Beschreibung:

21 : 15 cm. 16 pages with many illustrations. Illustrated orignal boards.

Bemerkung:

First edition. - One of 80 copies of the deluxe edition signed and numbered by Mon. - Edition Hundertmark Booklet 40. - Franz Mon (born May 6, 1926 in Frankfurt am Main; actually: Franz Löffelholz; ? April 7, 2022 there) was a German writer (radio play; essay; poetry) of concrete poetry. Franz Mon studied German, history and philosophy in Frankfurt am Main and Freiburg im Breisgau. In 1959 Günther Neske published articulations, Franz Mon's first publication with poems and essays. In 1960, together with Walter Höllerer and Manfred de la Motte, he edited the anthology movens, which ranged from Gertrude Stein and Kurt Schwitters to John Cage to the electron painting of Karl Otto Götz and the kinetic experiments of Heinz Mack and Victor Vasarely. In particular, through his theoretical writings such as On the Poetry of Surfaces, Texts in the Interspaces (both 1966) and Constellations of Letters (1967), he made important contributions to the establishment of concrete poetry. Above all, Mon was committed to making the surface visible and perceivable as a text element and not just viewing it (or ignoring it) as an unimportant text background. "In Mon, language becomes voice, voice becomes writing, writing becomes image, image becomes text.? Mon used the variations of typography to draw attention to the letters themselves. The texts often appear extremely reduced, which becomes clear if you adopt Mon's postulate: "It's not the amount of content that matters, but rather the ratio of the amount of characters used and the relationships that can be realized" (from: Letter Constellations). Mortuarium for two alphabets metaphorically addressed the gradual disappearance of writing and language in the present and future. Starting from a readable basic text printed on the first of eight transparent panels, Mon created a gradual erasure of the text on the other panels by progressively overlaying words and letters, thus destroying the legibility of meaningful connections. Some names of deceased personalities, which appear sporadically in the text fragments due to the variable readability, give the Mortuarium a further contextual context.