15, 2011


Satu Kaikkonen on asemic writing

What is asemic writing? I think there’s no one answer to that question.  I found many interesting links while trying to found an answer to this question.

1)      The and Tim Gaze gives us one answer. 
2)      Tom Venning has also interesting ideas about asemic writing.
3)      The third interesting link I found was in here
4)      Simon Crab writes about asemic writing at stalker like this

I think from asemic writing like this “As a creator of asemics, I consider myself an explorer and a global storyteller. Asemic art, after all, represents a kind of language that's universal and lodged deep within our unconscious minds. Regardless of language identity, each human's initial attempts to create written language look very similar and, often, quite asemic. In this way, asemic art can serve as a sort of common language -- albeit an abstract, post-literate one -- that we can use to understand one another regardless of background or nationality. For all its limping-functionality, semantic language all too often divides and asymmetrically empowers while asemic texts can't help but put people of all literacy-levels and identities on equal footing.

Since asemic writing emphasizes the visual, representational quality of language, it creates a unique dialogue between the writer/reader and the world of signs, one that allows for multiple, subjective acts of decoding. This paradoxical, cosmopolitan-yet-personal quality, I think, lends asemic writing a hyper-contemporary sense of being and makes it much more than art. I read it, in fact, as an archetypal language, as a (recon)figuration of the words spoken by the Babel-builders. Asemic texts, as it were, serve as a projection of humanity's desire to reconnect with the mythological root of all languages and, by extension, one another.” This representation was published in the SCRIPT issue 1.1. January 2010

I think we can never  describe (or understund) asemic writing completely, but should we even do that? I like what Simon Crab says “The meaning of asemic writing is implied and hinted at through abstraction. Meaning can be deduced by intuition and instinct – a natural understanding of shape or in shamanic religious work, through a power held in the design (usually transmitted through the artists from an external, mystical source). Asemic writing is art without rules; a form defined completely by the creator.” Let’s enjoy about that and give a chance to this fascinating “language and space.”


Satu Kaikkonen
A Visual Poet and  An Asemic Writer from Finland