France > Provence-Alpes-Côte d'Azur > Bouches-du-Rhône > 13002 > Marseille 2e Arrondissement > 2 Rue De la Charité #### Centre de la Vieille Charité #### CIPM Centre International de Poésie Marseille
See you Saturday, November 5 at Cipm with Inês Oseki-Dépré and Angélica Freita.
A bilingual journey through contemporary Brazilian poetry. Ten years after the beautiful anthology published by Le Cormier (Belgium), La poésie brésilienne aujourd?hui, and five years after the anthology organized and translated by Patrick Quillier, Retendre la corde vocale - Anthologie de la poésie brésilienne vivante (2016, Le Temps des Cerises), we propose to the readers a new anthology of Brazilian poetry, gathering this time about thirty poets, from the most famous to the youngest and most promising. Although it is an anthology with contemporary pretensions, it presents poets who have already disappeared, but whose influence, the scope of their innovations, the novelty of their texts continue to cross the contemporaneity, to serve as a model, if you will, or as an anti-model, in a word, as a reference for the new generations. We find a wide variety of forms, from an extremely elaborate formal work that aims to capture the detail: "A knife only the blade", by João Cabral, which, by metonymy, is heavy with meaning; the visual poems of Augusto de Campos, to texts with a social connotation: Diana, a poem of the same name, a poem of the same namethe visual poems by Augusto de Campos, and even texts with social connotations: Diana Junkes: asas plumas macramé: "Misery exposed to gangrene attracts flies/even under the blue sky"; Horácio Costa: Kali, Huizilopochtili: "to the rhythm of the machine gun that deafens it and symbolizes the defiance of the world"; and Horácio Costa: Kali, Huizilopochtili: "to the rhythm of the machine gun that deafens it and symbolizes the defiance of the worldrégis Bonvicino: Afternoon: "He has nothing, he has no spleen/ he has only the blows of the stick"; Antonio Moura: Africa: "Write nothing, write nigger, nigger on nigger" where, in elliptical form or by means of anacoluths, misery, corruption and violence are perceived. The relationship to history is evident everywhere. It is not a question of amnesiac poetry that would have wiped out the past. Whether it is the baroque constructions of some poems (after Haroldo de Campos (1955), for whom "the modern baroque responded to the morphological and cultural necessities of contemporary artistic expression"), or Horácio Costa, whose narrative and polymorphic poetry goes against the brief and concise poem. The quotation or address is another historical element of self-referentiality: the poem quotes poets, contemporary or foreign. Baudelaire, especially the inventor of the prose poem, icon of French modernity, defender of irony, of the transitive and the contingent, is a constant digested in a gesture of anthropophagic respect (Marcos Siscar, Paula Glenadel, Izabela Leal). But also Mallarmé, Rimbaud, Apollinaire, or Pound, William Carlos Williams? In relation to our translation, let's borrow these words from Haroldo de Campos: "Creative translation (since it is about recreating in another language) - TRANS-CREATION - is the organ par excellence of the reappropriation of literary otherness, of the inscription of difference in the game of possibilities of the universal code. Inês Oseki-Dépré With Inês Oseki-Dépré and Angélica Freita Presentation and readings around the anthology Brazil - Poésie intraitable published by Presses du réel - Al Dante poésie.
Copyrights Exploration - Poésie brésilienne On Live - CIPM Centre International de Poésie Marseille
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