By Helena Buffery, Carlota Caulfield
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Additional resources for Barcelona: Visual Culture, Space and Power
Position: 6 / Date: 2/5 JOBNAME: Barcelona PAGE: 9 SESS: 13 OUTPUT: Tue May 15 14:14:06 2012 Breaking Boundaries: A Journey through the Catalan Avant-Garde 17 Salvat, the poem – like painting for the cubist painter – does not have to describe reality but instead provide a poetic equivalent of the artist’s experiences of reality. In general, Salvat followed the procedure of ‘words at liberty’ – discovered by Mallarmé and formalized by Marinetti – which involves different types or bodies of letter, replacement of words with arithmetical symbols, and the use of words that appear to ﬂoat capriciously.
Brian Morris when he offers a memorable warning against using the term ‘surrealism’ in the context of Spain too readily or loosely: ‘I think it is valid to talk of surrealism and Spain, or surrealism in Spain, but that the term “Spanish Surrealism” is as critically incongruous as French conceptismo or Welsh gongorismo’ (1972, p. 8). Taking the ﬁrst half of my title from Tristan Tzara’s poem ‘Sur le chemin des étoiles de mer’ (1936), dedicated by Tzara to Lorca, in this chapter I propose to broach the complex question of France, Spain and surrealism through close reading of individual texts and events associated with Catalonia in the 1920s and 1930s.
Besides Brossa, the poet Guillem Viladot played an important role in the defence and dissemination of visual poetry in the 1980s and 1990s. A pharmacist by profession, he was an independent writer on the margins of Columns Design XML Ltd / Job: Barcelona / Division: 05chapter1 /Pg. Position: 14 / Date: 2/5 JOBNAME: Barcelona PAGE: 17 SESS: 13 OUTPUT: Tue May 15 14:14:06 2012 Breaking Boundaries: A Journey through the Catalan Avant-Garde 25 Barcelona’s literary circles. In 1970 he founded the ﬁrst private publishing house for avant-garde poetry in all of Spain, following this in 1971 with the publication of T–47, a personal anthology of concrete poetry.