Ana Hatherly
Natural from Porto, Ana Hatherly (1929-2015), graduated in Germanic Philology from the classic University of Lisbon, graduated in film techniques by International London Film School and Doctorada in Hispanic studies of the golden century by the University of California in Berkeley. Between 1981 and 1999, she was a teacher at the Faculty of Social and Human Sciences at the New University of Lisbon. The vast work includes poetry, fiction, testing, translation, performance, film and plastic arts, being represented at the modern art center of the Gulbenkian Foundation and the Museum of Contemporary Art of Serralves. She directed the magazines of dark dark (1988-1991) and incidences (1997-1999). Part of her estate is deposited in the contemporary Portuguese culture archive of the National Library.
Ana Hatherly integrated the Group of Experimental Poetry magazine (1964, 1966), being author or co-author of some of the programmatic texts of the movement. Her work shows the assimilation of the characteristic international experimentalism of the 1960s, namely through the spatialization of the word and the calligraphic exploitation of the relationship between drawing and writing, but also a great versatility of gender, shapes and styles. An intense self-reflexivity is visible in cycles of parody permutations, in the development of forms such as poem-essay and micro-narrative, and in deconstruction of a feminized subjectivity. The attention to the plastic and gestural dimension of writing is patent either in series collected in book, whether in the drawings and (des) collages, or still in the poetic films and actions that she has accomplished. This important core of her works is based on the expressive problematization of the reading and writing processes, explored through the trace of the hand writing and the body that supports writing, giving you the verbal and visual signs as dynamic and speculative entities. The signing dimension of writing is equally central in their creations in the field of painting, performance art and experimental video. Her academic research contributed decisively to a review of the reading of baroque poetry in Portugal and for the knowledge of the history of visual poetry. In fact, distributed that its artistic action by a versatile range of genres, forms and styles, in their works the author summons, not sometimes explicitly, the graphic visuality of the literary forms marked, marked by a strong Image and radical concultualization of the plastic dimension of the verbal sign. In its permutation and combinatorial exercises the significance of what is written is negotiated by the reading acts, both those that are carried out by the reader before the text and those who, in cases of certain works, the author carried out from fragments of other authors , creating a citational network that, once again, complains another tradition for visual and experimental poetry. Hatherly formalizes in her work a meta-reading that is already, herself, a reading writing and a reading of writing.
Master Works> The Master (Arcadia, 1963), Sigma (1965), Frenetic Eros (Moraes, 1968), Anagrams (Quadrant Gallery, 1969), 39 Tisanas (1969), Anagramática (1970), Imagination and Memory Maps ( 1973), the writer, 1967-1972 (1975), the reinvention of reading: brief critical essay followed by 19 visual texts (1975), poetry, 1958-1978 (1980), the intact swan: other metaphors - notes for a theory (1983), Natural Writing (1988), Volupsia (Chimera, 1994), 351 Tisanas (1997), Writing Age (Theme 1998), Rilkeana (Assyrio & Alvim, 1999), Itineraries (Quasi, 2003), the Black Peacock (Assyrio & Alvim, 2003), intelligent hand (chimera, 2004), fibilations (Chimera, 2005), 463 Tisanas (Chimera, 2006), Neo-Penelope (& etc, 2007). In the field of history and theory of visual poetry, published po.ex: theoretical texts and documents of Portuguese experimental poetry (1981; with in de melo and castro) and the experience of prodigy: theoretical and anthology bases of Portuguese visual texts XVII and XVIII (1983). His plastic work was the subject of a retrospective exhibition at the Modern Art Center of the Calouste Gulbenkian Foundation: Ana Hatherly: Visual Work, 1960-1990 (1992), having two published anthologies: an improbabilities calculator (Chimera, 2001), interfaces of the Look: A critical anthology, a poetic anthology (Rome Editora, 2004). She is also the author of the films The Thought Fox (London, 1972), Spaghetti Time (London, 1972), C.S.S. (Cut-outs, Silk, Sand) (London, 1974), Revolution (Lisbon, 1975), which is science (Lisbon, 1976), negative music (Lisbon, 1977) and Rotura (Lisbon, 1977).
Ana Hatherly integrated the Group of Experimental Poetry magazine (1964, 1966), being author or co-author of some of the programmatic texts of the movement. Her work shows the assimilation of the characteristic international experimentalism of the 1960s, namely through the spatialization of the word and the calligraphic exploitation of the relationship between drawing and writing, but also a great versatility of gender, shapes and styles. An intense self-reflexivity is visible in cycles of parody permutations, in the development of forms such as poem-essay and micro-narrative, and in deconstruction of a feminized subjectivity. The attention to the plastic and gestural dimension of writing is patent either in series collected in book, whether in the drawings and (des) collages, or still in the poetic films and actions that she has accomplished. This important core of her works is based on the expressive problematization of the reading and writing processes, explored through the trace of the hand writing and the body that supports writing, giving you the verbal and visual signs as dynamic and speculative entities. The signing dimension of writing is equally central in their creations in the field of painting, performance art and experimental video. Her academic research contributed decisively to a review of the reading of baroque poetry in Portugal and for the knowledge of the history of visual poetry. In fact, distributed that its artistic action by a versatile range of genres, forms and styles, in their works the author summons, not sometimes explicitly, the graphic visuality of the literary forms marked, marked by a strong Image and radical concultualization of the plastic dimension of the verbal sign. In its permutation and combinatorial exercises the significance of what is written is negotiated by the reading acts, both those that are carried out by the reader before the text and those who, in cases of certain works, the author carried out from fragments of other authors , creating a citational network that, once again, complains another tradition for visual and experimental poetry. Hatherly formalizes in her work a meta-reading that is already, herself, a reading writing and a reading of writing.
Master Works> The Master (Arcadia, 1963), Sigma (1965), Frenetic Eros (Moraes, 1968), Anagrams (Quadrant Gallery, 1969), 39 Tisanas (1969), Anagramática (1970), Imagination and Memory Maps ( 1973), the writer, 1967-1972 (1975), the reinvention of reading: brief critical essay followed by 19 visual texts (1975), poetry, 1958-1978 (1980), the intact swan: other metaphors - notes for a theory (1983), Natural Writing (1988), Volupsia (Chimera, 1994), 351 Tisanas (1997), Writing Age (Theme 1998), Rilkeana (Assyrio & Alvim, 1999), Itineraries (Quasi, 2003), the Black Peacock (Assyrio & Alvim, 2003), intelligent hand (chimera, 2004), fibilations (Chimera, 2005), 463 Tisanas (Chimera, 2006), Neo-Penelope (& etc, 2007). In the field of history and theory of visual poetry, published po.ex: theoretical texts and documents of Portuguese experimental poetry (1981; with in de melo and castro) and the experience of prodigy: theoretical and anthology bases of Portuguese visual texts XVII and XVIII (1983). His plastic work was the subject of a retrospective exhibition at the Modern Art Center of the Calouste Gulbenkian Foundation: Ana Hatherly: Visual Work, 1960-1990 (1992), having two published anthologies: an improbabilities calculator (Chimera, 2001), interfaces of the Look: A critical anthology, a poetic anthology (Rome Editora, 2004). She is also the author of the films The Thought Fox (London, 1972), Spaghetti Time (London, 1972), C.S.S. (Cut-outs, Silk, Sand) (London, 1974), Revolution (Lisbon, 1975), which is science (Lisbon, 1976), negative music (Lisbon, 1977) and Rotura (Lisbon, 1977).
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