Archive for Alan Halsey
An afternoon of experimental poetry
Featuring Alan Halsey, Tom Jenks, Geraldine Monk & Harriet Tarlo.
Free entry, all welcome. Wine.
Upstairs at Deansgate Waterstones. 4pm. Saturday 7 November.
Alan Halsey will be reading from his Versions of Martial, published earlier this year by Knives Forks & Spoons. His back catalogue includes The Text of Shelley’s Death (Five Seasons 1995), Marginalien (Five Seasons 2005) and Rampant Inertia (Shearsman 2015). Images he developed out of Dee & Kelley’s Enochian transcripts form the graphic component of Nigel Wood’s From the Diaries of John Dee, recently published by Apple Pie Editions. ‘Halsey’s publications bolt around the field like a deranged beagle’ (Ray Davis, Pseudopodium).
Tom Jenks’ latest collection is Spruce, published by Blart Books. Other works include Items, a 1000 fragment sequence published by if p then q, The Tome of Commencement, a spreadsheet translation of the Book of Genesis published by Stranger Press and 1000 Proverbs, a guide to modern life and manners with SJ Fowler, published by Knives Forks and Spoons. He administers the avant obects imprint zimZalla and co-organises The Other Room reading series and website
Geraldine Monk was first published in the 1970’s. Her poetry has appeared extensively in the U.K. and USA. Her latest book They Who Saw The Deep will be published next year in the USA by Free Verse Editions/Parlor Press. She is an affiliated poet to the Centre of Poetry and Poetics at the University of Sheffield.
Harriet Tarlo’s poetry publications include Love/Land (REM Press, 2003), Poems 1990-2003 (Shearsman Books, 2004), Poems 2004-2014 (Shearsman, 2015) Nab (Etruscan Books, 2005) and 2 artists books, Sound Unseen and behind land with Judith Tucker (Wild Pansy, 2013, 2015). Her academic essays on modernist and contemporary poetry appear in critical volumes published by Edinburgh University Press, Salt, Palgrave and Rodopi. Recent critical and creative work appears in Pilot, Jacket, Rampike, English Journal of Ecocriticism; Classical Receptions and Yellow Field. Exhibitions of texts, in collaboration with Jem Southam and Judith Tucker, have appeared at The Lowry, Salford, Tullie House, Carlisle; Musee de Moulages, Lyon and The University of Minneapolis. She edited a special feature on “Women and Eco-Poetics” for How2 Vol 3: No 2 and The Ground Aslant: An Anthology of Radical Landscape Poetry (Shearsman 2011). She is a Reader in Creative Writing at Sheffield Hallam University
FRIDAY 30th October 2015, 7 PM. Up the stairs (at the back of the barroom, above the pub name, above) at the Caledonia pub, Catharine Street, in the Georgian Quarter, Liverpool, £5.
A performance for poetry, sound and voice, featuring:
Geraldine Monk : poet and performer
Alan Halsey: poet and performer
Steve Boyland: vocalist and performer
Apple Pie Editions is delighted to announce the publication of From the Diaries of John Dee.
Poems by Nigel Wood, with images by Alan Halsey.
Mathematician, scholar, astronomer, advisor to Queen Elizabeth I … alchemist, occultist, heretic … John Dee (1527–1608) is one of the most enigmatic figures in British history.
Using material from Dee’s diaries, Nigel Wood has made poems that delve beneath the rumours and mythologies to offer a multifaceted portrait of a man seeking to understand the cosmos and his place within it. Accompanying the poems are visuals by Alan Halsey based on Dee’s transcriptions, charts and diagrams, his attempts to decode and interpret communications from other realms. Together the texts and images undertake a series of parallel explorations of his life and vision, resurrecting Dee with his own words.
78pp • paperback • £6.99 + £1.17 UK postal order
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See also: YouTube playlist Footnotes for John Dee
TOTAL RECALL 1 August — 3 October, 2015
BURY ART MUSEUM
Moss St, Bury, Lancashire BL9 0DR, United Kingdom
How do you remember the people who are important to you? How do you conjure your shared past? Is it in an image, a sound, a smell, a touch? Or do you use words?
We invited world-leading poets and text-artists to make a language-memory for Tony Trehy, who has directed the internationally renowned Text Festival at Bury Art Museum since 2005. This exhibition celebrates a 10-year anniversary of the Festival and a 20-year anniversary of Tony’s time at Bury. Writing on a wall, an Internet search, a diary entry, a flurry of thoughts … what is remembering and who is it for?
Tony Trehy has been the ring-leader of decade-long conversations, new opportunities, challenges and heated debates. Each of his four Text Festivals has added to a continuing dialogue between language and art. Every Text Festival has asked the audience a simple-but-complex question: How do I read?
Into the historic space of Bury Art Museum, Trehy has injected text that is a new ‘language art’ for the 21st Century. Bury was once the centre of paper-making in Britain, now it is a pioneer of language-making, with its Text Archive welcoming readers from all over the world.
TOTAL RECALL is a guerrilla makeover, an A4 invasion of reading into the larger narrative of looking. Unlike the street signs outside, these are not corporate instructions or sales pitches; they are antidotes. Walls, vitrine, archival box—nary a “book” to be found, but a heap of language left in memory.
TOTAL RECALL includes work by local, national and international text-based artists and poets: angela rawlings, Alan Halsey, Barrie Tullett, Carolyn Thompson, Cecilie Bjørgås Jordheim, Darren Marsh, derek beaulieu, Emma Cocker, Eric Zboya, Erica Baum, Jaap Blonk, James Davies, Jayne Dyer, Jesse Glass, Karri Kokko, Kristen Mueller, Lawrence Weiner, Leanne Bridgewater, Liz Collini, Lucy Harvest Clarke, Marco Giovenale, Márton Koppány, Matt Dalby, Mike Chavez-Dawson, Paula Claire, Penny Anderson, Peter Jaeger, Philip Davenport, Rachel Defay-Liautard, Robert Grenier, Ron Silliman, Satu Kaikkonen, Sarah Sanders, Seekers of Lice, Stephen Emmerson, Steve Giasson, Steve Miller, Tom Jenks, and Tony Lopez.
— derek beaulieu and Phil Davenport, Curators
CLICK on the poster to enlarge
This exhibition concentrates on Wittgenstein’s insistence in his later writings on the usefulness of the concept of ‘games’ for thinking about language. There is no one quality that unites all the things we think of as games, and to play a game requires not only rules, but the possibility of testing, breaking, revising those rules. Rejecting the idea that language has one essential purpose, or that meaning is something fixed and transparent, the artworks here are engaged in various forms of play, translation or reconfiguration. Language is physical as well as symbolic. Our experiences lay claim to the traditions and practices that give them meaning, but can be turned back thereon to question and confuse what we might otherwise take for granted. We come to points where ordinary language seems inadequate, but this is not because we lack an adequately nuanced set of concepts, or because we need a better ‘theory’ of language, but because we have not paid enough attention to the particular and the familiar. What frameworks support our observations and convictions? The artwork here in some ways mimics the incompleteness of Wittgenstein’s writing, the unendingness of his philosophical project. Variously they show art as a process of discarding and reassembling, of repetition with variation, of careful attention to presentation and nested meanings, to the balance between authorial control and emergence, between understanding and opacity.
We are delighted to welcome you to this playful collaboration between poets, artists and philosophers, where the boundaries between words and images, meanings and material are plucked, strummed, exalted and trammelled.