{"id":2239,"title":"Vietnam Public Poem, Brussels, 1967","dimensions":"36 x 70.5 x 2.5 cm","date_begin":"1967-01-01","material":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2011-01-01","reference":"S0445","stream_count_app":45,"permalink":"vietnam-public-poem-brussels-1967","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Alain Arias-Misson","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Mixed Media","nl":"Mixed Media","fr":"Mixed Media"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/935/large/Arias-Misson,%20Alain,%20Vietnam%20public%20poem,1967%20photo%20M%20HKAclinckx_6_4.jpg?1315472960","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eFrom 1965 the visual poetry of Alain Arias-Misson has distinctly evolved towards performance, particularly with his legendary *Public Poems*. He tries \u0026ndash; on the street, or in some other public place \u0026ndash; to sensitize people to both poetry and social involvement, and this by setting down or walking around with man-sized letters and other linguistic material. He performs these urban poetic interventions outside of any aesthetic or artistic context, and so must be distinguished from, for example, performance art. Arias-Misson\u0026rsquo;s *Public Poems* are at once subversive and liberating, challenging as well as playful. Alain Arias-Misson wrote about *Vietnam Public Poem*: *\u0026#39;The first \u0026quot;public poem\u0026quot; was more of a political manifestation than a poetic form. I had fled the Vietnam war draft when the FBI had come knocking at my door in Greenwich Village in \u0026#39;66. It was Christmas of \u0026#39;67 now in the downtown shopping center of Brussels and I just wanted to make the NAME concrete in the midst of the indifferent Xmas cheer: human-sized letters made of crushed newspaper wrapped in surgical tape splattered with blood-red liquid -- a menacing presence nobody could ignore. The letters swayed and shook in the wintry wind and the snow flurries. Look, someone said, it\u0026#39;s V I E T N A M, that\u0026#39;s good! No, said somebody else, it\u0026#39;s a publicity stunt. About what? Said the first person. It\u0026#39;s about the war! My heart swelled. The word had become present.\u0026#39;*\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eVanaf 1965 evolueert de visuele po\u0026euml;zie van Alain Arias-Misson naar een meer uitgesproken performativiteit, en ontwikkelt hij zijn legendarische *Public Poems*. Hij tracht op straat, in de publieke ruimte, het publiek gevoelig te maken voor zowel de po\u0026euml;zie als voor het maatschappijkritische engagement, door het neerzetten van of het rondgaan met manshoge letters en ander lingu\u0026iuml;stisch materiaal. Deze po\u0026euml;tische urbane interventies voert hij uit buiten elke esthetische of artistieke context, waardoor ze onderscheiden moeten worden van bijvoorbeeld de performance-art. Arias-Missons Public Poems zijn zowel subversief als bevrijdend, zowel uitdagend als speels. Over *Vietnam Public Poem*, het eerste public poem dat hij realiseerde, schrijft Arias-Misson: \u0026#39;The first \u0026quot;public poem\u0026quot; was more of a political manifestation than a poetic form. I had fled the Vietnam war draft when the FBI had come knocking at my door in Greenwich Village in \u0026#39;66. It was Christmas of \u0026#39;67 now in the downtown shopping center of Brussels and I just wanted to make the NAME concrete in the midst of the indifferent Xmas cheer: human-sized letters made of crushed newspaper wrapped in surgical tape splattered with blood-red liquid -- a menacing presence nobody could ignore. The letters swayed and shook in the wintry wind and the snow flurries. Look, someone said, it\u0026#39;s V I E T N A M, that\u0026#39;s good! No, said somebody else, it\u0026#39;s a publicity stunt. About what? Said the first person. It\u0026#39;s about the war! My heart swelled. The word had become present.\u0026#39;\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":612,"name":"Alain Arias-Misson","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}