[Voices and Visions, January 30-March 8, 1997] Page: 10 of 16
This pamphlet is part of the collection entitled: Rescuing Texas History, 2019 and was provided to The Portal to Texas History by the Mexic-Arte Museum.
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• One of the charácteristics of the artistic ad ventu re of
Regina Vater is the transmedial impulse of her creativity. Between
nature and technology, drawing and texture, visual art and poetry,
. craftmanship and video.she evokeé the Ijneage of the transgressor '
• , artists, such as, Duchamp or Cage. Like them, Regina is always,
laudibly “out of place? As an aüthentic “outsider,” she is ínside and
outside of “Art,” a concept that she recon/de/strUcted in a show in the
late seventieí through visualizatiohs and pe'rmutations of the word
i tself..’. as 30bu i Idi ng blocks, hand crafted émbroidéry, a drawing in
the sand on a beach, as video, and ultimately as an empty framethat
projects the word binocularly within reach of the éye ,.tosee the wórld
with “new visión.” “Thou Art...” This strafegy haturally brought her
¿ give priprity to the installation - ’a context that enhancesthe tfansit
,■ between the static and the cinetic, the seeing and the walking, the
artificial and the natural: Poetry has always been ah inspiratipn for
Regina, suggesting-her “imaginary landscapes” as those mótivated.
the yisionary Brazilian poet, Sóuzandrade (1882-1902), whójfe New
?YorR,s a centiiry ago, détected pre-poundly, the usury cries in the
stanzas of his own poem “Inferno of Wall Street.” Ezra Pound saw in
Arnaut Dan ¡él the prototy pe of the “ Artist/I n ventor.” For the same
reason the Brazilian concréte poets' (from the géneration that precedí?
- ed Regiha’s generation) chose Pound arid Arnaut - linked thém
provéncal en¡gma/word“A/o/gandres”-asparad¡gms of contra-current
/visual poetry in this century. But in its list of “Impossibilía” (,:.who
hoards the wind, chases the haré, on an ox and swims against the
tide.::) the troubadour yerseschosen by- Regina as une of her “mot- /
■ tos,” articuíated with the Poundian theme of usury, seem to define not
only the obstinacy of the Artist/lnventor with her non-market oriented ?
art. They also insinúate ánother utopic rationale that feeds artists like
hér, whose Creative provócations ábide in the generous ¡dea that in
someplace-without-place, against the tide of the predatory egology, it
/ Is still possibíé to reconcile ecology and technology, the animal and
the anima, video and life.
SfiS gusto de Campos 1996
Augusto de Campos, thé internationally known Brazilian poet, created in the
early 1950s, along with four other Latín American poets “concrete poetry” - a
poetic form in which the visual aspect of.the poem is intrinsically cónnected
with its meaning. De Campos is also renowned for his Portuguese translations
of among others, Arnaut Daniel and the troubadpürs, Donne andthemetaphysi-
cal poets, Hopkins, Mallarme, Rimbaud, and Ezra Pound, James'Joyce,
Gertrude Stein, Cummings and Mayakovsky. Mr. de Campos was also visiting
professor (Brazilian literature) at thé University of Texas (Austin) 1971.
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Mexic-Arte Museum (Austin, Tex.). [Voices and Visions, January 30-March 8, 1997], pamphlet, 1997; Austin, Texas. (https://texashistory.unt.edu/ark:/67531/metapth1330716/m1/10/: accessed February 15, 2025), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; crediting Mexic-Arte Museum.