1 10 1 http://utw10658.utweb.utexas.edu/files/original/661eb38361f60969dfbbc93e15a70724.tif 98642dfe984c08a9f70c987405eda713 Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Local URL The URL of the local directory containing all assets of the website http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1995.259.3_19.zif Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Type The nature or genre of the resource print Has Version A related resource that is a version, edition, or adaptation of the described resource. http://utw10658.utweb.utexas.edu/plugins/Dropbox/files/object_images/ART New/1995.259.3_19.zif Requires A related resource that is required by the described resource to support its function, delivery, or coherence. 17621 Identifier An unambiguous reference to the resource within a given context 1995.259.3/19 Creator An entity primarily responsible for making the resource Edgardo Antonio Vigo Date A point or period of time associated with an event in the lifecycle of the resource La Plata, Argentina, 1928 - 1997, La Plata, Argentina Date Created Date of creation of the resource. 1968 Rights Holder A person or organization owning or managing rights over the resource. Gift of the artist, 1995 Spatial Coverage Spatial characteristics of the resource. 23.6 cm x 12.3 cm (9 5/16 in. x 4 13/16 in.) Medium The material or physical carrier of the resource. Rubber stamp with letterpress on green cardstock Title A name given to the resource Poema matemático [Mathematical Poem], from Múltiples Acumulados [Accumulated Multiples] Description An account of the resource <span>Edgardo Antonio Vigo, a leading poet, mail artist, conceptualist, and graphic designer, was better known abroad for his participation in the international mail-art movement than at home in Argentina. Inspired by Marcel Duchamp, Vigo followed a playful logic when assembling his archive-like works. In the box <span style="font-style:italic;">Múltiples acumulados</span> he grouped cards that refer to works he produced throughout his career, including conceptual pieces, woodcuts, collages, and examples of mail art. <br /><br />Vigo included two examples of his <span style="font-style:italic;">Señalamientos</span>, an early example of Performance Art. <span style="font-style:italic;">Señalamiento</span> IX involved burying a wood block, unearthing it a year later, and legally documenting both events. The wood block was then cut into seventy pieces, one of which is featured here. <span style="font-style:italic;">Correspondencia</span> shows Vigo’s keen interest in Mail Art, which involved frequent exchanges with colleagues, as his collaboration with mail artist Julien Blaine also demonstrates. Mail Art was for Vigo a way to circumvent censorship and communicate to the world what was happening during the difficult years of the Argentine Dirty War. </span> 1995.259.3/19