Abstract Keynote: Redell Olsen
‘Proposals For Landscapes: and other mutual antipathies’
This talk will offer a series of proposals For landscapes, a recalibration of the optics for a poetics of the conceptual. This reading will explore these possibilities across multiple registers of the material and linguistic possibilities of felt-thought. It will assert a space for itself between the symptomatic dismissal by the visual arts of poetry as ‘literary costume’ and the more recent neglectful mis-readings of conceptual art by writing at the expense of the conceptual histories of the lyric genre.
28th of April 2016 – International Conference on Artistic Research: Writing
Keynote: Redell Olsen
‘A Column of Air: Flickers/Writing/Painting’
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.
Video of Paper here
Judith E. Wilson Drama Studio
8pm Monday 9th November 2015
Please join us in welcoming Judith E. Wilson Poetry Fellow Peter
Gizzi, who will be reading with past fellow Redell Olsen
Free entry and refreshments
- Judith E Wilson Drama Studio
The Faculty of English, 9 West Road
Cambridge, Cambridgeshire CB3 9DP United Kingdom + Google Map
The Photographers Gallery, 16 – 18 Ramillies St, London W1F 7LW
Performance / reading as part of Print Screen Writing and the Image: This in-depth symposium in collaboration with University of Westminster addresses current thinking on the relationship between writing and the image, with particular emphasis on connections across the fields of experimental literature, photography, and film.
Presenters / Speakers include: Laura Mulvey, Patrick Keiller, Jonathan Long, Redell Olsen, Daniel Kane and Leigh Wilson. Organised by Dr. Georgina Colby and Professor John Beck in conjunction with The Photographers’ Gallery, London.
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
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.
I’ll Drown My Book: Conceptual Writing by Women
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
Edited by Teresa Carmody and Vanessa Place
Back cover image: Alice Könitz
Introduction by Vanessa Place
Binding: Metal binding clip
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