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VerbivocoVirtual<\/strong> is a pavilion within The Wrong Biennale 2023\/2024<\/a>, consisting of more than 70 artworks by creators of different countries. This pavilion is the result of a selection made through an open call for recent works that can be interpreted through creative inquiries into language. In other words, these creations go beyond the conventional realms of verbal dynamics, whether by referencing the conceptual domain of language or by expanding the linguistic domain to other forms of expression. In this sense, it’s essential to mention that the verbivocovisual <\/em>perspective we envision in this process \u2013 the amalgamation of verbal+vocal+visual \u2013 is deeply rooted in the legacy of Concrete Poetry, particularly the vast horizons charted by Brazilian poets Haroldo de Campos, D\u00e9cio Pignatari, and Augusto de Campos, now projected into the virtual realm. This legacy enables us to understand the art of words in an expanded sense. It creates a production that substantiates the verbal, auditory, and visual dimensions of words in an effort to broaden their meanings. In the field of technology, the practice of expanding meanings is a recurring rule; thus, poets continue to appropriate digital media and its virtualities – potentials – to expand the domains of language in various directions, using image editing, animation, multimedia, computer graphics, computer vision, algorithms, virtual reality and artificial intelligence, to name a few possibilities.<\/p>\n\n\n\n Therefore, the artworks selected for the VerbivocoVirtua<\/strong>l pavilion are not only representative of word expansion but also nourish from the processes of cross-contamination and hybridization between languages – intersecting with net art, digital culture, audiovisuals, electronic music, and the world of gaming, among other domains. The pavilion also features an effective extension: in addition to viewing the digital videos on The Wrong Biennial’s channels, some of the works offer an interactive experience. These works feature, on their pages, external links alongside the navigation video, allowing direct access to creators’ websites: there are virtual environments waiting to be discovered, applications and algorithms waiting for interaction. The organization itself has even created an expanded space within the pavilion: a lounge designed as a virtual environment in Mozilla Hubs, facilitating exchanges between visitors in an environment themed around visual poetry. As a whole, the works of VerbivocoVirtual<\/strong> expand the realm of poetic creation even further; poetry, in dialogue with this hybrid field, is a condition of full potency.<\/p>\n\n\n\n Fabio FON, Rodolfo Mata and Soraya Braz, curators.<\/em><\/p>\n\n\n\n ESPA\u00d1OL<\/p>\n\n\n\n VerbivocoVirtual <\/strong>es un pabell\u00f3n dentro de The Wrong Biennale 2023\/2024<\/a>, integrado por m\u00e1s de 70 obras de creadores de diferentes pa\u00edses. Este pabell\u00f3n es el resultado de una selecci\u00f3n realizada a trav\u00e9s de una convocatoria abierta para obras recientes que pueden ser interpretadas a trav\u00e9s de indagaciones creativas en torno a la palabra. En otras palabras, estas creaciones trascienden las convenciones de las din\u00e1micas verbales, ya sea haciendo referencia al dominio conceptual de la palabra o ampliando el \u00e1mbito ling\u00fc\u00edstico a otras formas de expresi\u00f3n. En este sentido, es fundamental mencionar que la perspectiva verbivocovisual<\/em> que vislumbramos en este proceso \u2013 la amalgama de verbal+vocal+visual \u2013 est\u00e1 profundamente arraigada en el legado de la Poes\u00eda Concreta, especialmente en los vastos horizontes trazados por los poetas brasile\u00f1os Haroldo de Campos, D\u00e9cio Pignatari y Augusto de Campos, ahora proyectados en el \u00e1mbito virtual. Este legado nos permite comprender el arte de la palabra en un sentido expandido. Se crea una producci\u00f3n que sustancia las dimensiones verbales, auditivas y visuales de la palabra en un esfuerzo por ampliar sus significados. En el campo de la tecnolog\u00eda, la pr\u00e1ctica de ampliar significados es una regla recurrente; as\u00ed, los poetas contin\u00faan apropi\u00e1ndose de los medios digitales y sus virtualidades, potencialidades, para extender los \u00e1mbitos del lenguaje en diversas direcciones, utilizando editores de im\u00e1genes, animaciones, multimedia, computaci\u00f3n gr\u00e1fica, visi\u00f3n por computadora, algoritmos, realidad virtual e inteligencia artificial, por nombrar algunas posibilidades.<\/p>\n\n\n\n Por lo tanto, las obras seleccionadas para el pabell\u00f3n VerbivocoVirtual<\/strong> no s\u00f3lo son representativas de la expansi\u00f3n de la palabra, sino que tambi\u00e9n se nutren de procesos de contaminaci\u00f3n e hibridaci\u00f3n entre lenguajes, interactuando con net art, cultura digital, medios audiovisuales, m\u00fasica electr\u00f3nica y el mundo de los videojuegos, entre otros \u00e1mbitos. Asimismo, en el pabell\u00f3n se percibe una expansi\u00f3n efectiva: adem\u00e1s de su apreciaci\u00f3n en forma de videos digitales en los canales de The Wrong Biennale, algunas obras permiten una experiencia interactiva. Estas obras presentan en sus p\u00e1ginas, adem\u00e1s del video de navegaci\u00f3n, enlaces externos que permiten acceder directamente a los sitios web de los creadores; hay entornos virtuales por descubrir, aplicaciones y algoritmos esperando entrar en interacci\u00f3n. La propia organizaci\u00f3n, adem\u00e1s, ha creado un espacio ampliado dentro del pabell\u00f3n: un lounge<\/em> dise\u00f1ado como un entorno virtual en Mozilla Hubs, que facilita el intercambio entre los visitantes en un entorno tem\u00e1tico de poes\u00eda visual. En conjunto, las obras de VerbivocoVirtual<\/strong> expanden a\u00fan m\u00e1s el \u00e1mbito de experiencias y significados de la creaci\u00f3n po\u00e9tica; la poes\u00eda, en di\u00e1logo con este campo h\u00edbrido, es una condici\u00f3n de plena potencia.<\/p>\n\n\n\n Fabio FON, Rodolfo Mata y Soraya Braz, curadores.<\/em><\/p>\n\n\n\n PORTUGU\u00caS BRASILEIRO<\/p>\n\n\n\n VerbivocoVirtual<\/strong> \u00e9 um pavilh\u00e3o integrante da The Wrong Biennale 2023\/2024<\/a>, composto por mais de 70 obras de criadores de diferentes pa\u00edses. Este pavilh\u00e3o \u00e9 resultado de uma sele\u00e7\u00e3o realizada a partir de uma chamada aberta voltada a trabalhos recentes que podem ser lidos a partir de inquieta\u00e7\u00f5es criativas em torno da palavra, ou seja, cria\u00e7\u00f5es que extrapolam os dom\u00ednios convencionais das din\u00e2micas verbais, seja referenciando o dom\u00ednio conceitual da palavra, ou ainda, ampliando o dom\u00ednio verbal sob outras linguagens. Neste sentido, \u00e9 fundamental mencionar que a perspectiva verbivocovisual<\/em> que vislumbramos neste processo \u2013 a aglutina\u00e7\u00e3o de verbal+vocal+visual \u2013 \u00e9 bastante cara ao legado da Poesia Concreta, em especial, aos horizontes agigantados pelos poetas brasileiros Haroldo de Campos, D\u00e9cio Pignatari e Augusto de Campos, agora projetados sob o virtual. Este legado permite compreender a arte da palavra em um sentido expandido. Cria-se uma produ\u00e7\u00e3o que substancia as dimens\u00f5es verbais, sonoras e pl\u00e1sticas da palavra, em um esfor\u00e7o para ampliar os seus significados. No campo da tecnologia, por sua vez, a pr\u00e1tica da expans\u00e3o dos sentidos \u00e9 regra recorrente; assim, os poetas seguem se apropriando dos meios digitais e suas virtualidades \u2013 potencialidades \u2013 para estender os dom\u00ednios da palavra em in\u00fameras dire\u00e7\u00f5es, utilizando editores de imagem, anima\u00e7\u00e3o, multim\u00eddia, computa\u00e7\u00e3o gr\u00e1fica, vis\u00e3o computacional, algoritmos, realidade virtual e intelig\u00eancia artificial, para citar algumas possibilidades.<\/p>\n\n\n\n Assim, se os trabalhos selecionados para o pavilh\u00e3o VerbivocoVirtual<\/strong> s\u00e3o representativos de formas de expans\u00e3o da palavra, tamb\u00e9m alimentam-se dos processos de contamina\u00e7\u00e3o e hibridiza\u00e7\u00e3o entre linguagens \u2013 com a net art, a cultura digital, o audiovisual, a m\u00fasica eletr\u00f4nica e o universo dos games, entre outros dom\u00ednios. Ali\u00e1s, percebe-se no pavilh\u00e3o uma expans\u00e3o efetiva: al\u00e9m da aprecia\u00e7\u00e3o sob a forma de v\u00eddeos digitais exibidos nos canais da The Wrong Biennale, alguns trabalhos permitem uma experi\u00eancia interativa. Estas obras apresentam em suas p\u00e1ginas, al\u00e9m do v\u00eddeo de navega\u00e7\u00e3o, links externos que permitem ter acesso direto aos sites dos criadores: h\u00e1 ambientes virtuais a serem descobertos, aplicativos e algoritmos esperando pela sua intera\u00e7\u00e3o. A pr\u00f3pria organiza\u00e7\u00e3o, inclusive, gerou um espa\u00e7o expandido do pr\u00f3prio pavilh\u00e3o: um lounge<\/em> criado enquanto ambiente virtual no Mozilla Hubs, que permite interc\u00e2mbios entre visitantes em um ambiente tematizado pela poesia visual. No conjunto, as obras de VerbivocoVirtual<\/strong> expandem ainda mais o campo de experi\u00eancias e sentidos da cria\u00e7\u00e3o po\u00e9tica; a poesia \u00e9, em di\u00e1logo com esse campo h\u00edbrido, uma condi\u00e7\u00e3o de plena pot\u00eancia. <\/p>\n\n\n\n Fabio FON, Rodolfo Mata e Soraya Braz, curadores.<\/em><\/p>\n\n\n\n CURATORS<\/p>\n\n\n\n FABIO FON (Brazil)<\/strong><\/p>\n\n\n\n Fabio FON (F\u00e1bio Oliveira Nunes) is a Brazilian artist-researcher focused on contemporary languages, working on experimental art, visual poetics and art-technology. He holds Arts PhD from the School of Communications and Arts of the University of S\u00e3o Paulo, a post-doctorate in Arts from the Institute of Arts of Unesp, a Master in Multimedia (Multimedia) at UNICAMP and Bachelor of Fine Arts at UNESP. He is the author of the books CTRL+ART+DEL: dist\u00farbios em arte e tecnologia<\/em> (Ed. Perspectiva, 2010) and Mentira de artista: arte (e tecnologia) que nos engana para repensarmos o mundo <\/em>(Cosmogonias El\u00e9tricas, 2016) . He is currently a researcher linked to Grupo cAt: science \/ ARTE \/ technology at UNESP, S\u00e3o Paulo. Site: http:\/\/www.fabiofon.com<\/a> .<\/p>\n\n\n\n <\/p>\n\n\n\n RODOLFO MATA (Mexico)<\/strong><\/p>\n\n\n\n Rodolfo Mata (Mexico City, 1960). Poet and translator, works at the Universidad Nacional Aut\u00f3noma de M\u00e9xico. He has translated Brazilian writers such as Haroldo de Campos, Paulo Leminski, Sebasti\u00e3o Uchoa Leite, Rubem Fonseca and Clarice Lispector, and is co-author of the anthologies Ensayistas brasile\u00f1os<\/em> (2005), Alguna poes\u00eda brasile\u00f1a 1963-2007<\/em> (2009) and Antolog\u00eda Lit(e)Lat Volumen 1 de literatura electr\u00f3nica latinoamericana<\/em> (2021). As a poet he has published Parajes y paralajes<\/em> (1998), Temporal <\/em>(2008), Qu\u00e9 decir <\/em>(2011), Nuestro nombre<\/em> (2015), Doble naturaleza<\/em> (2015) and Desescribir<\/em> (2021) (visual poetry); and the electronic poems Silencio vac\u00edo<\/em> (2014) and Pronombres<\/em> (2018). He mantains the websites Jos\u00e9 Juan Tablada: vida, letra e imagen <\/em>(www.tablada.unam.mx<\/a>), Qu\u00e9 decir <\/em>(http:\/\/rodolfomata.blogspot.com<\/a>) and, with Diego Bonilla, Bio Electric Dot<\/em> (https:\/\/www.bioelectricdot.net<\/a>), that hosts the electronic poem Big Data<\/em> (2019), shortlisted for the Robert Coover Award 2021 of the Electronic Literature Organization. <\/p>\n\n\n\n <\/p>\n\n\n\n SORAYA BRAZ (Brazil)<\/strong><\/p>\n\n\n\n Soraya Braz is a Brazilian artist and researcher, graduated in Arts from S\u00e3o Paulo University (USP) and Master of Visual Arts from S\u00e3o Paulo State University (UNESP). Her creations are visual poetry, digital art, installations and computer graphics. Took part in exhibitions such as FILE, FILE PAI, MOBILEFEST, Mostra SESC de Artes, FACTORS, Art\u00e9ria 40 anos, etc. She works in partnership with the artist Fabio FON with whom produced Roaming <\/em>(2007), Grampo <\/em>(2007), CAPTAS<\/em> (2010), Via Invis\u00edvel <\/em>(2011), Deliberator<\/em> (2014), and Delet\u00e9rio<\/em> (2021). Bio: https:\/\/fabiofon.com\/bio-soraya-braz\/<\/a><\/p>\n\n\n\n ARTISTS<\/strong><\/p>\n\n\n\n 100porcent_genuine (100%) Abraham Truxillo and Lidya Cota – Adheep Das – Adriano Vilela Mafra – Agil Abdullayev – Aleksei Martyniuk – Ana Pedrosa and Talbert Igor – Andr\u00e9a Catr\u00f3pa and Felipe Mariani – Arthur Moura Campos – Benna Gaean Maris – Blanche the vidiot – Carlos Alc\u00e1ntara – Carmen Garcia – Carmen Garcia and Luca Celi – Celina Collot – Ciberpaj\u00e9 and C.N.S.- Clara Goldenstein – Cleber Gazana – Coletiva Terra Femini – Daniel Minchoni – Daniela Lucato – Diego Bonilla – Dom\u00e9nico Chiappe – Elena Buzueva – Fabio Navarro Biazetti – Fabio FON – F\u00e1bio Zerbini, Felipe Ferrara, Fernando Vianna, Karen Caetano and Mariana Seber – Fl\u00e1vio Komatsu – Gabriela Rodrigues – Ines Yajima Habara – Juan Angel Italiano – Juli Manzi and Marcel Rocha – J\u00fcrgen Trautwein and Silvia Nonnenmacher – L\u00e9a Mainguy – Liliana Vasques – Marcela Peral – Marcelo Carrera Maia – Marlene Font – Mart\u00edn Rangel – Mayte Gomez Molina – Mez Breeze – Naichen Pan – Paula Val\u00e9ria Andrade – Paulo Aquarone – Polina Enuvesta – Rafael Fraz\u00e3o and Tiago F. Pimentel – Reuben – ReVerse Butcher and Kylie Supski – Rita Balduino – Rodolfo Mata – Roberto Ncar and Ender Rodr\u00edguez – Sharon Bloom – Sohyun Lee – Soraya Braz – Tassia Mila\/gatopretopulando – Tchello d’Barros – The Same – Tulio Restrepo Echeverri – Vera Sebert – Ver\u00f4nica Lindquist – Ziyi Zhang<\/p>\n\n\n\n PRESS KIT: VERBIVOCOVIRTUAL PAVILION<\/a><\/strong><\/p>\n\n\n\n
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