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Originally conceived and organized in 2021 in Brazil by researcher Juliana Di Fiori Pondian and artist Anderson Gomes, the International Conference on Visual Poetry began as a virtual meeting space for Brazilian and international creators and scholars interested in this poetic practice. After its first two editions, it has become an important hub for reflection and creation around visual poetry and the experimentations between word and image, allowing us to discuss not only innovations but also the history behind this genre that subverts the limits of literary tradition.

In this edition, the original organization expands towards an international dimension. We aim to focus on Latin America as a heterogeneous space of multiple cultural expressions that, since pre-Columbian times, has produced significant forms of proto-writings characterized by a semiotics centered on the image and the materiality of the encoding medium. Over time, these expressions have exhibited forms of resistance such as translating, reinventing, and transforming texts from other cultures. These practices—seen in artifacts like the Códice Borgia or Andean iconography—have been incorporated into literary and artistic works, as well as academic studies, especially from the 20th century onwards, by various authors. These contributions lead us to examine visual categories and forms such as pattern poetry, proposed by Dick Higgins, or poesía proceso, developed by Wlademir Dias Pino, among others. From this framework, it is relevant to reflect on the place these Latin American expressions occupy within the field of visual poetry, just as the works of Simias of Rhodes in the 3rd century BCE do in the Western literary tradition, or figurative Islamic calligraphy in Arab culture.

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III International Conference on Visual Poetry: anthropophagy and deterritorialization in Latin America proposes a cross-disciplinary view of the visual poetry phenomenon in Latin America—from the registers that were developed in analog physical media to those that explore the potential of the digital explorations in the era of artificial intelligence. We understand the flows of visual poetry on this side of the hemisphere as practices of displacement that hybridize and blur borders through movements of liberation, echoing those enacted by cultures and traditions prior to colonization. This is also an occasion to turn our attention once again to Brazil—not only as the birthplace of this symposium but also as a vital cultural hub in the dialogue that rethinks visual poetics in our América.

To deepen this discussion, we propose the following transversal themes for the symposium:

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• Poetry and proto-writing in Latin America

• Visual poetry in Amerindian languages

• Activism and visual poetry

• Memory and preservation of visual poetry

• New materialities in visual poetry

• History of visual poetry in Latin America

• Poetry and editorial work

• Visual poetry and children’s and young adult literature

• Visual poetry and dissidence

• Sound poetry

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Anniversaries

• Centenary of Eugen Gomringer (1925)

• 120th anniversary of the birth of Carlos Oquendo de Amat (1905–2025)

• 100 years of the Imprenta Minerva (1925–2025)

• 100 years of Química del espíritu by Alberto Hidalgo (1923–2023)

• 100 years of the journal Amauta (1926–2026)

• 100 years of Coca by Mario Chabes, Falo by Emilio Armaza, and Ande by Alejandro Peralta (1926–2026)

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As in previous editions, this symposium will bring together researchers, artists, and poets from different countries with the goal of promoting critical thought through synchronous virtual activities and in-person events hosted in the venues that make up our organizational network Peru, Brazil, and Mexico. Likewise, as part of the event, the III Virtual Exhibition of Visual Poetry will feature works by invited and registered authors.

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The official languages of the event are Spanish, Portuguese, and English, in alignment with the multilingual and international nature of our practice.

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The call for participation is open from Saturday, July 19 to Sunday, August 31 for both oral presentation proposals and participation in the virtual exhibition. Please consult the guidelines and procedures for registration here.