Frownland, like it’s 1969

New performance work Saturday January 27th at Bury Museum and Art Gallery as part of an exhibition by Derek Tyman and Andy Webster.

Art-writing performance that builds on instrumental outakes from Beefheart’s, Trout Mask Replica. Olsen plays through and counters the often punishing methods of production endured by the original band members with an homage that is also a rewriting of the master’s voice. She offers a provocative chorus of speculative fragmentary imaginings from a variety of sources and eras to recast the legendary narratives of the making of the original album alongside interruptions drawn from the erased history of female drummers, nostalgic imaginings for futures that never were and cacophonies of protest relevant for our present day Frownlands.

Group Exhibition:

https://royalholloway.ac.uk/about-us/the-library/the-exhibition-space-at-the-emily-wilding-davison-building/words-from-the-wild/

Dell Olsen

This exhibition is curated by my Phd students: Briony Hughes, Caroline Harris and Gareth Hughes in collaboration with the Culture Team at Royal Holloway. It features work from artists and writers working with text and image in relation to ecological and environmental issues. It reflects the cultural environment and work of the practice-based students that I teach at MA and Phd level on the Poetic Practice pathway and some of the work by contemporaries that we admire, including: Susan Johanknecht and Kate Meynell and JR Carpenter. Really delighted to be showing some of my work from the Plume of the Volants series in this company.

This exhibition is open from 17 January 2024 – 24 March 2024 in the Davison Building Exhibition Space at Royal Holloway.

Take A Ruler

“Silence cannot be heard in terms of pitch or harmony: it is heard in terms of time length” John Cage

“If we had a keen vision of all that is ordinary in human life, it would be like hearing the grass grow or the squirrel's heartbeat, and we should die of that roar which is the other side of silence” Middlemarch, George Eliot.

Redell Olsen 2020

from: Weather, Whether Radar: Plume of the Volants Limited Edition to coincide with exhibition (200 copies): currently available from foundmaterials@me.com £15 Digital Studio: https://weatherwhetherradar.art/work

Moonflower, 2021 or, a scarlet transfer : For Margaret Mee (1909 – 1988).

poem essay in The Ethnobotanical Assembly (TEA)

https://www.tea-assembly.com/issues/8/moonflower-2021-or-a-scarlet-transfer

Details of the full issue and introduction from Felix Driver and Caroline Cornish below:

https://www.tea-assembly.com/

Review of issue from Herbarium World

Weather, Whether Plume: Extract

preface I

A question of measurement arises both in relation to weather and noise. How to take a ruler to the weather or a gauge to more than rain: the flicker of wings in swarm, a memory of crushed insects on a car windscreen.

The naming of clouds proves a starting point. In possibility we name the shapes as if to produce an inventory of natural phenomenon of the unnoticed or forgotten. A change in climate affects the dew point. An increase in humidity magnifying the effects of heat waves. A body unable to cool.


Noise of silence as music is not a new approach. Thunder sheet. A roar on the other of silence. Go back into the things dismissed as noise with new parameters of attention, make new sense of the data. Parameters set while agreeing that it cannot know how to in advance of itself. A process of unfolding.


Distinctions between central and peripheral tone are eroded or bagged out into new stories. This is not about the expansion of everyday sounds into music but concerns the attention and tuning of location to the everyday.


Once the containers and containment of measurement are exhumed we find ourselves in the frame as prime enemies of climate justice and more. Facts picked up in the data with the question of what is noticed, how and for what purpose?

How to find ways to monitor wildlife in our skies through the repurposing of older technologies once developed for war. Radio Research. Research Radio. The colocation of the question.

What was later a possibility for the detection of insects began with the identification of destroyers.

DARE Arts Prize

24 June 2020

WINNER OF DARE ART PRIZE 2020-21 ANNOUNCED BY OPERA NORTH AND THE UNIVERSITY OF LEEDS

The poet, writer and visual artist Redell Olsen has been announced as the winner of the DARE Art Prize 2020-21 by the University of Leeds and Opera North, in association with the National Science and Media Museum and The Tetley, Leeds.

Redell’s proposal includes the creation of a new song cycle and film, using scientific data measuring different species of insects in our skies. This will be both an artwork and a contribution to the research of the University of Leeds’ BioDAR unit, by exploring alternative ways to represent climate change and the risk of species extinction.

Information about insects and other animals in the sky is a by-product of the UK’s extensive weather radar network. Previously discarded by weather scientists, it is hugely valuable in the mapping of insect life. The BioDAR Team is developing ways to recognise and measure different species of insects in the skies using this data, employing 3D modelling and academic expertise from the fields of biology, ecology, physics and atmospheric science. Redell Olsen’s DARE Art Project proposal will bring another, less expected discipline – the arts – to the programme.

Challenging artists and scientists to collaborate on new approaches to the creative process, the Prize is part of the innovative DARE partnership between the University and the national opera company, also based in Leeds. It offers an artist the opportunity to produce new work in partnership with leading scientific researchers at the University of Leeds, and staff and performers from Opera North. Residencies  at The Tetley, Leeds’ centre for contemporary art, and collaborations and showcases with the National Science and Media Museum, Bradford, are also available.

A British poet and writer who often works with film and performance, Redell lectures at Royal Holloway, University of London, where her research and teaching specialisms include innovative poetics, conceptual writing, bookarts and sound.

“How might a poet/artist contribute to the interpretation of scientific data, or even propose the work of art as another potential recording device alongside scientific instruments?”, she asks in her proposal.

During the course of the year she will be developing her project in ways that both acknowledge the constraints of our current situation and find ways around them. Alongside her own writing, she will be exploring various modes of artistic practice and audience engagement across a wide range of media and collaborative practice. She has already begun work on the commission under lockdown, meeting the BioDAR team virtually and exploring collaborations with Opera North’s music staff and ensembles.

Redell Olsen comments:

“I am so pleased to be awarded the DARE Art Prize 2020-21. I don’t think there is anything else quite like it! I am so looking forward to developing a new piece of work in collaboration with the research of the BioDAR team at the University of Leeds and with the amazing Opera North. I am really excited at the opportunity to work with The Tetley Art Gallery and to be able to draw on the expertise of the National Science and Media Museum. What a great team to be in dialogue with! More than ever we need the possibility of such collaborative exchanges between art and science!”

Dr Christopher Hassall, Associate Professor of Animal Biology, University of Leeds, and leader of the BioDAR project, comments:

“We are delighted to have an artist collaborating with the BioDAR project. The research project is already interdisciplinary, combining the unique and complementary contributions of atmospheric scientists, ecologists, and data scientists.

“However, a major challenge for us is how to present complex information in a way that is engaging and informative for technical and general audiences. Redell’s perspective on the work will not only add a novel way for us to communicate the project outputs but will also challenge us to think about how we work together as a wider interdisciplinary team.”

This year’s DARE Art Prize received a record number of entries from across the globe. The six shortlisted artists presented compelling proposals for understanding and embodying scientific issues through a wide range of media.

Reading: Salon – London

Friday 3 November 2017, 7pm-9pm
The Parasol Unit Foundation for Contemporary Art, 14 Wharf Road, London, N1 7RW

Redell Olsen in conversation with Carolyn Pedwell

S A L O N – LONDON, a site for reading and responding to the present through women’s experimental writing, is pleased to announce its launch event, featuring Redell Olsen, who will be reading from two recent works, ‘Woolf / Apelles’ and ‘Atomic Guildswomen’, followed by conversation with Carolyn Pedwell.

Redell Olsen’s poetic practice comprises poetry as well as texts for performance, film and installation. Her publications include Film Poems (Les Figues, 2014), ‘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). Her work is included in Infinite Difference: Other Poetries by UK Women Poets (Shearsman, 2010), I’ll Drown My Book: ‘Conceptual Writing

by Women’ (Les Figues Press, 2011) and Out of Everywhere 2: Linguistically Innovative Poetry by Women in North America & the UK (Reality Street Press, 2016). In 2017 she published two bookworks Smock and Mox Nox. She has also published a number of critical articles on contemporary poetry and the relationship between contemporary poetics and the visual arts. In 2002 she set up the influential MA in Poetic Practice at Royal Holloway which she still runs as part of the MA in Creative Writing. 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 visiting Judith E. Wilson fellow at the University of Cambridge. In 2016-17, in association with other members of staff from English and Modern Languages at Royal Holloway, she led the HARC funded project ‘Nature and Other Forms of That Matter’. She is Director of the Poetics Research Centre at Royal Holloway. redellolsen.co.uk

Carolyn Pedwell is Associate Professor in Cultural Studies at the University of Kent, where she is Head of Cultural Studies and Media. Carolyn has been Visiting Fellow at the Department of Gender and Cultural Studies, University of Sydney; the Centre for the History of Emotions, Queen Mary University of London; and the Gender Institute, London School of Economics. She is the author of Affective Relations: The Transnational Politics of Empathy (Palgrave, 2014) and Feminism, Culture and Embodied Practice (Routledge, 2010). Her new book, Transforming Habit: Revolution, Routine and Social Change, is under contract with McGill-Queen’s University Press. Carolyn is also an Editor of Feminist Theory journal.

S A L O N – LONDON is organized by Georgina Colby and Susan Rudy. The launch of S A L O N – LONDON has been funded by the Institute of Modern and Contemporary Culture at the University of Westminster, the Centre for Poetry, Queen Mary University of London, and the School of English and Drama, Queen Mary University of London.

Please register here: Eventbrite