Five New Asemic Concrete Compositions by Federico Federici (Berlin, Germany)

Federico 3.8.2018 - 2By Federico Federici (Berlin, Germany) (2018)


Federico Federici’s hybrid experiments with asemics and concrete poetry are generating great interest in the international visual poetry community. As previous posts here testify, his work has relevance to the Asemic Front project. So I am very pleased that Federico Federici has shared these new works with AF.

Asemic Front is building a collection of work by Federici. Excellent examples of these unique asemic-concrete experiments can be found elsewhere as well. I suggest you look at his “Studies on asemic interferences on (and within) concrete structures” (nos. 3,4,7), which will also connect you with other interesting material:




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By Federico Federici (2018)



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Asemic Visual Poetry Collab by Rebecca Guyver (UK) & De Villo Sloan (USA) (Part I)

Rebecca-DVS - 2.12.2018 main goodAsemic visual poetry collab by Rebecca Guyver (Suffolk, UK) & De Villo Sloan (New York, USA) (2017-18)



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Collab starter by De Villo Sloan for Rebecca Guyver



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Asemic visual poetry collab by Rebecca Guyver (Suffolk, UK) & De Villo Sloan (New York, USA) (2017-18)


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Rebecca also created special Asemic Front stamps for this collab:


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Asemic Visual Poetry Collabs by Rebecca Guyver (UK) & De Villo Sloan (USA) (Part II)

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Asemic visual poetry collaboration by Rebecca Guyver (Suffolk, UK) and De Villo Sloan (New York, USA) (2017-18)


I am thrilled to have been able to complete three Asemic Front collabs with Rebecca Guyver in the UK. She added textures, colors and depth that give my foundations resonance I had not thought possible. To me, the completed pieces reference medieval illustrated manuscripts and/or William Blake’s illustrations. I am sure they will spark other associations as well.

I was curious how she achieved these spectacular effects. Rebecca Guyver responded, “They are simply scanned and painted on. I think I might have stamped on one or two with stamps I made using buttons. It’s layered and crumpled when wet, unfolded, painted on again, etc. then dried and sewn on. No plastic, unless you see some on it that I sewed on. If I did I would have glued it first. I can never remember work when I’m done…”

Rebecca Guyver is a wonderful Eternal Network participant. I have enjoyed being part of many projects with her. Asemic Front might well be our best shared effort thus far. Many thanks.



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Collab foundation by De Villo Sloan for Rebecca Guyver



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Asemic visual poetry collaboration by Rebecca Guyver (Suffolk, UK) and De Villo Sloan (New York, USA) (2017-18)



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Collab foundation by De Villo Sloan for Rebecca Guyver



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Asemic front poster - 3.11-11

Asemic-Concrete Text Hybrids by Federico Federici (Berlin, Germany)

Federico - 2.4.2018 - 1By Federico Federici (Berlin, Germany) (2018)


Asemic writing and visual poetry are inherently connected, and the relationship is symbiotic. Thus it is not at all surprising that typewriter-generated concrete poetry (ironically considered by some to be obsolete) is re-emerging in new forms and with considerable vitality in the asemic writing movement.

Federico Federici is one of the master practitioners of this interesting sub-genre. (He is also contributing to my long-held theory of Neo-Concretism.) That contemporary asemic writers and artists should benefit from the triumphs of the “Golden Age” of concrete poetry is, after all, an indication of healthy cultural evolution: a balance of tradition and the iconoclastic.

Here is a detail study from the initial piece:


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Working in the context of concrete poetry, Federico Federici uses type-overs (as well as some calligraphy) to generate asemic symbols and structures. I believe this is one of the most promising possibilities for the use of concrete poetry in the asemic realm: The generation of symbols and structures.

Federici also interjects words – mostly nouns – to allow for some degree of “reading” and association. A nature theme emerges: “TREE,” “weed,” “wood,” “leaf,” “deer,” “stone,” etc.  The work can be read, but not strictly in a conventional sense. For instance, traditional syntax is lacking yet the sign-system is intact for individual words. Poetically, the work presents a severely fractured pastoral lyric that is neither highly Romanticized nor parodied.

The typewritten structure suggests linearity; however, I believe the piece requires a “depth-of-field” reading. (Both asemics and vispo require new kinds of reading.) One is directed to look into and through the dense layering (not across).

Federici’s asemic-concrete composition implies, I believe, that a “text” is a dense field of accumulated meanings. Meanings can be distorted, obscured or disrupted by others. Emotional response competes with rationality. Linear (conventional) reading is misreading and misleading. True understanding of the text involves seeing into its depth and layers of possibility. The play of these layers of meaning, in turn, creates new meanings.

Federici’s work, indeed, uses a randomness principle. The precise geometry of concrete poetry obscures the randomness and creates a deconstructive tension in the work.

The asemic text demands a new kind of “reading” and finding meaning. Federico Federici’s work helps open new possibilities.


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By Federico Federici


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A last detail study:


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Asemic front poster - 3.11-11







Asemic-Vispo Collab by Moan Lisa, Mudhead and De Villo Sloan

Moan Lisa-Mudhead-DVS 12.3.2017

Collab by Moan Lisa (Iowa, USA), Mudhead (aka Chris Reynolds) (Arizona, USA) and De Villo Sloan (New York, USA)


Moan Lisa has raised the Mudhead/DVS collabs “to the next level” with this incredible digital remix with alterations and embellishments. Among many other things, the piece offers a beautiful integration of concrete poetry with visual images. Many thanks to Moan Lisa!


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