Latest issue of the superb online magazine featuring poetry and reviews:
Now available online or in print featuring INTERIOR MINISTRY, LOUIS ARMAND, RICHARD MAKIN, DARYA KULBASHNA, RAREŞ GROZEA, VÍT BOHAL, DAVID VICHNAR, MARK DIVO, TATIANA LEBEDEVA, ELIZAVETA ARKHIPOVA, VADIM ERENT, MS MEKIBES, DMITRII SOBOLEV, GEORGIE CHEERS-ASLANIAN, GERMÁN SIERRA, VINCENT DACHY, ANDREW HODGSON, THOR GARCIA, JEROEN NIEUWLAND, VANESSA PLACE, STEWART HOME, ALAN SONDHEIM, MARK AMERIKA, NICOLA MASCIANDARO, DEREK SAYER, OLGA STEHLÍKOVÁ, MICHEL DELVILLE, KAREL PIORECKÝ, DOMINQUE HECQ, SIMONE DE BOURGEOIS, CHARLES BERNSTEIN, PIERRE JORIS, JOSEF STRAKA, ALI ALIZADEH, PHIL SHOENFELT, STEPHANIE GRAY, JAROMÍR TYPLT, FEMEN
Peter Jaeger’s stunning new book, Midamble, is out priced at the snip of £12.
LINK to purchase and sample pages
About the book
Midamble is a long poem that concerns Peter Jaeger’s interest in walking practice; in particular his travels on a variety of pilgrimage routes. A prose poem, it comprises two bands of text: the top level is a list of walking experiences whilst the bottom re-appropriates materials from comparative religion texts. Midamble is a poem that is clearer than crystal, and possesses a musical quality that is comparable to seminal and contemporary minimalist music.
The poem also has a life in durational performance. When read live Midamble demonstrates its consistency as well as its diversity. In such performances listeners are invited into a collective experience in which they can engage with ideas for as little as a moment or as long as several hours. Indeed, perhaps its most enduring feature is its quality of having no fixed entry or exit point.
About the author
Peter Jaeger is a Canadian poet, literary critic and text-based artist now living in the UK. His recent publications include John Cage and Buddhist Ecopoetics (Bloomsbury 2013) and 5404 (University of London Veer Press 2014). He has also published A Field Guide to Lost Things with if p then q. Jaeger is Professor of Poetics at Roehampton University in London.
Poetry Reading with Emily Critchley, Colin Herd, Jeff Hilson and Tim Atkins.
Tuesday 15 May 2018 6:00 PM
Full line-up now confirmed…
Clémentine Bedos is a multidisciplinary artist whose recent shows include a solo exhibition at the Constance Howard Gallery, London ‘Contagious Hystories’. Currently exploring themes of identity, binaries and the Other. https://www.clementinebedos.com/
Emma Bennett’s recent performances include durational piano pieces, an exploration of pining for soft things, and interpreting the words of birdsong. https://emmabennettperformance.wordpress.com/
Emma Cocker is a writer-artist whose work explores the slippage between writing on page, to performance in time, between still and moving image, between individual and collective action. http://not-yet-there.blogspot.co.uk/
Rebecca Cremin draws on traditions of live art, Fluxus, performance writing and site-specific work using language as an object to expose, to investigate, to locate. http://www.veerbooks.com/Rebecca-Cremin-LAY-D
Amy Cutler is a multi-disciplinary practitioner with a special interest in geohumanities – the engagement between geography and arts/humanities. https://amycutler.net/
Rob Holloway is currently exploring sonnets and prose poems, and has been a DJ on Resonance FM. https://vimeo.com/9383523
P. Inman is associated with language and minimalist poetry. His work has been described as ‘thick with meanings that never quite complete themselves; full of social ironies and a sly and biting humor’ http://writing.upenn.edu/epc/authors/inman/
Peter Jaeger will perform a durational version of his latest book Midamble, on the lawn at G Live. The book concerns his recently completed walk on the Camino de Santiago de Compostela. https://www.youtube.com/watch?v=jG1EUZusDTY
Sharon Kivland is an artist who has recently been called a poet, five times, to her surprise. Her work considers what is put at stake by art, politics, and psychoanalysis. http://www.sharonkivland.com/
Lila Matsumoto’s poetry explores dailyness through allegory and literalness. http://www.shearsman.com/browse-poetry-books-by-author-Lila-Matsumoto
Tom Jenks is often verbivocovisual and always hilarious. https://www.zshboo.org/
Philip Terry uses Oulipian methods and translation to examine the crimes of bureaucracy and management. http://www.carcanet.co.uk/cgi-bin/indexer?product=9781847772206
Scott Thurston’s current work responds to ongoing encounters with various dance and movement practices including Five Rhythms, Movement Medicine and Open Floor work. http://writing.upenn.edu/pennsound/x/Thurston.php
Students from The University of Surrey have been exploring a range of poetic strategies during the workshop series Making Things Happen including the use of diaries, minimalism, Oulipo and collaboration.
Tickets go on sale April 4th – available from G-Live.
Running order TBC.
There will be a wine and cheese reception at 5pm.
An evening soiree takes place at 6.30, with the Poetry Festival joining The New Writer’s Festival (also taking place at G Live) and features a variety of readers including Tom Jenks.
Great new journal of visual poetry HERE, guest edited by Philip Davenport and featuring:
- nick-e melville
- Bruno Neiva
- Kristin Mueller
- Bárbara Mesquita
- Bruno Ministro
- Darren Marsh
- Anatol Knotek
- Mikko Kuorinki
- Sarah Eliza Kelly
- Piotr Kalisz
- Cecilie Bjørgås Jordheim
- Steve Giasson, a European
- Thomas Geiger
- Romain Gandolphe
- Philip Davenport
- Matt Dalby
- James Davies
- Emma Cocker
- Paula Claire
- Ana Cancela
- Kimberly Campanello
- Leanne Bridgewater
- Zeynep Cansu Başeren
- Guillaume Apollonaire
- P.S. ABC
- Eric Zboya
- Orban, Victor: a portrait
- Bilyk, Volodymyr – Володимир Білик
- Martijn in ‘t Veld
- seekers of lice
- Tony Trehy
- Miron Tee
- Riiko Sakkinen
- Jörg Piringer
- Stephen Nelson
- Camilla Nelson
- Liliane Lijn
25th April 7.30
‘Old Paradise Yard ‘ 20 Carlisle Ln / Royal Street corner / Archbishop’s park, London SE1 7LG
Free here – http://www.nawe.co.uk/DB/current-wip-edition/editions/vol.-4.html
Amy De’ath will perform alongside Vicky Sparrow, Pascal O’Loughlin & Camilla Nelson on 18th April, 7pm at the Other Room. Free entry as ever. It’s our tenth birthday! Here’s part of a poem by Amy and also one of the four posters for the night below that, which shows our readers over the years:
from In Case of Sleep
I might recline like a cat but I wouldn’t sell my wares openly
I wouldn’t want to be that memory-cat with the power to die the power
to be put back on my feet I came to see you’d been eaten by tar sands
and cat didn’t exist what kind of a country is this
what did you say I missed that
I miss that cat
Wednesday 9th May, 6pm to 9pm, Barbican Library, Silk Street, London, EC2Y 8DS. Hosted by Lucy Hamilton, Linda Black & Claire Crowther. Readers: Robert Minhinnick, Helen Tookey, Salah Niazi, Peter Dukes, Susie Campbell, Alison Gibb, Adam Horovitz & Edwin Stockdale. More details here.
“…snortingly funny with a robust and off-kilter imagination..these short tales almost always act like riddles, sending the reader back to the beginning to figure out what makes the characters behave that way. Lightly balanced between writer and artist, each the right amount of crazy.” – Etelka Lehoczky for NPR books
“Enthrallingly weird… [its] grounding core gives this off-kilter graphic novel welcome emotional depth.” — Booklist
ORGASMIC STREAMING ORGANIC GARDENING
Beatrice Gibson, Alison Knowles, Ghislaine Leung, Annea Lockwood, Claire Potter, Charlotte Prodger, Carolee Schneemann, Tai Shani, Mieko Shiomi
25 April – 25 May 2018
Private view: Tuesday 24 April, 6:00-8:30pm
Exhibition continues: 25 April – 25 May 2018
Touching, performance with microphone and script fragments, 2016. Claire Potter. Image courtesy of the artist.
ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE is a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events programme of historical and contemporary works. Newly commissioned and existing works will intersect with an array of archival material located in Carolee Schneemann’s Parts of a Body House [1968-1972], from which the exhibition title derives, and Alison Knowles and Annea Lockwood’s score anthology Womens Work [1975-8]. ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text. The exhibition seeks to highlight these significant trans-historical sensibilities, whilst acknowledging their disjuncts. Each artist brings a particular method, procedure or interrogation to the act of writing or performing text, blurring descriptions such as text, score, work, performance, version and iteration.
ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE will be accompanied by workshops, an event, a publication and an affiliated symposium to take place in May 2018. Curated by Karen Di Franco and Irene Revell.
Parts of a Body House is a score, a document and a piece of speculative fiction, written by Carolee Schneemann between 1957-68. The text operates across a series of registers and durations, as an architectural reimagining of the interior of the body as fleshy, subversive locations for social and political interaction, and as a set of instructions for an unrealised performance environment. Originally published in the poetry journal Caterpillar [issue 3/4, 1968], it was republished in the anthology Fantastic Architecture [eds. Dick Higgins and Wolf Vostell, Something Else Press: New York, 1969], before featuring in Schneemann’s first artist book, the eponymously-titled Parts of a Body House Book , made with the Fluxus affiliated Beau Geste Press, in Cullompton, Devon. Within the site of Schneemann’s textual body, corporeality is exposed as a network of sinuous circuitry, activated by immediacy — touch, heat and interaction. Drawing out the connections between the spaces of performance, as a textual and embodied environment of activity, extends to the works within the exhibition, where Parts of a Body House will be presented as a typographical framework.
Womens Work [sic] is a collection of textual, instructional and propositional performance scores by twenty-four women, edited and self-published in New York by Alison Knowles and Annea Lockwood over two printed issues [1975-8], bringing their work into relation with the feminist movement through the medium of the score. The display will draw out three works from the collection. Alison Knowles’ Proposition IV (Squid) was conceived in 1970 at CalArts in the context of her House of Dust project. The textual score invites performers to autonomously write their own score card that navigates the four quadrants of the work’s circular performance space. Annea Lockwood’s Piano Transplants [1966-2013] propose a series of transformations of the instruments by natural processes including Piano Burning, Piano Drowning and Piano Garden. The very first Piano Transplant, a prepared piano that Lockwood made in 1966 in London is displayed in the gallery, accompanied by the 2017 recording of its performance by Áine O’Dwyer; a series of photographic documentation spanning 1968 to the present chart some of the many performances of the other Piano Transplants. Mieko Shiomi’s Spatial Poem (1965-75) comprises nine separate events that each invite participation anywhere in the world at a simultaneous moment which are then gathered together as brief written reports. Spatial Poem No. 3, 6 and 7 — Falling Event, Orbit Event and Sound Event respectively — are included in Womens Work, and here conducted through the framework of the exhibition; in the gallery and publication, with contributions from the exhibition’s artists and visitors to the gallery, amidst a wider network.
Claire Potter works across performance, publication, installation, and film, to address modes of reading, speaking and writing. They will be producing a new sculptural text installation for the gallery space, based on a study of sound in back-to-back housing. Ghislaine Leung is an artist and writer. Leung’s two score-based works Shrooms, (2016) and Colour Hides the Canvas, Moulding Hides the Frame, (2013) will intervene into the gallery environment as pervasive, organic concepts. Charlotte Prodger works with moving image, writing and performance, exploring the intertextual relationships between each of these materials. Compression Fern Face(2014) takes the descriptions of Dennis Oppenheim’s video performance works of the early 1970s, including the eponymous title, as scores for this sculptural video and print work, and explores what happens to speech – and the self for which it is a conduit – as it metamorphoses via time, space and technological systems – here as much a crossing of gender as the spatio-temporal. Beatrice Gibson is an artist and filmmaker whose works are often score-like and improvised in nature, exploring the pull between chaos and control in the process of their own making. Drawing on figures from experimental composition and literature such as Cornelius Cardew or Gertrude Stein, her films are often participatory, incorporating co-creative and collaborative processes and ideas. Tai Shani’s multidisciplinary practice, comprising performance, film, photography and installation, revolves around experimental narrative texts with her on-going feminist project, Dark Continent Productions. Iterated through character-led installations, films, performances and experimental texts, it is an expanded adaptation of Christine de Pizan’s 1405 pioneering proto-feminist book, The Book of the City of Ladies.
A one-day offsite event will accompany the gallery programme expanding on the live possibilities of the exhibition. This will include contributions from Anna Barham, Daniela Cascella, Ami Clarke, Tomoko Hojo, Natasha Lall, Aura Satz, Linda Stupart and others, with the full programme announced shortly.
Gallery events include a performance from Claire Potter and a workshop ‘These are the Scores’ led by Irene Revell. Details and dates to follow.
An affiliated symposium, Female Conceptual Art practices, Sound Sculpture, Archives, Oral History and International Transactions, convened by Dr Jo Melvin and supported by the Chelsea Camberwell and Wimbledon Graduate School will take place at Chelsea College of Arts on Thursday 24 May. Details to be announced.
Pascal O’Loughlin will perform alongside Vicky Sparrow, Amy De’Ath & Camilla Nelson on 18th April, 7pm at the Other Room. Free entry as ever. It’s our tenth birthday! Here’s a performance by Pascal and also one of the four posters for the night below that, which shows our readers over the years:
Black Mountain College USA (1933 – 1957) comes to the Black Mountains of Powys, Wales. A full weekend exploration and celebration of the work, philosophy and ongoing influence of that remarkable, mid-twentieth century educational and multi-genre artistic experimental venture.
MAY 26th – 27th, THE BRITANNIA INN,
Saturday Morning 11.00 – 1.00
Welcome and Introduction
Michael Kindellan: Charles Olson and education.
Ian Hunt: Anni Albers and Josef Albers.
Wanda O’Connor: Towards a Post-Projective Poetics.
Saturday Afternoon 2.00 – 5.00
Jeff Hilson: Gertrude Stein, Black Mountain and Ray Johnson.
Alice Entwistle: Echoes and Edges: Re-reading Creeley.
Lee Duggan: Olson and the influence of projective verse, particularly in reference to women’s writing.
Scott Thurston: Reflections on Olson’s ‘A Syllabary for a Dancer’ – inter-disciplinarity at Black Mountain.
Saturday Evening 7.00 – 9.30
Allen Fisher: Construction and Assemblage in the Work of Robert Rauschenberg and Franz Kline.
Redell Olsen: ‘Observation Judgement Action ‘1’’.
Pierre Joris: Charles Olson now.
Nicole Peyrafitte: Basil King: Mirage. A film directed by Nicole Peyrafitte, co-directed by Miles Joris-Peyrafitte, starring Basil King.
Sunday Morning 10.30 – 1.00
Ian Brinton: A short piece about Mike Rumaker.
Anthony Mellors: John Cage, Williams Mix: collage and synthesis.
Gillian Hipp: On Merce Cunningham
John Goodby: Encounters with the work of Ed Dorn.
Sunday Afternoon 2.00 – 5.00
Gavin Selerie: The legacy of interactions between art forms at Black Mountain College and after.
Peter Hughes: Abstract art & writing, leaping off from the work of Cy Twombly.
Tilla Brading: ‘Breath between the Black Mountains’. Charles Olson & David Jones.
Carol Watts: On Balance: a Poetics of Memory, Labour, Practice.
Tim Atkins: Hilda Morley – the longest serving poet at Black Mountain.
Sunday Evening 7.00 – 9.30
Open multi-genre collaborative jam session with Lyndon Davies, Graham Hartill, Nicole Peyrafitte, Pierre Joris, Rhys Trimble, Camilla Nelson, Scott Thurston, Wanda O’Connor and others.
£15 for the whole weekend (£12 concessions)
or £5 per individual session (£4 concessions)
To book or for more info: Lyndon Davies. Email: email@example.com
Camilla Nelson will perform alongside Vicky Sparrow, Amy De’Ath & Pascal O’Loughlin on 18th April, 7pm at the Other Room. Free entry as ever. It’s our tenth birthday! Here’s a performance by Camilla and also one of the four posters for the night below that, which shows our readers over the years:
Sunday 8th April / 7pm / Free
+ Aldous RH/Secret Admirer DJs
SOPHIE JUNG – Sophie Jung (b. 1982 Luxembourg) is a performance artist based in London and Basel. She was educated at Amterdam’s Gerrit Rietveld Academie and Goldsmiths College.Her writing has been published at Fiktion.cc, HOTEL and The White Review (forthcoming). In 2016, she won the Swiss Art Award.
Selected solo exhibitions include: ‘It’s Not What It Looks Like’ at Sophie Tappeiner, Vienna (2017); ‘Producing my Credentials’ at Kunstraum, London (2017); ‘Death Warmed Up’ at Liste Performance Project, Basel (2017).
Frieze says: “[Sophie Jung] has perfected a tone that constantly veers between jokey and serious, aloof and ever-present, creating an unsteady experience of listening and viewing that somehow feels incredibly intimate. Whether she speaks about politics or animal life, whether she talks about the probable or the fantastic, you want to believe what Jung says.”
LILA MATSUMOTO was born in Japan, grew up in the US and currently teaches poetry at the University of Nottingham. Lila co-runs Front Horse, a magazine and performance night of poetry, music, and art, and convenes the Nottingham Poetry Exchange. Urn and Drum, her first poetry collection, is published by Shearsman Books in 2018.
Rachael Allen says: “The world within Urn & Drum is a cornucopia of shapes, colours, and objects, fashioned almost as a gleeful, surreal picture-book; a playful naivety that leads to serious questions of what it means to exist and feel in the world. Through linguistic dexterity and play, [these poems] exclaim heartbreak and test the limits of language in a single line.”
BRYONY BATES is a writer and performer based in Manchester. Her work has been published in Adjacent Pineapple, Ladybeard Magazine and Spoke: A New Queer Anthology from Dog Horn Press. Her debut solo pamphlet, States, was published by Enjoy Your Homes Press in 2017. As a performer, her theatrical credits with Contact Young Company include There Is A Light: Brightlight, 15 Minutes, and She Bangs the Drums.
Zarf Magazine says: “It feels like […] bleakly hard work.”
Bryony Bates says: “Angry sex poetry and flippant bullshit.”
EDWIN STEVENS is from Llanfairfechan, North Wales but now he lives in Glasgow, Scotland. He writes songs and stories. www.liveslowdeath.com
Jessica Higgins says: “I’ve seen this man tattoo his own chest and spill his spirit wildly across a room and no that’s not a euphemism.”
Saturday, April 21 at 12 PM
Bookfair for presses publishing work that pushes through the boundaries of the normal, whether that’s the sociopolitical normal, gender norms, or formal norms of poetry. Presses will be announced as they confirm attendance.
More on Facebook.
Venue is http://www.tchances.com/ a short distance from Seven Sisters station on the Victoria Line
12.00-7.00pm sale of books with readings on the hour every hour. Each reading will be of around 20 minutes.
7.00pm Music: details to follow
Confirmed so far:
Knives, Forks and Spoons
Stinky Bear Press
Singing Apple Press
Also availabe, books from Sad Press and sociopathicdistro
The arc of her technical development is, broadly, from verse poetry to prose poetry, and this is evident here; of the first 70 pages or so, about three quarters is in verse, and for the remainder of the book a similar majority consists of prose texts which have, in appearance on the page, something of the quality of a series of propositions a la Aristotle or Wittgenstein, but here the exploration of language, the world and the relationships between them is worked out in terms that are poetic rather than philosophical.