Copyright: Weltkulturerbe Völklinger Hütte / Karl Heinrich Veith
2022, in situ
3,4 x 3,5 m
The urban poet Obsolettrismes, from Paris, inscribes surfaces with his spontaneously associative texts and poems. On occasion, the result is radical, wall-sized "all-overs"; other times, intuitively placed, minute fragments. His works play with the surfaces of the urban sphere, weaving themselves into and annotating the social contexts. Some works call to mind the indecipherable hieroglyphics of asemic writing; elsewhere the lines brim with the most beautiful handwriting as accurately as in a school notebook. As the world is a sheet of paper for this form of concrete poetry, the locations can vary: in the subway as a "Métro-glyph™," on walls, delivery trucks, or in "lost places"(i.e., modern ruins). For the Urban Art Biennale 2022, with Völklingen, Obsolettrismes has draped an easy-to-read variant that fully fills the sheet of fabric in the Möllerhalle [burden shed]. His dystopian poem, written on location, is a tribute to the Völklingen Ironworks and its historical significance as well as a meditation on the industrialized world of the modern age—the dawning of which is exemplified by the shed housing the poem.