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Soft cover. Zustand: Very Good. 1st Edition. 4° - 499pp - B/w reproductions. Published as exhibition catalogue: Ubi Fluxus 1990 - ibi motus 1962 / Where the flow of 1990 - there the movement of 1962. First edition, text in Italian, English and French language. Original Boards. IN very good condition.…

Milan: Multhipla edizioni (from 1981 publishing by Intrapresa), 1979-1988. Folios (43.5 × 32 cm). Original printed self-wrappers; between 16 and 48 pp.; mostly between 32 and 40 pp. with numerous reproduced photographs and illustrations. All issues with the customary horizontal trace of the fold; a few issues with a small number of underlinings; a few leaves somewhat toned; else very good. Complete run of the important cultural journal in which the Italian intelligentsia turned away from Marxism towards post-structuralism and post-modernism. One of the founders was Nanni Ballestrini, whose idea was to provide a forum for the heterogeneous currents of contemporary Italian culture and the humanities. Ballestrini was one of the leading figures of the "Gruppo 63", which experimented early on with visual components and electronic media in poetry. After the group disbanded, Ballestrini became involved in the Italian New Left as a publicist, among other things. Not long after founding "alfabeta", he was accused of alleged involvement in Italian left-wing terrorism. Ballestrini went into hiding in France and Germany. Many years later, the accusations turned out to be false. The Ballestrini case was also the subject of numerous appeals and expressions of solidarity in the early issues. The name of the journal has its origins in the Fluxus movement. Gino di Maggio, one of the initiators of "alfabeta", founded the periodical "a-beta" a few years earlier together with George Brecht, one of the main representatives of Fluxus, which saw itself decidedly as a dissemination medium for Fluxus. A total of eight issues were published by the Milan publishing house "Multipla", which was managed by Gino di Maggio and which began to publish the culturally much broader periodical "alfabeta" every month around two years after the Fluxus journal was discontinued. In 1981, Gianni Sassi, who was already responsible for the journal as designer and art director, took over the publishing duties. One of the periodical's main genres was the comprehensive review, primarily of fiction, essays, and theory, but also of newspapers and periodicals. One of the journal's self-imposed tasks was already stated in the first issue: "to read or re-read what has been said and what still needs to be said." In the 1980s, "alfabeta" was one of the few journals in Italy that repeatedly succeeded in stimulating cultural debates and promoting literary trends. The photographs and illustrations printed in the issues were each dedicated to a specific theme and often appeared as a preview of and insight into current exhibitions and book publications. They were therefore not subordinate to the texts, but led their own discourse alongside the texts, as it were. Political topics include feminism, the environmental movement, media and spectacle. The disintegration of Marxist theories and the resulting increase in post-structuralist thinking (Derrida, Barthes, Lyotard, Baudrillard) had a significant impact on the journal, as can be seen, for example, in its engagement with psychoanalysis (Deleuze and Guattari). In doing so, "alfabeta" did not take the side of "postmodern thinking", but also allowed its critics to have their say, such as Jürgen Habermas, who believed he recognized a shift to the right in the reception of Heidegger, for example by Derrida. Even the post-modern critic Maurizio Ferraris, later one of the initiators of a new realism, speaks out extensively against Lyotard. Not insignificant for this change in the debate is the technical development, especially the increasing importance of the computer in the 1980s (Paul Virilio, Niklas Luhmann). An entire issue was published under the title "lo scimpanze lo scriba e il computer" (the chimpanzee, the writer, and the computer). The origins of the journal in Fluxus are also noticeable in its great interest in all aesthetic developments, such as the visual arts, theater, cinema, pop and rock music, etc. Even comics are the subject of theoretical examinations (Roberto Giovannoli, "Postmodern comix"). Interest in the avant-gardes and neo-avant-gardes is also a continuity of the journal, with a particular historical interest in Italian Futurism. (Cf. Giovanna Lo Monaco, Alfabeta, in: Alle due sponde della cortina di ferro. Le culture del dissenso e la definizione dell'identità europea nel secondo Novecento tra Italia, Francia e URSS 1956-1991, Florence 2019.).…

Zustand: As New. 1st Edition. Quarto, 23 pages, 4 black-and-white illustrations. Illustrated wrappers. - First edition. The program took place in the Aula Magna dell'Università di Pavia from 10-14 April 1978 Lunedi 10 aprile Futura, poesia sonora Filippo Tommaso Marinetti, Aldo Palazzeschi, Francesco Cangiullo, Giacomo Balla, Paolo Buzzi, Ardengo Soffici, Fortunato Depero, Nelson Morpurgo, Christian Morgenstern, Paul Scheerbart, Velemir Chlebnikof, Vladimir Majakovskij, Vasilij Kamenskij, Henri Martin Barzun, Nicolas Beauduin, Hugo Ball, Kurt Schwitters, Man Ray, Isidore Isou, Maurice Lemaitre Jean-Pierre Gillard, François Dufrêne, Josef Hirsal-Bohumila Grögerova, Ernst Jandl, Michelangelo Coviello. Mimodeclamatori: Valeria Magli, Arrigo Lora-Totino. Martedì 11 aprile Arrigo Lora-Totino: "Trio prosodico"/ "Sconcerto in svariate materie" / "Poesia tra parentesi" / "Luce! Danza cromatica". Mimodeclamatori: Paolo Bessegato, Valeria Magli, Arrigo Lora-Totino Mercoledi 12 aprile Horacio Vaggione A mo' di introduzione: la maguina de cantar / Ending / Last continuum / Comment le temps passe Giovedi 13 aprile Gruppo di Sperimentazione musicale Edgar Varese diretto da Giancarlo Bizzi. Giorgio Battistelli, Erasmo Gaudiomonte, Paolo Giuliani, Roberto Marafante / Giancarlo Matcovich, Francesco Piazza, Gianni Trovalusci. 'A pazziella 'mnano' 'e creaturé. (Gianni Trovalusci) / Malamo Likembe. (Giancarlo Matcovich) / Serenata per la ballerina di legno (Giorgio Battistelli) / Proronema (Paolo Giuliani) / Crypsis (Francesco Piazza) / Akropolis (Roberto Marafante) Venerdi 14 aprile Esther Ferrer, Juan Hidalgo, Walter Marchetti in un Concerto Zaj 6 minuti per 2 interpreti e 3 posizioni con contatto corporale/ 40' parallelo / Speculazioni a V / Bianco e nero / Intimo e personale / Palle / Il percorso giapponese / Alzare le braccia 1,2 e 3 / I nove sette / Silhoutte / Il cavaliere con la mano al petto / -tease / Maschera / Musica per un bicchiere non molto grande /Il segreto. added: ZAJ @ Rumore di fondo". Deriva; parola, suono, immagine Ten photographs by Emilio F. Simon documenting the concert/ performance held by the ZAJ group (Esther Ferrer, Juan Hidalgo and Walter Marchetti) on April 14, 1978. The ten photographs (29,8 x 21 cm) are later printings on Archival Baryta paper and signed and stamped on the rear by Emilio Simon. …