Sims Reed Rare Books×

nota. studentische zeitschrift für bildende kunst und dichtung. nr. 1 (mai 1959) – nr. 4 (1960). (All Published)

Graevenitz, Gerhard von & Jürgen Morschel (Eds.)

Munich. 1959–1960
The complete series of 'nota', the determinedly avant garde periodical charting the movement from abstraction to concrete poetry, kineticism and ZERO.

Eschewing, at least for the most part, the capital letter (ground-breaking for a language so dependent on the capital as German), 'nota' edited by Gerhard von Graevenitz and Jürgen Morschel began life with a peculiar direction. The first issue features 'Ubu' in German translation both as a king ('König Ubu'), a clown ('Ubu-clown') and as an appreciation of 'Père Ubu' and his rôle in the modern theatre. In combination with dada typography, European abstraction, erstwhile concrete poetry, other contributions by Bazon Brock, Ferdinand Kriwet and others as well as an appreciation of Bernard Buffet and Elisabeth Borchers' 'Die Vermufungen', 'nota' seems unsure of quite what it is.

The second issue maintains the elements of European abstraction (Bernard Schultze, Horia Damian, Karl Otto Götz but strengthens the concrete poetry credentials of 'nota' with biographies of German exponents (Franz Mon, Ferdinand Kriwet, Günter Eich et al.) and original contributions from Ronaldo Azaredo, Augusto and Haroldo de Campos and Décio Pignatari together with their manifesto 'führungsplan für konkrete dichtung'. Highpoints include three visual poems by Franz Mon, Raoul Hausmann's 'Fortgehen, fort' and Ferdinand Kriwet's 'stroemaer'. Paul Wember's 'lumpen, eisen und papier' seems representative.

Issue 3 maintains this direction and features a piece by John Cage ('Beschreibung der in Music for Piano 21 - 52 angewandten Kompositionsmethode'), contributions by Calus Bremer, Yoshiaki Tono, Carlfriedrich Claus ('Klangtexte Schriftbilder'), Franz Mon, Peter Hamm, Ferdinand Kriwet, Eugène Ionesco ('die zukunft liegt in den eiern oder wie fruchtbar ist der kleinst kreis'), Raoul Hausmann, Kurt Schwitters, Manfred de la Motte ('Deutsche Plastik der Gegenwart') and Argan on Piero Dorazio. The illustration is largely abstract (Sam Francis, Franz Kline and Piero Dorazio) but also kinetic with sculptures / constuctions by Norbert Kricke, Gio Pomodoro and work by Piero Dorazio.

The final issue is ZERO-related and includes contributions by many of the leading lights and theorists of the European avant-garde, both new and old: Otto Piene, Heinz Mack, Yves Klein, Jean Tiguely, Daniel Spoerri, Jacoov Agam, Pol Bury, Marcel Duchamp, Raphael-Jesus Soto, Diter Rot (prior to Dieter Roth!), Victor Vasarely, Guy Habasquen ('vasarely und das kinetische bildwerk'), Vincenzo Agnetti ('piero manzoni: die linien'), Max Bense ('Texttheorie'), André Thomkins, Carla Belloli, Tomma Wember, Emmett Williams and Carlfriedrich Claus. The illustrations include contrasted work by Soto and Rot, Vasarely and Tinguely, and plates by Mack, Pol Bury, Piene, Manzoni and Vasarley.

[not in Le Fonds Paul Destribats].
4 vols. Tall 8vo. (298 x 104 mm ). Printed text and typographic poems in German throughout, monochrome illustration throughout, central section of each issue with illustration on glossy paper, final leaves with details of publications and exhibitions. Original publisher's printed wrappers, stapled as issued, monochrome illustration to each wrapped over spine, titles in black to front cover, contents to rear, advertisements and further illustration to inner wrappers (without upper rear corner of wrapper of issue 4).
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