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"3: am magazine" interview (German)

few days ago I had the pleasure of an interview for the renowned "3: am magazine" to give. were also present eight visual seals.
here it goes to the original in the English language: foreword
www.3ammagazine.com/3am/maintenant-47-anatol-knotek

SJ Fowler for an interview with Anatol Knotek for the 3: am magazine

for those who would rather read the interview in German, there is here the translation:

maintenant # 47
"leaking" an interview by SJ Fowler, with Anatol Knotek for the "3: on magazine"


3: AM: perhaps more than any other city since the mid-1950s seems to Vienna in the heart of the "poetry -avantgarde "to stand. as it looks today, compared with the past?

Anatol: vienna actually looks back on a long tradition of avant-garde art movements. just think of the artists of the Vienna Secession, the group of Viennese action artists, the school of realism and of course the fantastic group of poets of the wiener.

I am in such an interesting city to live and living off natural artistic sense of it that I almost always have the possibility to visit an exhibition inspired me. At the time, here for example the large Ernst Jandl show held at the Vienna Museum. but I think that both in Vienna of the experimental literature, and in of art in general, its international ranking have long been expired. possibly but I can not judge accurately the extent that I have as a "maverick" very little insight into the "classic" literature or art scene.
my interest is primarily in visual and digital poetry, a very large topic, so, so see how I would identify local currents are very difficult

3. AM : is your opinion on the "heritage" of the Vienna Group in Austria and in the world? Jandl, Artmann, Mayröcker, Rühm, Bayer seem of great importance in the circle of avant-garde to have achieved, but what is their real legacy?

Anatol: I think the influence of these artists is not to be underestimated. There is virtually no textbooks on the German language without a reference group to the wiener. Ernst Jandl and especially Gerhard Rühm and had a significant impact on my work. precisely the combination of literature, music and visual art for me is the legacy of this group is right now still a big source of my inspiration. they were "Multimedia" artist before the term was invented. when it comes to the literary history of the second half of the 20th century is, to get there, probably also seen internationally, not for their artistic and literary legacy around.

3: AM: and wiener activism? What about the legacy of Nitsch, Muehl, Brus and the other from Actionists?

Anatol: here I would say that the Viennese actionism a very influential influential art movements in different but art is most likely to the performance-and visual, of the past had century and still has artists.

by the Austrian fine, but I would especially Arnulf Rainer, one of the most influential highlight painter of the informal and Markus Prachensky working especially on my "concrete poetry vs. infomel" were influential.

one can generally say that visual impressions of visual art at least as important to me, as literary influences of the experimental Scene.

3: AM: a large number of members of the Vienna Group, and other concrete poets cultivated a close collaboration. Jandl's cooperation with Bob Cobbing in London is particularly interesting to me. yes, they have recently begun a collaboration with Márton Koppány. I wonder how they perceive a creative exchange of this kind?

Anatol: the collaboration with Márton Koppány was for me a completely new experience. I never thought before because For me, a cooperation of this kind would be possible because I was always very careful to be working alone. but now I realized that I was inspired in a different way and also worked.

the cooperation of the concrete poets of course I have closely followed and admired. generally speaking, I let myself, but rather passively from that inspire or influence.

3: AM: began like this cooperation? how did it develop? they knew the work of Márton Koppány already?

Anatol: I knew the work of Márton for quite some time. when dealing with visual poetry, we encounter his work very often. a few months ago I published several of his visual poetry on my tumblr-blog and so a very nice e-mail correspondence emerged. he asked me if I would be interested in working and sent me a (very minimal work) from him. The first sequence was from a mutual "scan" style, but over time, our way of communicating something quite natural everyday. We hardly spoke, or rather explained and interpreted our work very little, but were guided by the visual language. Márton unique humor and his witty form makes fun of our collaboration into one.

laid right now we pause a little, because Márton preparations for time for his "American tour" applies, where he will deliver lectures and workshops in several U.S. cities. But we agreed some time ago, that we will resume our joint work afterwards.

3: AM: they are a versatile artist and poet. what they consider to be visual poetry? how did the outcome of their work? Have you always been interested in visual poetry?

Anatol: began my interest in visual poetry in the first years relatively late, a little more than a decade to develop. In my youth I dealt primarily with the painting. my pictures were very influences by the artists of the late 19th and early 20th century marked. later I started with poetry and text-specific collagen.
by a meeting with the Austrian poet Peter Daniel, and a trip to Germany to Jürgen Blum and his "open book" (concrete poetry in more than 100 house facades) in Hünfeld realized I strong fascination with the visual poetry for me. from then on I worked mainly in this area and began painting still strong at the imagery of the objective-oriented, to "write" image.

I was and am constantly in search of a new form language, the perfect combination for me of text and images.
created Sun "written images" , "text objects" , Text Animation , "concrete poetry" and typography to the ajar alphabets - experiments ...

my goal is to express ideas that sharply written, spoken and graphic language are bound and restrict me "style issues" in as little as possible.

3: AM: what you think about the current developments of the concrete and visual poetry? It is still a movement that their best work produces? there is an active community, or work independently, most dense and maintain the tradition?

Anatol: I think the visual poetry years after a surge in the 50s and 60s until the end of the 20th century somewhat stagnated (with some exceptions), has now but thanks to the internets again formed a lively community. because it is "visual poetry" is a gross over concept, go the lyrics and expressive forms of the individual artists vary radically, but I believe that all have in common the goal to raise this form of art to a new level. .
the new opportunities of social networking, the creative possibilities of the computer and have the Internet open, the artists and, specifically, the visual poet new spheres

let me give examples of the current development:

Earlier this year a unique insight will be working in some 130 global visual in the anthology "The Last VISPO (1998-2008)" Poets be given, which come out in the U.S. is. This is somewhat special, because on the one hand, the collectors Crag Hill and Nico Vassilakis the works for several years across carefully selected and there on the other side in the last decades, only the second anthology will be of this kind.

from their own experience, I can say that through the new media visual poetry internationally well accepted and is continuously re-discovered. my work, which were discovered in the net, appeared in various school-books in Germany, but also in scientific work in Germany, America and Poland. Recently I had a nice contact with students from Uzbekistan, which at the Goethe-institut discussed my work.

artists, such as the much appreciated by me, also in Vienna living Jörg Piringer, the tradition of sound poetry gone, but now in a completely new terrain. Piringer linked digital, visual, interactive and noisy-poetic, transferred the individual elements on the computer and perfomances are original designs or games iPad.

I think that there could be a new discovery, almost a renaissance of visual poetry and I am firmly convinced that the potential for this will be far from exhausted the form of poetry.