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The layout of this poem has the appearance of a film strip. -- Source of annotation: Marvin or Ruth Sackner.

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The soft cover book accompanying this assembling of mostly visual art pieces consists of documentation through letters, poems and stories by the contributing artists. -- Source of annotation: Marvin or Ruth Sackner.

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This is an incomplete copy that is missing a few of the poem objects. -- Source of annotation: Marvin or Ruth Sackner.

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This is an original complete issue of the periodical. The other copy was purchased in an unrolled condition and is missing a few of the poem objects. -- Source of annotation: Marvin or Ruth Sackner.

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This was a group exhibition of several German artists including Timm Ulrichs, the only one who stood the test of time in 2011. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This issue includes a Glyn Pursglove's essay, "An Introduction to Concrete Poetry." He states "The phrase 'Concrete Poetry' is bandied about a great deal in a way which seems to suggest that all those to whom it is applied are part of a conscious, united movement, and that they are artists whose work is dictated by a set of common and explicit principles. As anyone with any understanding of artistic 'movements' will readily imagine, this is a superficial and misleading idea. Certainly there have been plenty of explicit statements by some of the poets involved but these have, naturally, attracted as many opponents as supporters. One of the most important of such statements was 'POSITION 1 of International (Movement) for Spatial Poetries" organised by, among others, Pierre Gamier. This was not quite a manifesto, in the sense of a document proclaiming plans for the future, but rather a formalisation of a situation. Gamier was fully conscious of the difficulties, and his closing words...

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Stored with John Benjamins catalogues. -- Source of annotation: Marvin or Ruth Sackner.

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This is a selection of concrete poems composed by Cirne from 1986-1992. -- Source of annotation: Marvin or Ruth Sackner.

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Probably all copies are numbered '1'. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This retrospective exhibition was conceived in homage to Ulrichs 70th birthday. It Includes a long discussion of Ulrichs exhibition in Berlin 1965 as "Timm Ulrichs, the first living work of art." It mainy deals with his visual and conceptual artworks. An earlier exhibiti n in 2002 featured his graphic works. Ulrichs showed his work for the first time in 1961 in his studio. Adapted from Artslant Internet 2010: Timm Ulrichs (born in 1940) is considered one of the most influential German conceptual and action artists. He writes concrete poetry, makes performance art, and works as a sculptor. For his work, Timm Ulrichs has received numerous international prizes, but in a conscious gesture of rejection, he withdrew from the art market. Even though his early performances and happenings have art historical significance in terms of determining an avant-garde art after 1960, his entire oeuvre is often only known to insiders. As an artist's artist, Timm Ulrichs is widely respected. Ulrichs...

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The exhibition was based upon the "Metamorphoses des Kunstlerbuches" that was presented as part of Documenta VI in 1977 in Kassel, West Germany. The text was written in German by Rolf Dittmar and translated to English and Farsi for this catalogue. -- Source of annotation: Marvin or Ruth Sackner.

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Essays by Wulf Schadendorf and Barbara Schmidt-Heins and Gabriele Schmidt-Heins. Each artists' entry contains a brief chronology. -- Source of annotation: Marvin or Ruth Sackner.

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The introduction was written by Sigrid Farten. -- Source of annotation: Marvin or Ruth Sackner.

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The exhibition Included Jochen Gerz's "Buchobjekt" which is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

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The portraits depicted in this periodical taken in a photobooth is an ancirnt way of making contemporary "selfies." -- Source of annotation: Marvin or Ruth Sackner.