Andrej Zivor was born in 1952 in Novi Sad, Yugoslavia. He has been publishing poetry and prose since 1977, and since 1980 he published thirteen books in Yugoslavia, USA and France. He has been a member of the Writers Association of Vojvodina since 1981.

Published books of poetry include: "Dokument" (Document), Matica srpska, Novi Sad, 1980; "Ponasanje" (Behaviour), Strazilovo, Novi Sad, 1981; "Reklamni panoi" (Billboards), Matica srpska, Novi Sad, 1983; "Brondogvas", Razvigor, Uzicka Pozega, 1987; "Quadro de avisos", International Writers and Artists Association, Boulder, Colorado, USA, 1988; "Billboard Poems", University of Colorado, Boulder, Colorado, USA, 1988; "Panneaux pubricitaires", La Page et la Plume, Paris, France, 1994; "Apaurin", Zajednica knjizevnika Panceva, Pancevo, 1996; "Svi u prirodu" (Let's Go To Nature), Prosveta, Beograd, 1999; and "Reklame besmrtnosti" (Advertizing Immortality), Orpheus, Novi Sad, 2006.

Published books of prose include: "10", Knjizevna zajednica Novog Sada, Novi Sad, 1982, and "Za laku noc" (Good Night), Knjizevna zajednica Novog Sada, Novi Sad, 1989.

He edited the anthology "Pitanje zvota - ekologija u poeziji savremenih novosadskih pesnika" (Question of Life - ecology in contemporary poetry of Novi Sad) (with D. Matovic), Gradska biblioteka, Novi Sad, 1994.

Andrej Živor lives in Novi Sad, Serbia.

Živor's process of poetic creation is, indeed, not closed and concluded before he starts writing a poem: the poet is constantly conspiring with the subject-matter (even when entire units are taken ready-made and formally rounded-up from the world of objects, as scenes from life and speech excerpts, from advertisments, book titles, CD covers, etc.). Their relationship is twofold and multifariously productive.

For Živor, it is not enough just to incorporate non-artistic, in this case non-poetic, material into his artistic poetic context. He gives a poetic form to his material and subjects it to a poetic principle, putting it into a metric framework, organizing it into rhythmic patterns, intervening in the field of its possible meanings and possible ways of reading it, attributing to it semantic streams and expanding its initially rather limited and one-way oriented textual impacts.

Vladimir Kopicl