Eduard Escoffet

Spain

Barcelona, 1979

Poet and visual/sound artist. He has worked in different facets of poetry (visual and written poetry, installations, oral poetry, poetic action), but he has focused his interests on sound poetry and poetry readings. He has performed in poetry festivals and events all around Europe, in China, the United States, South Africa and many countries in Latin America. His main influences come from French poésie sonore (Bernard Heidsieck, François Dufrêne), Swedish text-sound (Sten Hanson, Åke Hodell, Ilmar Laaban), concrete poetry (Eugen Gomringer, Noigandres, Öyvind Fahlström) and other authors such as Brion Gysin and bpNichol, as well as techno culture and medieval literature.

He has presented his work in venues and festivals such as Centre Pompidou, Fondation Cartier and Fondation Louis Vuitton in Paris, Poetry Africa (Durban), berlin poesiefestival, Bowery Poetry Club (New York), Centro Cultural São Paulo, Museo del Chopo in Mexico City, Museo Reina Sofía in Madrid and MACBA in Barcelona, amongst others. Commissioned by various institutions, he has created different sound and audiovisual pieces for Leeuwarden Culture Capital 2018, Caixaforum Barcelona (2019) and Matera Culture Capital 2019 (a VR film with videoartist Gianluca Abbate, awarded at Zebra Poetry Film Festival 2020). 

He has published the poetry collections Gaire (2012), El terra i el cel (2013, published in Spanish in 2018 as Suelo y cielo) and Menys i tot (LaBreu, 2017) in Catalan, as well as the artist’s book Estramps with artist Evru (2011) and different prints of his visual and graphic poetry. He has shown his visual work in a number of collective exhibitions. 

Has published two records with the electronic music band Bradien, Pols (2012) and Escala (2015), this one being produced by Stefan Schneider (To Rococo Rot) and including collaborations with Lydia Lunch and Arnaldo Antunes. He is now member of the band Barba Corsini (www.barbacorsini.net). 

He was director of PROPOSTA, a festival of sound poetry and experimental poetry at the Centre of Contemporary Culture of Barcelona (2000-2004) and co-director of Barcelona Poesia (Barcelona International Poetry Festival) between 2010 and 2012.  

He curated with Eugeni Bonet the film series Coming Soon on This Screen: Letterist Cinema, between Discrepancy and Revolt at the MACBA, Barcelona (2005). Las year he curated the major exhibition The Net in the Forest: Joan Brossa and the experimental poetry, in which sought to map out the paths taken by experimental poetry in Europe and America between 1946 and 1980. In 2020 came out the exhibition’s book, which includes a broad anthology of visual and concrete poetry. He teaches sound poetry at the University of Barcelona.


Eduard Escoffet is 5000 miles away from being pigeonholed. His work shoots towards the performative, towards the musical, towards the phonic, towards the avant-garde, towards the unknown, towards the constrictions in language and form. His poetry is like a wave and his poems are frequencies. They are threads that tighten and loosen, echoes. His poetry is born, sprouts in the most abject corners and in the most fertile fields, it wriggles between the record player and the chrome tapes, it climbs the cold glass skyscrapers to sunbathe in the rooftops. It is bullet, arrow, dart, scream and silence. His poetry is born from the attempt of half the world to recognize what he expresses but to give encouragement only to those who understand without further delay. When you think that the verse becomes plain and frugal, it explodes in distilled intelligence, in the essence of a cultural baggage that only he could already count, since there are so many milestones and so many spaces, there are so many times and so many people that agglutinate his presence, that the poem and the person do not understand each other without the other, and that is why they feed back, that is why they seem two players, poem and person, on clay, on grass, on microphones, on paper, on any surface, on any side they play, they face, they free themselves. There are already so many games that there is not even a ball in the air, a slight movement, a slight grimace, a brief gesture is enough for the other to understand. It is the very essence of the game. Sometimes if you just stand and listen, you can guess that they both know who is going to win the fight even long before the duel begins.