«Either poetry, or art in general, profoundly transforms customs, or it is nothing».

These are the words of Gruppo 70 co-founder Lamberto Pignotti on the occasion of the 60th anniversary of the birth of the Group, one of the most interesting artistic associations that arose in the context of the Neo-avant-garde and Italian verbo-visual researches that, starting from the relationships between words and images, expanded to other senses, senses that are often neglected (L. Pignotti)To celebrate this anniversary, Galleria d’Arte Moderna in Rome is hosting until Feb. 2, 2025 the exhibition “Poetry looks at you: homage to Gruppo 70 (1963-2023)”, curated by Daniela Vasta. This project is part of a wide-ranging exhibition program of the Gallery, which has always stood out for its focus on the Italian Avant-Garde and Neo-Avant-Garde movements from the 20th century. The exhibition offers a fascinating journey through the Group’s aesthetic and poetic choices with a focus on the crucial period between 1963 and 1968. It features works by two of its founders, Eugenio Miccini and Lamberto Pignotti, along with other important exponents such as Ketty La Rocca, Lucia Marcucci, Luciano Ori, Roberto Malquori and Michele Perfetti. The exhibition is distinguished by its multimedia nature, fully reflecting the synesthetic and multifaceted approach of Group 70 artists. Visual works are flanked by sound poems, cinepoems, artist’s books and a selection of documents that testify not only to the innovative aesthetic experimentation but also to the Group’s political and social engagement. These artists, in fact, made themselves promoters of a reflection on the tumultuous change that was crossing Italy in those years. The use of collage and photomontage became a powerful tool for exploring the speed and disorder of cultural and social change, challenging the ability of traditional language to respond to a changing world. Collage, as a poietic gesture (poiéo, to make), «combines words, images and materials drawn from the collective imagination» with the intention of recovering fragments of human sensibility that are in danger of being alienated by the dominant technological and social context. Poetry looks at you «is not a flagship art exhibition in which equally flagship poetry and music are served as a side dish. It is, excluding both presumption and false modesty – a proposal for an essentially unprecedented artistic manifestation, aimed at tracing, verifying and proposing the possible, latent methodological-operational relationships between different sectors of aesthetic production and fruition».

Eugenio Miccini, “Il cuore tornerà a battere”, 1963, collage on cardboard, 50 x 70 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

Rediscovering visual poetry today, as a central element of the Italian neo-avant-garde season, is not limited to a celebratory tribute for the 60th anniversary of Gruppo 70, but becomes an opportunity to reflect on the exciting journey through art. Since its origins, word has been intertwined with image, creating a complex and fruitful dialogue, giving rise to reckless expression forms, capable of disrupting conventions and renewing both painting and writing. To fully understand the roots of this interaction, we can imagine the creative process of a medieval illuminated codex. This precious artifact came to life through complex and collective craftsmanship: parchment makers prepared the leather surface, copyists transcribed the text, illuminators added the decorations, transforming the whole into a work that combined word and image in a profound dialogue. The result was an aesthetic and symbolic fusion that went beyond mere decoration. This same tension between word and image was reflected in modern visual poetry techniques, such as collage and décollage, in which tangible materials such as paper, prints and photos are combined with the art of writing. As in medieval workshops, modern artists transform these elements into works that subvert the traditional meaning of language, creating new interpretive spaces. The verbo-visual tradition does not end in illuminated codices. It finds expression in medieval carmina figurata, woodcut books and calligrams. As early as the Hellenistic period, poets such as Simia of Rhodes, Theocritus and Dosiada created works known as technopaegnia, where the arrangement of words on the page formed symbolic images. These experiments, continued in the medieval and Renaissance periods, demonstrate how words have always sought to break free from linearity to explore new visual and semantic possibilities. Early modern explorations of this connection include the works by Stéphane Mallarmé, particularly Un coup de dés jamais n’abolira le hasard (1897). Words are spread across the page in blocks and steps, creating visual effects that amplify the drama of the composition. Guillaume Apollinaire, similarly, with his calligrammes, such as the famous Il pleut (1918), uses the visual arrangement of words to amplify the meaning of the text. Words are arranged like raindrops, creating a simultaneous experience between literal meaning and graphic representation.

Ketty La Rocca, “Appendice per una supplica”, 1971, emulsified canvas, 87,5 x 125 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

The dialogue between word and image, in Futurism, reaches an unprecedented level of experimentation. Filippo Tommaso Marinetti revolutionized poetic language with the concept of “words in freedom”, overcoming the conventions of traditional punctuation and syntax. In his works, writing becomes a visual and aural experience. A prime example is the poem Zang Tumb Tumb (1912-1914), inspired by the siege of Adrianople during the First Balkan War, which Marinetti personally witnessed as a correspondent for the French newspaper Gil Blas. Georges Braque developed with his papiers collés a visual language that drew on fragments of printed paper, such as newspaper clippings or labels, to incorporate them into pictorial compositions. In 1912 Pablo Picasso inaugurated a new phase in art history with the creation of one of the first pictorial collages, Still Life with Stuffed Chair. Wanting to avoid slipping into pure abstractionism, Picasso introduces details that anchor the work in the real world, such as the three capital letters JOU, which can be read as an abbreviation for journal (newspaper) or jouer (play), adding a playful and narrative dimension, inviting the viewer to actively participate in the interpretation of the painting. Among the most significant figures of Dadaism stands out Kurt Schwitters. As a member of the Dadaist group in Hanover, he developed a unique and innovative artistic language through his Merzbilder, in which he combined fragments of text and salvaged materials into compositions that transformed the word into a plastic, visual and material element. René Magritte transforms everyday reality through the filter of the absurd and the marvelous. Significantly, before fully establishing himself in the Surrealist movement, between 1922 and 1926, Magritte worked in advertising, designing posters and wallpaper. René plays with the word as if it were an object, a visual paradox that camouflages words in context, creating the illusion that they physically exist. In L’art de la conversation (1950), the letters dissolve into the architecture, giving the impression that they are real stones, while remaining an idea materialized in an alienating way. Magritte becomes a juggler of deception, forcing the viewer to navigate between what is and what is not. Magritte’s series Ceci n’est pas une pipe represents one of the most profound and provocative reflections on art and language in the 20th century: the image of a pipe, accompanied by the writing that denies what the viewer is observing, becomes a visual and conceptual paradox. Quoting Foucault, in his 1968 essay titled precisely Ceci n’est pas une pipe, Magritte not only plays with the relationship between signifier and signified, but also transforms painting into a philosophical terrain, challenging all representational certainty. In Escargot, femme, fleur, étoile (1934), Joan Miró‘s words are not captions, but living entities, following the rhythm of a pictorial universe poised between poetry and childlike gesture, a cosmic alphabet that invites reading as a walk among the stars, Mirogliphics imbued with associations and allusions.

Lucia Marcucci, “Sotto accusa”, 1966, collage on canvas cardboard, 60 x 50 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

Lettrism and Nouveau Réalisme, continuing the legacy of the historical avant-gardes, paved the way for an increasingly close interaction between different expressive languages, while New Dada, Pop Art and artists such as Mimmo Rotella, Mario Schifano and, later, Jean-Michel Basquiat, broadened and diversified this quest. To come to the present day, Anselm Kiefer in his canvases interweaves the verses of Paul Celan, poet of the unspeakable, with rough materials and powerful symbolism, shaping works that deal with historical and spiritual traumas: images merge with language in a poignant dialogue about memory. The word embedded in the artwork, as we have seen, is not a novelty exclusive to the contemporary age; however, it is only from the second half of the twentieth century that it takes on a central role. In the 1950s and 1960s, concrete poetry revolutionized language, transforming it into a visual object and focusing on its material structure. Pioneers such as Eugen Gomringer and the Noigandres Group (Décio Pignatari, Haroldo and Augusto de Campos) explored the word as an autonomous form, disengaged from traditional meaning, to reveal its aesthetic and spatial potential. It is with Gruppo 70 that this research reaches its maximum consequences. Fusing historical avant-garde and contemporary culture, the Italian collective reinterprets word and image in a verbo-visual key, creating works that go beyond mere representation to question society. Lamberto Pignotti ironizes the stereotypical roles of the bourgeois family, Lucia Marcucci ridicules machismo myths and wealth fetishes, Giuseppe Ori demystifies the obsession with beauty, Antonio Malquori unmasks the vacuity of women’s magazines, Michele Perfetti denounces the commodification of the female body, Ketty La Rocca investigates the ambiguities of language. Writing «performs an insubordination to the image, in the sense that it no longer resigns itself to remain humbly aloof, like the figures of the patrons in ancient altarpieces, but demands to occupy the space of the image and compete, with equal rights, in the fine-tuning of the message.  A double shift occurs, of the verbal code to the visual code and vice versa. Both one and the other abandon their territory and settle in a different space, that of an inter-code, resulting from the contamination and integration of the first two» (F. Menna). In the 1960s Florence was a vibrant melting pot of innovation, making the city an epicenter of the international avant-garde. Radical Architecture was taking shape there, with visionary groups such as Superstudio, Archizoom and Ufo challenging traditional paradigms of design and urban planning. Pietro Grossi was laying the foundations of electronic music in Italy, attracting leading figures such as John Cage, Luciano Berio, Cathy Berberian and Sylvano Bussotti, and consolidating Florence as a reference point for sound experimentation. This creative ferment was grafted onto a period of profound transformation. The 1960s marked a turning point for the country, suspended between tradition and modernity. Italy, still rooted in its agricultural origins, was opening up to industrialization. In this context of ruptures and transformations, art and poetry also began to question the languages from the present. It was in this climate of critique and rejection of the dominant system that Gruppo 70 inserted itself: operating withdrawals from the world of mass communication, its members intended to criticize and challenge the system itself, its rituals and myths, including that of welfare. «The ruling classes impose names on objects of experience according to the interest of the domain and force experience to regulate itself according to the laws of names. A correspondence or mutual reflection of names and objects is established: not only names are false, but experience is falsified; names are glued to things: the object becomes a reflection of the name […]. The stereotype is a political fact, the main figure of ideology». (L. Pignotti)

Luciano Ori, “Il filo della bellezza”, 1963, collage on cardboard, 49,8 x 69,7 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

To “play” the system and overthrow it, it was necessary to act as thieves and forgers, subverting conventions and creating new expression forms. In 1996, when Gioventù Cannibale was published (an anthology of short stories written by various authors, subsequently defined as I Cannibali), Daniele Luttazzi underlined how the work had initially been accused of being too distant from the reality of the time. However, the anthology turned out to be surprisingly precognitive, dealing with themes that, soon after, become protagonists of the Italian news: «After a few months, Italy knew the cases of the monster of Florence, the Ligurian serial killer, Erika and Omar, the Lombard Satanists, etc. Artists have antennae and sense in advance what is coming». This reflection highlights how artists had the ability to anticipate trends and cultural transformations that would define society in the following decades. Similarly, Gruppo 70, equipped with these antennas, seemed to anticipate 1968 and the 1969Hot Autumn. Internal migration, with millions moving from the South to the North, and the awakening of worker and student protagonism, set off a new wave of political and social mobilization. Claims for civil rights and improved living conditions were intertwined with a country that sought to renew itself in every dimension. As Adriano Spatola observed, «The problem is no longer only that of transforming poetry into something new with respect to traditional poetry, but above all that of making poetry, through this transformation, propose itself as a total art. […] It seeks today to make itself a medium, to escape all limitations, to encompass theater, photography, music, painting, typographic art, film techniques and every other aspect of culture, in a utopian aspiration to return to its origins». At that time, printing had contributed to a standardization of communication, creating a visual and intellectual monotony that was becoming increasingly untenable. In this context of fatigue with established models, a cultural utopia was beginning to emerge, aimed at creating a new synthesis between word and image. The goal was to challenge the Gutenberg Galaxy, which had crystallized thought into rigid and limiting structures, thus fueling a growing need for alternative languages. What does the term Gutenberg Galaxy represent? Coined by Marshall McLuhan in his famous essay The Gutenberg Galaxy: The Making of Typographic Man (1962), the concept analyzes the impact of movable type printing on human culture and consciousness, which was capable of revolutionizing the way we think and communicate. «The medium is the message», no longer simply a tool for conveying content, but influencing and shaping reality and human perception itself. The press started a process capable of generating, among others, nationalism, rationalism and cultural standardization with a consequent sense of alienation as communication became standardized. According to McLuhan, «when words are written they become part of the visual world» and, in this transition, they lose many of their original qualities, are deprived of their magical stage, transformed into elements of a world where experience is first mediated and then standardized.

Roberto Malquori, “Stop”, 1964, collage and décollage on paper, 42 x 53 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

In Phaedrus, Plato evokes the Egyptian myth of Thamus and Theuth, where Theuth, inventor of the alphabet, praised his discovery as a tool for  making Egyptians wiser and improving their memory. However, King Thamus replied: «Ingenious Theuth, the creative power of new arts is one thing; it is another thing to judge what degree of harm and usefulness they possess for those who will use them. […] It will engender oblivion in the souls of those who learn it: they will cease to exercise memory because, trusting in the writing, they will call things to mind no longer from within them, but from without, through foreign signs». The principle of seeing in order to believe has always occupied a central role in Western visual culture and finds an emblematic representation in the evangelist John Gospel (Jn 20:24-29). In this episode, the apostle Thomas, confronted with the testimony of the other disciples about Christ’s resurrection, expresses the need for tangible confirmation: «Unless I see in his hands the mark of the nails and put my finger in the mark of the nails and put my hand in his side, I do not believe». This request reflects the natural human inclination to base faith on sensible evidence. Jesus, while agreeing to Dìdimo’s desire, admonishes him: «Because you have seen me, you have believed; blessed are those who have not seen and have believed!». These few but eloquent words condensed the invitation to transcend dependence on visual experience, recognizing the value of a trust that transcends the limits of immediate perception. In contrast, in rural African communities, hearing and oral communication are essential in perceiving the world. John Wilson, in his study on perceptual processes, describes how, during an educational experiment in an African village, pre-literate viewers perceived a movie in an unexpected way, focusing on marginal details such as a chicken in the corner of the frame, neglecting the total message of the video. This approach stems from a lack of acquired visual habit, which makes learning/absorption necessary to understand an image in its entirety. Wilson concludes that, for the non-literate, interaction with images is empathic and immersive, similar to tactile experience, while in the literate, a detached and analytical view prevails.

Michele Perfetti, “L’ingranaggio”, 1966, collage on cardboard, 23,5 x 15,5 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

In 1962, Lamberto Pignotti, founder of Gruppo 70, reflected on the impact of the Gutenberg Galaxy on society, drawing inspiration from McLuhan’s theories and attempting to overcome the barriers of traditional languages: «It is not a matter of taking four steps outside the ivory tower to observe with the tourist’s vacationing eye the local color of the world; instead, it is a matter of inhabiting the world, it is a matter of listening and being heard, of understanding and being understood». In the same year, he theorized technological poetry, which was to draw on contemporary languages such as journalistic, scientific, advertising, and others. This was not a simple aesthetic addition, but a response to the bombardment of words and images characteristic of the economic boom in Italy, which introduced new myths and rituals into everyday life. Pignotti would later speak of “pubbli-città” to describe the invasion of advertising into urban space. Neither apocalyptic nor integrated, the visual poem collected the novelties in circulation and incorporated them into the territory of the visual arts, inviting observers to «come out of passive fruition and critically watch-read all verbo-visual messages»: a conquest, that of the «vigilant and shrewd gaze». Having control over the codes was a lesson in democracy, in emotional freedom, in active and conscious citizenship. At the founding conference of Gruppo 70 (Art and Communication, May 4-26, 1963), poets Eugenio Miccini and Lamberto Pignotti, painters Antonio Bueno and Alberto Moretti, musicians Sylvano Bussotti and Giuseppe Chiari, critics Luciano Anceschi, Eugenio Battisti, Gillo Dorfles and Gianni Scalia, and linguists Umberto Eco and Aldo Rossi analyzed art as a communication phenomenon.  The founding poets were soon joined by Ketty La Rocca, Lucia Marcucci and Luciano Ori, while relations and interchanges were established with Gruppo 63, Fluxus, and the verbo-visual researches of other centers on the peninsula with more or less transitory affiliations. The crucial question was: what mental attitude to adopt in the face of the rise of technological and industrial language? According to Pignotti: «Visual poetry is neither painting with words nor poetry with figures. In other words, words should not be a commentary on self-sufficient visual images, nor should the latter turn out to be the illustration of a text that is sufficient unto itself. Visual poetry, to be such, demands an effective relationship, a true interaction, between words and visual images in a single context […] and not their mere coexistence». Beginning in 1963, Gruppo 70 began staging traveling happenings, characterized by interaction between the audience, poets and musicians. Visual poetry left the printed pages to live on unexpected surfaces, such as walls and billboards, in an attempt to move beyond art to be worshipped at a distance to encourage direct interaction with the audience. City spaces were transformed into stages, where poems were recited in squares and unusual settings. A memorable moment was the poetic performance by Gruppo 70 together with Ezra Pound.

Ketty La Rocca, “Segnaletiche”, 1968, enamel on wood, 60 x 109 cm, Prato, Collezione Carlo Palli, photo courtesy Galleria d’Arte Moderna, Roma

The innovation of visual poetry found full expression in Gruppo 70’s second conference, Art and Technology, held in Florence (June 27-29, 1964). On this occasion, the performative feature of art takes a central role, as demonstrated by the happening Poesie e no, first performed on April 4, 1964 at Gabinetto Scientifico Letterario G. P. Vieusseux. This innovative spirit gives rise to a series of initiatives that challenge traditional conventions of art and communication. These include Volantini (1967) by Ketty La Rocca, in which poems in flyer format are distributed directly on the street, and Parole sui muri (1967), which brings poetry into urban spaces. Pignotti’s provocation resonates even louder when he asks himself whether it is «the time to have poetry played from loudspeakers in stadiums between the two halves of a soccer game, or to set up painting exhibitions in giant panels along highways». The third conference of Gruppo 70, organized between May and July 1965, developed as a traveling festival in different places in Florence. Here, irony and dissent also manifested themselves through the launch of Premio Fata, a desecrating parody of the more prestigious Premio Strega, whose stated goal was to award the worst book of the year. «With my comrades in Gruppo 70, I used to talk about a reversal of signs, of messages ‘rejected to the sender,’ of counter-publicity, of the act of disrupting, entangling – and possibly tearing – the thread of discourse imposed by the system, of desecration of the icons of mass society» (L. Pignotti). With a desecrating and radical approach, Gruppo 70 stood as a shockwave against consumer logics and the standardized language of mass media, reinterpreting signs and meanings to give them new critical and poetic life. In one of the first shots of La Chinoise (1967), Jean-Luc Godard shows a modern salon, symbol of well-being and consumerism, on which appears the text Il faut confronter les idées vagues avec des images claires. With this choice, Godard takes an approach that interweaves visual codes from mass media, advertising and consumer culture, creating a collage that reflects the mass culture. This method, which recalls the typical re-use of visual poetry, aims to stimulate the viewer to question the power structures and narratives imposed by the dominant culture, challenging conventions and inviting critical reflection on society and its ideologies. This research was further developed in the mid-1970s, when Godard, together with Anne-Marie Miéville, founded the independent production company Sonimage, which became the laboratory for a series of experimental works such as Six fois deux / Sur et sous la communication (1976) and France / tour / détour / deux / enfants (1978). In these works, Godard explores the relationship between images, meanings and contemporary society, continuing to mix and superimpose visual materials to offer a critical reading of reality. «A kind of poetry-show that contains, precisely, poems and other extra-literary material: journalistic news, visual poems, songs of wide consumption, daily actions, common gestures, scores recorded on tape, concrete sounds, etc. […] All these materials […] are assembled by various techniques: overlays, fades, sequences, shots. The result is a constant simultaneity of action, such as to solicit the viewer at several levels, preparing him to absorb and react with homologous simultaneity of register sensitive and psychological».

Lamberto Pignotti, “Grave comunicato di stato è arrivato con l’FBI”, 1967-68, 40 x 25 cm, Roma, Galleria d’Arte Moderna, inv. AM 5432, photo courtesy Galleria d’Arte Moderna, Roma

Art had to «steal from the people’s mouths», using popular sources such as proverbs, catchphrases, film jargon, sports newspapers and advertising titles. The terminologies were then put in relation with high fields such as science, poetry and philosophy. In this way, the borrowed material was not only transformed but aesthetically reinterpreted, radically changing its original meaning and responding to an idea of democratic and militant art. In this vision, the artist is no longer subordinated to the technique (as Walter Benjamin said), nor he/she is a simple instrument: on the contrary, the artist becomes a force capable of transforming and renewing the language itself, redefining it. The re-creation process in Gruppo 70 was based mainly on wide collage, which combined iconic and verbal materials to create new meanings. This process was divided into two main phases: the découpage, in which elements from popular and consumer culture were selected, and the agencement, the creative assembly that rearranged these fragments in a new context. The editing followed six semantic rules: Cast, Transcription, Contamination, Paradox, Repetition and Concentration. Photomontage became a fundamental technique, integrating photographs and words to produce works that challenged reality: Current issues and public figures, such as the disaster of Marcinelle, the flood of Florence in 1966 and the war in Vietnam, were transformed into universal symbols, not only to comment on the present but also to transcend it. Images of celebrities and icons of popular culture, such as those of Luciano Ori and Monica Vitti, were used to challenge the cult of fame and consumerism, in parallel with international artistic experiences such as Nouveau Réalisme, New Dada and American Pop Art. The creative re-use in Gruppo 70 can be seen as a practice similar to that of the Constantine Arch in Rome, a monument which, while celebrating the victory of the emperor against Maxentius at the battle of Milvian Bridge in 312 AD, drew on adapting reliefs and decorations taken from other monuments to give them a new historical and symbolic meaning. Similarly, the members of Gruppo 70 re-used images from mass culture, such as advertisements and slogans, to reintroduce them into a different context, giving them new critical and artistic value: re-use became an act of creative appropriation, transforming elements of everyday consumerism into powerful tools for social and political reflection. Adopting a guerrilla, subversive and anti-bourgeois attitude, the artists of Gruppo 70 have translated the political and social tensions of the 60s into a radical visual language. Using the same visual and linguistic tools of the media they criticized, the Group has put into action a subversion form, exposing and subverting the myths and conventions imposed by the dominant culture, distorting the perception of everyday life and revealing meanings hidden in the most insignificant details of life. What seemed a decoration, a commercial message or an information turned into a powerful symbolic, critical and artistic force.

Lamberto Pignotti, “Vie nuove”, 1965-66, 25 x 40 cm, collage, Roma, Galleria d’Arte Moderna inv. AM 5430, photo courtesy Galleria d’Arte Moderna, Roma

In this context, the call to virtual reality, augmented reality and artificial intelligence as new guerrilla territories appears evident. Today, visual art and language are more fluid than ever, mixed by new technologies, and the challenge remains to create new ways of reading and interacting with the world. Visual poetry has brought to light a hidden dimension beneath the surface of sign civilization, dominated by images and words that generate stereotypes. It is inserted in the mass media as a Trojan horse, a subversive vehicle that acts behind enemy lines: «it strikes from behind, it is a fifth column in the enemy ranks of the mass media; we could say, absurdly, that it is the most dangerous of the mass media». As pointed out by Eugenio Miccini, «Whereas mass communications tend to transform rhetorical figures into clichés and the argument into emblematic ones with meanings blocked by means of derisive, de-ideologizing, and for the purposes of subjugation, exploitation, domination, visual poetry […] tries (like a gentleman thief) to steal what has been stolen: the relationships between things and words, between meanings and significations: the signs in short». Visual poetry urges us to look at the world with different eyes, or rather, with primitive eyes, penetrating inside our cave, ancient and sacred dwelling where the prehistoric paintings endowed with ancestral energy were used to celebrate symbolic acts of great spiritual value. Anyone who has explored a cave knows the feeling of getting lost in a maze of apparent darkness. In this context, the introduction of artificial light would alter the perception of these sacred places, distorting their deep nature. The electric light would prevent us from perceiving the true essence of those places, hiding the original power of the colors and paintings that adorned their walls. Similarly, visual poetry encourages us not to lose the ability to maintain a visual purity that allows us to capture the authenticity hidden behind the surface, inviting us to replace the artificial light of reason with authentic visual experience. This allows us to keep our spirit ready to perceive every detail, as the natives Wilson spoke about did. It is like a return to Africa within us. «I know that the planet is not eternal. But the next five million years will be designed by poets and artists, improving their existence by working on the conscience of human beings, on the criticism of their persuasion and decision systems, on social communications, in short on culture»(E. Miccini).

Maria Caruso

Info:

“La poesia ti guarda”. Omaggio al Gruppo 70 (1963-2023)
01/12/2023 – 02/02/2025
Galleria d’Arte Moderna
Via Francesco Crispi 24 – Roma
https://www.galleriaartemodernaroma.it/it/mostra-evento/la-poesia-ti-guarda-omaggio-al-gruppo-70

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