An annual exhibition of poets that combines literary and visual arts into a holistic image using various prints and typographies. The creativity of visual and concrete poetry is based on the letter, which as a means of formative expression gains greater visual and textual message.

In Times of Poems as Visual Images
The authors—poets in their own right—understand and create their works of art as an intermediate space between visual art and poetry. Into these works they incorporate entire poems, individual verses or fragments of text. The title of such poetry might even be the author’s postal address, composed as a collage of cutouts from letters.
In Slovenia, poets, painters and graphic designers alike have collaborated in creating such works—among them Miha Avanzo and Lidija Starc, Bojan Pisk and Vinko Tušek.
The exhibited pieces were created using graphic design techniques such as planographic printing and offset printing, collage, typescript, daktylography, stamps, and screen printing. Some works also belong to the domain of mail art. In their choice of alphabet typography, the authors often selected lesser-known or rarely used typefaces. They also employed self-adhesive letters and other signs, printing them onto paper by sliding them over transparent film on which they had been pre-printed. The typewriter was a frequent tool—used not only for text but also to create geometric and abstract visual compositions. Živko Kladnik and Franci Zagoričnik were among those who worked in this way. Some pieces are handwritten entirely.
The exhibited works date from the late 1960s to the 1980s. Most of the creators featured in the exhibition are poets who, despite not being formally trained in visual art techniques, produced aesthetically accomplished artworks.

The exhibition at Bežigrad Gallery 1 continues the tradition of annual exhibitions of traditional, concrete, and visual poetry ever since 2000.
When viewing the poems which combine verbal and visual art it is essential to recognize that they are largely a synthesis of the two. Every letter carries importance: it becomes an independent visual sign and a bearer of meaning. Such work has its predecessors in ancient and Baroque picture poetry and in the optophonetic sound poetry of Futurism.
In this kind of poetry, sound elements and images act as poetic material equal in weight to words themselves. This also applies to the Dadaist textual image, which completely relativizes the usual semantics of language. The letter as a sign thus gains pure visual value: from the coexistence and synthesis of letters, words, figural and abstract images and visual elements, new poetic and meaningful entities are born.
We now find ourselves in the realm of visual poems—where poems are not only read but also viewed as visual artworks.
Miloš Bašin