TheUltra-Lettrist art movement was developed by Jean-Louis Brau,Gil J. Wolman, andFrançois Dufrêne in the 1950s when they split fromIsidore Isou'sLettrism movement.
Dufrêne created aphonetic poetry movement which breaks the structures of language that he called Ultra-Lettrist. The Ultra-Lettrist movement grew into an art form as it was developed by Dufrêne, Brau and Wolman.[1] The Ultra-Lettrists explored the vocal possibilities ofconcrete music: a form of artistic expression based on spontaneity directly recorded onto tape by exploiting thenoise music qualities of sound, meaning, andnonsense. Visual conceptual artistsRaymond Hains,Jacques Villeglé andMimmo Rotella also participated in the Ultra-Lettrist movement.
The Ultra-Lettrists issued a periodical calledgrammeS: Review of the Ultra-Lettriste Group, which ran for seven issues between 1957 and 1961. They used this journal to publish theirhypergraphics, exchanges and discussions with the Lettrists'Poésie Nouvelle and with theSituationist International members.
Some Ultra-Lettrists went on to form and join theNouveau réalisme movement, while others joined theSituationist International.[2]
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