ANATHEMA is a new reading series for experimental poetry and writing in Bristol, curated by Moot Press + Hesterglock Press + Sad Press
The Light Room
Arnolfini, 16 Narrow Quay, Bristol
BS1 4QA
Friday 31st March
6.30pm
Free (donation)
Poetry Reading in Bristol at the Arnolfini – More details here.
‘mox nox’ exhibited in BOOKMARE: project 2 of average sunlight
Exhibition until May 2017
Millimetre02
Kingsgate Project Space 110-116 Kingsgate Road London NW6 2JG
Opening Event: 6-9 pm March 2nd
millimetreprojects.com
Keynote performance lecture – Professor Redell Olsen
I See/You Mean: The Minimalist Roman[ce]
Taking as its starting point the post-Minimalist nouveau roman, ‘I See/You Mean’ by Lucy Lippard this lecture will explore Minimalism in the visual arts and writing. It will consider aspects of critical discourse on Minimalism as itself encoding forms of romance and propose a counter series of poetic interventions by way of response.
Redell Olsen is a poet and text based artist whose visual work involves live performance with stills or moving image. Film Poems (Les Figues, 2014) collects the texts for her films and performances from 2007–2012. Her previous books include: ‘Punk Faun: a bar rock pastel’ (Subpress, 2012), ‘Secure Portable Space’ (Reality Street, 2004), ‘Book of the Fur’ (rem press 2000), and, in collaboration with the bookartist Susan Johanknecht, ‘Here Are My Instructions’ (Gefn, 2004). From 2006-2010 she was the editor of How2, the international online journal for Modernist and contemporary writing by women. In 2013-14 she was the Judith E. Wilson visiting fellow in poetry at the University of Cambridge. She is currently Professor of Poetry and Poetics at Royal Holloway, University of London. redellolsen.co.uk
28 April 2016, 14.15 till 15.00 — Royal Academy of Art
In 1967 Art and Language designated a column of air ‘art.’ The place of writing as and in place of painting seemed assured. When you begin to look away from seeing and reading the dematerialised art work, there emerges a new possibility, a poetics of flickers. In 2016 this column of written air flickers with art forms very different from the art critical language associated with conceptual art. What does this flickering reveal? Poetics and the visual arts flicker with glimpses of this not not-conceptual-art, and not not-writing-as art. My performance/lecture will explore how writing might engage with a flickering ekphrastic turn to landscape painting and its spin-offs. Timothy Morton questions whether ‘Nature’ was ever really there as more than a flickering ghost. I will nevertheless resist the double bind associated with simplistic definitions of ekphrasis, undoing the binary logic of writing as a half-glimpsed phantom of another ‘proper’ subject. The possibility of the filmic will be registered across the boundaries between the documentary, the poetic, and the visual-as-writing. Tracing this exploration through existing works and images, this lecture/performance hopes to enact a writing of paintings for paintings and an aesthetics of art that flickers in writing.
http://www.sarconference2016.net/rc/index.html#archive
Video of Paper here
Details from “Whiteout Film for Snowgoggles (Landscapes)” Redell Olsen, 2014.
Installed text: The Polar Muse
Scott Polar Research Institute : Wednesday 24 September – Saturday, 20 December 2014
http://www.polarmuseum.org.uk/exhibitions/thepolarmuse/
See also: News for more information…
Also published alongside the essay ‘To Quill At Film’ , published by Les Figues.
Reviews of ‘Film Poems’ by Erik Noonan and Rob Mclennan at The Small Press Book Review.
Live performance with film and recordings on wax cylinders.
30 August 2013 in Brighton, UK at the Nightingale Theatre.
Video documentation of the event at filmpoems
With thanks to Aleksander Kolkowski, Katy Price and Drew Milne.
Edited by Caroline Bergvall, Laynie Browne,
Teresa Carmody and Vanessa Place
Review by Mia You
Les Figues Press | $40.00 | 455 pages | paper | ISBN 9781934254332
[ . . . . ] “The anthology’s most compelling selections, however, such as the excerpts from Christensen’s alphabet, Nada Gordon’s The Abuse of Mercury, Redell Olsen’s Punk Faun: A Bar Rock Pastel, and Bernadette Mayer’s “helen rezey sestina” and “HISTORY OF TROY, N.Y.,” resolutely are invested in the possibilities of writing as writing [. . . .]
Read the full review: http://www.zolandpoetry.com/reviews/2013/v1/Drown-My-Book.html
“I drew a plan of the filming instrument. The writing drew within the field of the camera and the filming commenced. The hunting, filming and capture of wild form. I drew a plan of the writing instrument as a poetics as a film for showing in live performance as a writing of day for night. Situations in which I might be expected to film writing occurred and I was drawn to the archives and made them in the everyday. The bear was filming a commercial in the Western Isles when he swam off to take a partlet in the making of (a film) as a writing implement, or a piece of lace, or a feather. The filming of this is put last as pure speculation to give the camera time to catch up, or to open it to the viewing public for redistribution by other means . . . .” from ‘To Quill at Film’ by Redell Olsen
Out Now: Trenchart / Logistics
Aesthetics
Edited by Teresa Carmody and Vanessa Place
Back cover image: Alice Könitz
Introduction by Vanessa Place
Binding: Metal binding clip
ISBN: 978-1-934254-48-6
Pages: 44
Price: $60 [1 of 5 books in set]
Hand-bound in an edition of 250, TrenchArt: Logistics introduces the eighth annual TrenchArt series, with aesthetics written by participating series writers and the series visual artist, Alice Könitz. Of the aesthetic essays, Vanessa Place notes in her introduction that “partial objects are proudly on parade: mouths, cunts, cuts of tongue, and the skin-surface of films/film-surface of skins.” Each of the books in the Logistics series uses the cut, and cutting, as an organizing principal. Additional series titles include: Our Lady of the Flowers, Echoic by Chris Tysh; Film Poems by Redell Olsen; Cunt Norton by Dodie Bellamy; and Things To Do With Your Mouth by Divya Victor.
Get an extract from the introduction by Vanessa Place here
