“Canto IIVMM – Andrew Jackson and the Bank War” by Dark wall – visual poetry, asemic poetry. concrete poetry

Canto IIVMM = Andrew Jackson & the Bank War



Concrete poetry by Dark wall – concrete poem










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MinXus Mail Bag: Visual poetry by Luc Fierens (Weerde, Belgium)

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Mail-art by Luc Fierens (Weerde, Belgium)

We are absolutely thrilled to have received this visual poem by Luc Fierens, as we have been fans of his visual poetry and collage art for some time. Luc Fierens is an innovator in the visual-textual area, and we hope you will explore the links to his work in this blog. We place him among our favourite artists who are doing such extraordinary work in Belgium. This includes Thierry Tillier, Little Shiva, Benoit Piret and Guido Vermeulen.

Here is a link to Luc Fierens’ blog where you can see many examples of his work:


In this postcard-size piece, Luc Fierens focuses on the textual by constructing a poem from language appropriated from the mass media. Indeed, much of his work seeks to reveal and destabilize systems of power and control. We think an excerpt from his artist’s statement that appears in the online publication Kolaj is particularly useful in understanding the concepts that inform his work:

“As artist, I [Luc Fierens] started as poet, an experimental poet influenced by the Belgian avant-garde (Van Ostayen). But after a while I turned to visual poetry. Now, since the nineties, I dedicate myself to my re-poesia visiva. Poesia Visiva was an Italian movement of visual poetry that was known in the 60s-70s to be very political and anti-POP because of its activity of semiological guerrilla (cfr Miccini/U.Eco). I don’t think I repeat it, but I think it is still CONTEMPORARY. The majority of today’s political events have a strong likeness with the sixties. The protest, the social changes, the crisis (also in the 80s), the power of the mass media… only the names of the multinationals changed, but the rich are richer and poor are poorer. Therefore, the poet must try to change the world. This utopian vision is part of mine to conceive/to make art, as provocation through means of collage. Visual poetry goes beyond the collage. Therefore, visual poetry is an instrument/my way of art/life to attack the truth (by detournement). In my visual poems, I use the written word. The word interrogates the images and makes the layers visible. Of signs to read or to see.”

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We also like Luc Fierens’ photostream at flickr:


The “Secret Archives” exhibition featuring Luc Fierens, Thierry Tillier and Benoit Piret is also well worth some exploration:


Many thanks to Luc Fierens! We look forward to more exchanges.

Poop & Pee Dog Copyright Violation Ceremony documentation by tentatively a. convenience

(One of the most notorious events in the history of Neoism – Baltimore, Maryland. We found this documentation by tentatively a. convenience, who staged the event. If this can be believed, it clarifies the facts of what took place.)

57. Poop & Pee Dog Copyright Violation Ceremony

  • 14BX Sub-Par/Con (The 3rd Church & Foundation of the Subgenius Convention), a Baltimore Train Tunnel, us@
  • September 18, 1983, very early morning
  • A wire was stretched across the train tunnel thru an eye hook & 2 partially truncated & mummified dog corpses that I’d found there that had apparently been run over by trains were hung from the wire on either side of the tracks. A metal sheet with instructions for using Black & Decker power tools with a No Copyright symbol spray-painted on it was suspended between the dogs. The dogs were painted white with the words “Poop” painted on 1 of them & “Pee” painted on the other & glowing cyalume light sticks were placed between their rear legs. The walls of the tunnel were spray-painted with non-intersecting (except for, perhaps, the occasional accident) squiggly lines which I associated somehow with native Australian dreamtime culture. A strobe light flashed, someone made the dogs dance by tugging on the wire, & Ron Cummings manipulated & played tapes that he’d made of him beating on the dead dogs. I was naked except for my shoes & socks & I had white squiggly lines painted on me. I danced & gyrated wildly & beat the dogs & the thunder sheet with a club. The dogs were on fire & exuded what one might call a “foul” smell. I had been entrusted with the sacred head of Arnold Palmer by a representative of the Bloody Head Launcher’s Society which I had set on fire & which I was also beating about the tunnel. The title of this ceremony was a reference to “Pee-Dog” comix by Jay Condum & Gary Panter & “Poop-Dog” comix (which was a friendly rip-off of “Pee-Dog”) by the Reverends Ivan Stang & Sterno Keckhaver. Eventually a large quantity of police came (from the railroad cops, the city police, & the nearby federal reserve bank guards) because 1 of the attendees reported having witnessed something “horrible & immoral” & I was arrested. When the “news” found out about this (it was done partially as a publicity stunt anyway) they “reported” that I was a “Cult Leader” who was “praying to the dogs” etc. Very little attempt was made to actually find out who I really was or what I actually was doing & when I was interviewed what I actually had to say was considered too weird to quote. I was quoted both in the newspapers & on tv as saying things that I hadn’t said by people who hadn’t even been present at the time when I’d supposedly said them. The cop who’d arrested me bought a photo of this ceremony from me. Another cop who’d allegedly been on the “force” for 26 years was quoted as saying in the newspapers “I’d rather run up against a man with a gun than a situation like that!” The beat goes on..

“flash ninxus” – asemic concrete visual poem by Dark wall



MinXus Mail Bag: Moan Lisa looks back to old staples – Neoism & Punk(ture) (Iowa City, Iowa, USA)

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Mail-art by Moan Lisa (Iowa City, Iowa, USA)

The ever-changing and evolving Moan Lisa stepped out of a recent Fluxus preoccupation briefly with this Neoist-inspired piece we were thrilled to receive. Neoism in the 8os and 90s took an inherently anti-art stance and was aligned with the Punk and industrial music scenes with which it was contemporary. This musical comparison, hopefully, illuminates Moan Lisa’s mail-art with its menacing (this piece can cut you if you are not careful) metal teeth and obsessive repetition. Here is the full, large postcard-size piece:

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Neoism is still a presence in the mail-art network, from which it sprang along with similarly aligned efforts such as the Church of the Subgenius. Generally it is referred to as “post-neo” these days. For instance, visual poet Jim Leftwich (Virginia, USA) is a proponent of Post-NeoAbsurdism, which is producing, in our estimation, fabulous work on many fronts including performance art but far removed from the days when tentatively a. convenience’s dead animal rituals scared even the police in Baltimore.

This is a link to the Post-Neo Absurdist Anti-Collective:


Here is the reverse side of Moan Lisa’s piece which is even more minimalist:

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And a close-in on the Neo moniker:

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Moan Lisa has a definite skill for locating radical movements of the past (via the Eternal Network), locating their concepts and approaches, and updating them. Ultimately, Moan Lisa synthesizes all these influences into something that is uniquely Moan Lisa.

As ever, many thanks to Moan Lisa!

MinXus Mail Out: “The Red & the Black” (asemic fiction) to E – Ambassador of Utopia (Guivry, France)



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