Alain Arias-Misson born in 1936 in Brussels.
He was four years old when his family left Europe for New York; returning to Belgium after the war at the age of thirteen where he studied for three years, a period which imbued him with classical culture. The rest of his education was in the United States in New England, graduating from Harvard University in Greek and French literature.
Shortly afterwards he settled in Spain in 1963, where he contributed in the creation of the experimental poetry movement of Spain in the sixties with Spanish friends Joan Brossa, Ignacio Gomez de Liaño, Herminio Molero and others. In 1967 he visited Belgium where he worked closely with the concrete poet Paul De Vree and co-edited his review, De Tafelronde in Antwerp; he also collaborated with the avant-garde magazines Phantomas and L’VII in Brussels.
He often exhibited in the avantgarde galleries of Belgium and in the Netherlands, which culminated in the big Concrete Poetry exhibition of the Stedelijk Museum of Amsterdam in ’70, where he showed- and sold -his first “plastico-concretist” poem. During the same period he worked closely with the Lotta Poetica group in Italy, with scores of exhibitions throughout Europe (Documenta Kassel), Japan and South America.
In 1974 he returned to New York for several years where he showed at the Emily Harvey Gallery and published several novels and critical articles on literature and the arts. In 1998 he returned to Europe in Venice and Paris, where he is currently living.
Since 1967 he has performed a score of “Public Poems”, a way of “writing on the street” which he invented in Brussels. To begin with on his own intiative, and later invited by various institutions, such as the “Beethoven Pubic Poem” for the Beethoven Bicentennial invited by the City of Bonn; the “Teutonic Public Poem” by the Literaturhaus of Berlin, Germany; the same for the Modern Museum of Bielefeld, Germany; the “Proust Public Poem” by the Centre Georges Pompidou through the Revue Parlée, Paris,;the “Punctuation of Pamplona Public Poem” by the City of Pamplona, Spain, through “Encuentros”; the “Hollywood Monsters Public Poem” by the Otis Art Institute, Los Angles, the “POEMX” public Poem by the International Poetry Festival of Knokke, Belgium; the “Public Sinking of Venice Poem” by the Fondazione Bonotto, Venice, Italy.
Freijo Gallery present his solo exhibition “Poetry of the street and poetry of transparency” in 2015.