Abstract This article explores how the large-scale performance Bombing of Poems by the Chilean art collective Casagrande becomes a non-event after the rejection of its realisation in the sky of Dresden, Germany. Based on ethnographic methods and an engaged scholarship approach of the author, as well as primary and secondary sources, the article analyses how the poetics of the performance and its open-close condition unfolds a contested space with content yet to come. I argue that the Bombing of Poems transforms into the reverse of a military strategy that actualises the victimisation of the citizens and the urban space destroyed in the past. In this context, the conflict of dropping poems over Dresden rests in the performance as a space of remembrance of the air-bombardment, but also the more convoluted controversies lying behind the burning and destruction of the city in 1945.

中文翻译：

---

非事件

摘要 本文探讨了智利艺术团体卡萨格兰德的大型表演《诗的轰炸》在德国德累斯顿的天空中被拒绝后如何成为无事可做。基于人种学方法和作者的学术研究方法，以及主要和次要来源，文章分析了表演的诗学及其开闭条件如何展开一个内容尚未到来的有争议的空间。我认为，轰炸诗歌变成了一种军事战略的逆转，这种战略实现了过去对公民的伤害和城市空间的破坏。在这样的背景下，在德累斯顿上空放诗的冲突就在于作为空袭纪念空间的表演，