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diagrams for sign language and braille, another mathematical equation, and labeled dictionary images for ‘sphere,’ ‘bomb,’ ‘axis’ and ‘antipodes’ (the last two again linked to pictures of a sphere and the Earth), as though to adorn him in the jewels of the world, and arm (or is it burden?) him with a coded private language. Série Brésil spins text and image around each other like atomic particles or planets, orbiting a still center in which meaning and culture, space and time implode. One of his albums of 1962 features a short aphoristic text (only published in book form much later): “Poetry / without language / Revolution / without anyone / Love / without end.”65 A sense of this endlessness, of the paradox of a poetry beyond words that touches something absent yet possible, vibrates through the whole of Luca’s visual poetry.

Cromer, April 2013

Krzysztof Fijalkowski, “La poésie sans langue: Ghérasim Luca, Visual Poet” Hyperion: On the Future of Aesthetics, Vol. VII, No. 3 (fall 2013) 6–44.

65

“Les Albums de Ghérasim Luca,” op. cit., 41; this poem was reprinted under the title “gREVE GENERALe sans fin ni commencement,” in La proie s’ombre (Paris: Corti, 1991) 45–55. For an English version, see Ghérasim Luca, Self-Shadowing Prey, tr. by Mary Ann Caws (New York: Contra Mundum Press, 2012) 40–50.

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Profile for Contra Mundum Press

Gherasim Luca Centenary Issue  

Essays and reflections in English and French on Romanian surrealist Gherasim Luca, including Luca's own texts and art. Also featuring rumi...

Gherasim Luca Centenary Issue  

Essays and reflections in English and French on Romanian surrealist Gherasim Luca, including Luca's own texts and art. Also featuring rumi...

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