In 1963, together with Lamberto Pignotti with whom he shared the experience of "Protocolli" and "Dopotutto", he joined the Gruppo 63 although he did not fully approve of its intentions and results. The same year, the two artists, driven by their interest in the interdisciplinary nature of languages and the arts, organized the convention Art and Communication at Forte Belvedere from which “Group 70” originated. The following year, the orientations became more precise, as evidenced by the second conference organized by the group entitled Art and Technology, which was followed by exhibitions and debates.
“Technological poetry” and the “Second Group 70” born and it expanded beyond the Florentine borders, favouring the inclusion of non-local participants such as Ziveri and Bonito Oliva. In this phase, the artist specified the use of collage technique with the recovery of linguistic materials from mass communication.
The group's intense activity is manifested in exhibitions, conferences, and theatrical performances such as Poesie e no (II parte) [Poems and not (II part)], staged at the Piccolo Teatro in Livorno and of which Miccini is the creator.
In 1969, he founded the Centro Téchne, which not only encouraged new visual movements, but also hosted the nascent theatre companies of the Magazzini Criminali (then Carrozzone) and the Teatro Jarry. The centre also carries out an important editorial activity through the production and circulation of the magazine “Téchne”, which not only proves the existence of an unsuspected cultural debate in provincial Florence, but promotes the circulation of visual poetry through the “Quaderni”. “Téchne” was undoubtedly one of the first publishing houses to publish artists' books and Miccini was one of the few Italian artists who ventured into this artistic genre at an early stage.
With the dissolution of Gruppo 70 in 1969, the experience continued under the label “Visual Poetry”. Miccini linked up with Sarenco with whom he participated in the adventure of “Lotta Poetica”, directing its second and third series. In 1972, with the Group of Nine (Alain Arias-Misson, Jean-François Bory, Herman Damen, Paul De Vree, Eugenio Miccini, Lucia Marcucci, Luciano Ori, Michele Perfetti, Sarenco) he took a leading part in the “internationalisation” of Visual Poetry, that is, its accreditation beyond national borders.
Eugenio Miccini's story is fatefully linked to the books, or rather, more precisely to each type of paper product such as the magazine, the postcard, the flyer. Each of these options allows thought to be supported and distributed widely; each allows free creation despite the use of 'worn' communication tools such as writing; each corresponds to an easy and direct means of communication.
Eugenio Miccini has participated in important international art events and numerous publications and some university theses are dedicated to his work. He has directed a series of books dedicated to performance, artist's books, concrete poetry and theatre for the Centro Baratta in Mantua.
His artworks are included in the collections of important museums such as the MoMA in New York, the BWA in Lublin, and the civic galleries of Tokyo, Perth, Lodz, Valencia, Bologna and Mantua.
