‘To Quill At Film’

“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

TrenchArt: Logistics

Dodie Bellamy

Alice Könitz

Redell Olsen

Chris Tysh

Divya Victor

 

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 OlsenCunt Norton by Dodie Bellamy; and Things To Do With Your Mouth by Divya Victor.

Get an extract from the introduction by Vanessa Place here

Phono-Poetry Event:

Phono-Poetry

Live event on 30 August 2013 in Brighton, UK at the Nightingale Theatre…

Featuring Redell Olsen, Holly Pester and Jeff Hilson – plus some other phonographic treats, including poems from the Mass Observation Archive and Aleksander Kolkowski whose archive Phonographies includes many contemporary musicians and sound artists, all recorded on wax cylinder to haunting effect.

Wax cylinders, digital recordings and more available here: !

Recording of event here…

beside an electric train, a tray of coal…

Nina Power & Redell Olsen

Beside an electric train, a tray of coal and Dawood’s ‘New Dream Machine Project’ in the winter pavilion, join us at Parasol Unit for Intercapillary Places:

TALK / LAUNCH

Programme

Nina Power:
A talk on the philosophy and control of public space

Redell Olsen:
London launch of ‘Punk Faun: a bar rock pastel’ (Subpress, 2012)

Parasol Unit, 14 Wharf Road, N1 7RW
Thurs 13th Dec / Drinks from 6.30pm, event begins at 7.00pm
Arrive early from 5pm onwards to view the retrospective of work by Jannis Kounellis as well as Shezad Dawood’s ‘New Dream Machine Project’ in the winter pavilion

Tickets: £5/£4 conc – Free wine

Biographical Notes

Nina Power is a senior lecturer in philosophy at Roehampton University and is the author of ‘One-Dimensional Woman’ (Zer0 Books, 2009).

Redell Olsen’s recent projects include films and texts for performance: ‘Bucolic Picnic (or, Toile de Jouy Camouflage)’ (2009), ‘Newe Booke of Copies’ (2009-10), ‘SPRIGS and Spots’ (2011-12) and the site-specific collaboration for film and performance “Lost Pool” (2010). Her previous publications include ‘Book of the Fur’ (rem press, 2000) and ‘Secure Portable Space’ (Reality Street, 2004). ‘Punk Faun: a bar rock pastel’ (2012) is just out from Subpress. She is a Reader in Poetic Practice at Royal Holloway, University of London. For more see: http://redellolsen.co.uk/

Jannis Kounellis was part of the Arte Povera movement in Italy that emerged during the 1960s. On show at Parasol Unit will be works such as Untitled (Carboniera), 1967; Untitled (steel plate and braid),1969, on loan from Centre George Pompidou, Musée national d’art; Metamorphosis, 1984, and Untitled, 1977, an electric train moving on steel plates installed around one of the pillars of the gallery.

Tickets can be booked through Parasol Unit by phone, email or online through Paypal –
To book your ticket please contact Lucy Britton on lucy@parasol-unit.org / 020 7490 7373 ext. 20

Please book ahead as spaces in the gallery can fill up

“how to remember for to you…” performed as part of bodies of memory at Tate Britain…

For documention of “How to Remember For To You..” performed as part of the ‘Bodies of Memory’ event directed by Fiona Templeton on October 5th 2012 see Here.

Tate Britain, October 5, 2012

Bodies of Memory image

  At Late at Tate on October 5th 2012, artists’ group New Work Network presents Acts of Legacy, a series of performances, films and debates exploring the influence and memory of experimental and ephemeral art practices from the late 60s to the present day. Hosted by Richard Layzell and Hunt & Darton, the evening includes work by Fiona Templeton, Jordan McKenzie, Aaron Williamson, Barby Asante, Ellie Harrison and The Saturday Arts Club.  The evening runs from 6:30pm to 10:00pm.      
 Performance burns up in its very performing, and is gone. Chronicles of performance may reflect only the periods of its fashionability.  But in our memories it is burned in and can be brought to new life.  For Fiona Templeton’s Bodies of Memory, Tate Britain will be inhabited by a collective memory of many past performances, performed and spoken in passing fragments, rising and disappearing like memory itself. Participants include performers, artists, writers, curators, and people who have watched something being done.  Currently to include:Heather Ackroyd, Gina Birch, David Gale, Helena Goldwater, Dave Goulding, Anthony Howell, Yoko Ishiguro, Glenys Johnson, Lois Keidan, Joe Kelleher, Kristen Kreider, Paulina Lara, Claire MacDonald, Angeliki Margeti, Brigid McLeer, Kate Meynell, Hannah Millest, Lucy Neal, Redell Olsen, Miranda Payne, Lorena Peña, Donna Rutherford, Graeme Shaw, Steve Slater, Gary Stevens, Minna Stevens, Peter Stickland, Fiona Templeton, Howard Tong, Amikam Toren, Caroline Wilkinson, Simon Vincenzi, Sylvia Ziranek .  Fiona Templeton works in the relationship between performance and audience; language as a material; and space as both the large-scale and the intimate. She was a founding member of The Theatre of Mistakes in the 70s, and is director of the New York-London performance group The Relationship.  www.therelationship.org

New Work Network has coordinated the evening, growing out of a series of 5 short films made in conjunction with Artquest, of dialogues between artists of different generations, including Fiona Templeton in conversation with Yoko Ishiguro.  The films will be shown during the evening.Late at Tate is a series of open evenings of events on the first Friday of each month, at Tate Britain, Millbank, London SW1P 4RG.  Entry is free. There will be a pay bar, and visitors may also see current exhibitions including the Turner Prize and the Pre-Raphaelites.  Note that the main entrance is closed for renovation and access is through The Manton entrance on Atterbury Street.http://www.tate.org.uk/visit/tate-britain

 

Reading in Paris: Galerie Poggi, 27 September, 2012. Double Change.

Thursday 27 September 7:30pm @ galerie Jérôme Poggi:

Double Change vous invite à une lecture de

Redell OLSEN
et
Charles ROBINSON

Le jeudi 27 septembre à 19h30

GALERIE JÉRÔME POGGI + OBJET DE PRODUCTION
115/117, rue La Fayette – 75010 Paris – Tél. : + 33 (0)9 51 02 51 88
M° Gare du Nord ou Poissonnière – Parking Vinci rue des Petits Hôtels
http://www.galeriepoggi.com

Lecture bilingue.
Entrée libre.

www.doublechange.org

Redell Olsen. Punk Faun, Subpress, 2012.

 REDELL OLSEN a publié plusieurs livres de poésie dont *Book of the
Fur* (Rempress, 2000) et *Secure Portable Space* (Reality Street,
2004). De 2006 à 2010, elle a été rédactrice en chef de *How2*, revue
en ligne dédiée à l’écriture poétique et critique des femmes. Redell
Olsen a aussi publié des essais critiques dont les derniers portent
sur Frank O’Hara, Abigail Child et Susan Howe. Ses projets d’écriture
les plus récents sont orientés vers la performance, les films ainsi
que les collaborations qui naissent de lieux précis. Citons *Newe
Booke of Copies* (2009), *Bucolic Picnic (or Toile de Jouy
Camouflage)* (2009) and *The Lost Swimming Pool* (2010). *S P R I G S
& spots* (Cambridge: Wide Range Chapbooks, 2012) présente le poème
composé à partir du film muet *Lace* (1930), lu lors de la projection
du film en 2011. Elle collabore souvent à des projets collectifs comme
l’exposition et l’édition du livre *Here Are My Instructions* (avec
Susan Johanknecht, Gefn Press, 2004) et *The Lost Swimming Pool*(2010)
(avec Ruth Livesey, Drew Milne, Libby Worth et Gillian Wylde) qui
associait textes, films, sons et chorégraphies pour une installation
dans une piscine désaffectée. Avec Drew Milne, elle forme le groupe
les *Electric Crinolines*. Avec quelques collègues, elle fait partie
du Centre de Recherche Poétique de l’Université Royal Holloway
(Londres) et co-dirige la série de lecture POLYply. Directrice du
Master de Pratique Poétique à Royal Holloway, Redell Olsen s’intéresse
aux méthodes pédagogiques expérimentales dans l’enseignement de la
poésie et de l’écriture. La maison d’édition Subpress vient de publier son livre *Punk Faun : a bar rock pastel*. Redell Olsen est l’invitée du program Poets & Critics de l’Université
Paris Est qui consacre deux journées à son travail les jeudi et
vendredi 27 et 28 septembre. Informations à
http://poetscriticsparisest.blogspot.fr/
CHARLES ROBINSON est écrivain, auteur de trois livres : *Génie du
proxénétisme* (Seuil, 2008), *Dans les Cités* (Seuil, 2011), *Ultimo*
(è®e, 2012). Il réalise aussi des objets numériques : *Les Questions écureuil*
(è®e-numérique, 2012). Et des objets sonores : *Dans les Cités* – pièce radiophonique (France
culture, Atelier de création radiophonique, 2012).

punk faun: a bar rock pastel

Redell Olsen, Punk Faun: a bar rock pastel, subpress, 2012.

This work was commissioned by Isabella d’Este for the walls of her studiolo after she attended a daylong screening of Matthew Barney’s Cremaster at The Roxy in Brixton, London, and a few weeks later stumbled upon an artist’s talk by Raphael on Ed Ruscha’s painting “They Called Her Styrene.” However, it was her experiences that same evening in a karaoke bar off Oxford Street that convinced her to go through with her planned idea and to approach a writer who could carry out her design for a bar rock pastel. At the time of the commission the patron was herself concerned with the plight of deer on the roads of Europe and North America and was an ardent campaigner for the introduction of sonic deer deterrents based on installations pioneered by Max Neuhaus. In a drawing, now unfortunately lost, and in this written description (for the first time available here within the text of a popular edition) she details her request for a masque of grotesque pastoral and mythic proportions, a cloven poetics that would feature commerical activity to be streamed live on the walls of her studiolo. She similarly required the inclusion of players as ordinary citizens—or often as ordinary citizens as artists—”got up in devious animal brocade,” to perform whatever forms of cultural consumption, display and collection they encountered over the duration of their everyday experience, all this for her personal entertainment and meditative consolation. D’Este paid for the work upfront safe in the knowledge that she had purchased a piece of poetic invention in which even the title was against itself.

Author City: LONDON / CAMBRIDGE, UK

Redell Olsen’s previous publications include: Book of the Fur (Rempress, 2000), Secure Portable Space (Reality Street, 2004) and the collaboratively edited bookwork Here Are My Instructions (Gefn Press, 2004). From 2006-2010 she was the editor of How2 the online journal for modernist and contemporary poetry, poetics and criticism by women. Her recent projects have involved texts for performance, film and site-specific collaboration and include: Newe Booke of Copies (2009), Bucolic Picnic (or Toile de Jouy Camouflage) (2009) and The Lost Swimming Pool (2010). She is reader in poetic practice at Royal Holloway, University of London where she is the director of the MA in Poetic Practice.

issn: 9781930068568

Available here from SPD