বুধবার, ১৪ মার্চ, ২০১৮
An AFTERWORD by Bruno Neiva
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| A Berlin Wall, photo Philip Davenport. Berlin, 2018 |
Whilst paying its due respect to the countless leanings and practices that run across the history of text-based art, the late production covered on this blog-anthology edited by Philip Davenport bears witness to an unfolding of processes that stress rhizomatic qualities and strategies: sought, found and dismantled text, illegible, programmed, combinatorial and performed text, text embedded within objects, subjected to erasure and Oulipian contraintes, etc., reconciling the writer/artist with the frame of the page and the walls of the gallery white cube, or breaching its confines, descending upon the city, carving into nature. A curatorial landscape of text, image and objects prompted by the dynamics of appropriation, through reframing strategies of defamiliarization of language, and its conversion or translation into further media and formats. Furthermore, this gathering by Davenport also uses those strategies to question the nature of political and personal boundaries.
মঙ্গলবার, ১৩ মার্চ, ২০১৮
Eric Zboya
Stephane Mallarme writes:
"In his posthumous Un Coup de dés Jamais N'Abolira le Hansard and Igitur Suite, Eric Zboya illustrates a unique source of poetics through his appropriation and transformation of Igitur (a text I wrote in 1869) into pure visual form. He manages this text-to-image conversion through 21st century computational processes.
"When observing this collection, one might argue that his transformation signals a death of the text, since the computer program he utilizes, and its internal algorithmic calculations, replaces my words with chromatic structures. However, this visual transformation is really a kind of transcendence from one textual lattice to another – a transcendence that enhances and redefines, and falls back to my own ideas of, what it means to read. Zboya shape-shifts through lexical, semantic, and structural boundaries into a new place that remains the poem - for we are always at one with the instrument of our magic spells."
Above: from Un Coup de dés Jamais N'Abolira le Hansard
Below: from Igitur Suite (detail)
সোমবার, ১২ মার্চ, ২০১৮
Orban, Victor: a portrait
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| Forecast (Hungarian Vispo N. 18). 2017 |
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| The Enemy of the People. 2013 |
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| Song. 2013 |
Forecast (Hungarian Vispo N. 18). 2017. First published in Otoliths magazine.
The Enemy of the People. 2013. From The Seer, Redfoxpress, 2017.
রবিবার, ১১ মার্চ, ২০১৮
Bilyk, Volodymyr - Володимир Білик
Front Men (above)
Volodymyr Bilyk is a writer, translator from Ukraine, unfortunately.
His works include: visual poems in the series This is Visual Poetry (2013), CIMESA (2013), Casio's Pay-Off Peyote (2013), SCOBES (2013), THINGS (2014), Laugh Poems (2014), Vispo Ay Ai Ay (2014), "To When Tea Ties Hence to Wank It Too" / "Eminent Means of Basil Dado Hem-Welt" in The Chapbook 5(2015), "Heartbeat, Footclick, Machine Gun Vocalizes" (2016), Roadrage (2016) and screenplays for the films "Midget-Stripper" (2012-2013), "The Trial of Beilis"(2013-2015), "Escapee" (2014), "Joan the Battalioner" (2014), "Waking" (2015), "Happenings Ten Years Time Ago" (2015-2016).
His works were exhibited on Bright Stupid Confetti Asemic Show, Yoko Ono Fan Club, Venti Leggeri in Bologna, The Spiral Asemic Show in Malta; EL MARTELL SENSE MESTRE in Barcelona, The Future is Here Again: VISUAL LANGUAGE in New York, 1st International Literary Fair of Mato Grosso (2015), World Association of Visual and Experimental Artists in Valjevo and OVERCONSUMPTION in Ternopil.
শনিবার, ১০ মার্চ, ২০১৮
Martijn in 't Veld
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| Untitled (Freshly washed laundry stands), 2014 - Untitled (Looking thru a moving box) 2017 |
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| Poems, 2016-17 - Untitled (Freshly washed laundry stands) 2014 |
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| Poems, silkscreen on paper, 2016-2017 |
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| Untitled (Looking thru a moving box) 2017 |
Martijn in 't Veld
A tall, friendly-looking man stands at the corner. He is watching something you cannot identify. It is something banal, mundane. He perceives this object most people wouldn't even notice. He contemplates it for a while. Eventually he moves on. On the way to his apartment he picks up something from the street and takes it with him. At home he examines his find, waiting for it to do something...
The man continues to think about it until the object stops being an object. A piece of popcorn becomes a movie, a bottle cap becomes a dancefloor, a man becomes a world. Later, some of them will return to everyday life, where they come from. He will say Hello to them from time to time. Maybe he will dance when he opens a beer; he will watch a movie when making popcorn; see a world when he looks into the mirror.
Michael Pohl, 2017
The brain thinks. A lot. And not only in the weekends. The brain thinks everyday. And the brain thinks everything and everywhere. The brain thinks easy and light thoughts, which are pleasant to pass the time, like what film shall I watch tonight or where shall I go on holidays next or which shoes will go best with this denim?...
(From Brain Cocktail, 2014)
শুক্রবার, ৯ মার্চ, ২০১৮
seekers of lice
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| Creamy Language |
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| Foreshore |
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| Foreshore |
seekers of lice
seekers of lice proposes art as an insect bite, infecting the blood through proximity, anecdote, annexation, colonisation, infection, inoculation: scratch the itch & itch the scratch. seekers of lice works with text, image and objects. Works include artist's books and poetry, making objects and text pieces for exhibition, interventions and talks. Works are sometimes of an ephemeral nature, finding gaps and spaces in which to operate. seekers of lice has work in many collections including Tate Collection of Artists' Books UK, Joan Flasch Artists' Book Collection, USA, Czytelnia Liberatury Malopolski Instytut Kultury, Kraków, Poland, and Jan Michalski Foundation, Switzerland.
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| VAULT, detail |
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| THEATRE OF OBJECTS |
The work is animated by a collage aesthetic, by “tropes of everyday life”, by the juxtaposition of fragments. Images are printed on newspaper, so that the “news” seeps through; short elements of poetry are linked by repetition of words and phrases; unclassifiable objects meet reticent words. The desire of the reader/spectator for an overarching meaning is continually side-stepped. The poetry moves forward through connections of sound and visual rhyme, by association rather than argument, “a pile of life in variegated forms”.
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| Creamy Language |
বৃহস্পতিবার, ৮ মার্চ, ২০১৮
Tony Trehy
Tony Trehy
'Reykjavik' - installation at Safn Gallery, Reykjavik 2008.
Tony Trehy is an international art curator, director of the Bury Text Festival, and a poet-text artist. He has published in various international literary journals and has published several books of poetry — including Reykjavik (2007). His poems are also frequently responses to particular gallery or urban spaces, with these texts subsequently installed in gallery spaces in cities from Edinburgh to Reykjavik, Bonn to Melbourne. Robert Grenier: “Just as William Carlos Williams brought ‘American speech’ into the long tradition of ‘making’ poetry in English/American literary usage/language, so Tony Trehy has introduced the lingo/thinking (‘style’) of mathematics into the ‘poem-containing-history’.
বুধবার, ৭ মার্চ, ২০১৮
Miron Tee
MironTee
MironTee, Perfokarta group - perfokarta.net
The set of visual poems was created by means of ASCII table.
মঙ্গলবার, ৬ মার্চ, ২০১৮
Riiko Sakkinen
Riiko Sakkinen
An artist and dissident.
Riiko Sakkinen was born 1976 in Helsinki. After graduating from the Finnish Academy of Fine Arts, in 2002, he moved to Spain, where he is headquartered in Pepino, a tiny village in the province of Toledo.
Riiko Sakkinen is the founder of Turbo Realism, a 21st century art movement which depicts the globalized capitalism with a mocking verisimilitude. He does drawings, paintings, murals, objects, slideshows, installations and interventions about the consumer culture from fast-food to prostitution and from hypermarkets to drug cartels. He believes, according to Pablo Picasso's words, that the art is not made to decorate rooms. It is an offensive weapon in the defense against the enemy.
Riiko Sakkinen was born 1976 in Helsinki. After graduating from the Finnish Academy of Fine Arts, in 2002, he moved to Spain, where he is headquartered in Pepino, a tiny village in the province of Toledo.
Riiko Sakkinen is the founder of Turbo Realism, a 21st century art movement which depicts the globalized capitalism with a mocking verisimilitude. He does drawings, paintings, murals, objects, slideshows, installations and interventions about the consumer culture from fast-food to prostitution and from hypermarkets to drug cartels. He believes, according to Pablo Picasso's words, that the art is not made to decorate rooms. It is an offensive weapon in the defense against the enemy.
সোমবার, ৫ মার্চ, ২০১৮
রবিবার, ৪ মার্চ, ২০১৮
Albert Pellicer
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| Lock–bird & Timbre |
Albert Pellicer
...writes in English, Catalan and Spanish. His poetry explores the concept of timbre within the margins of text.
He
has collaborated with sound artist Ximena Alarcón, The Fumigation Of La Luna and worked with composer Francisco Coll
in Óxido: First Repetition; premiered
at Wigmore Hall, 2010; published by Faber & Faber Music. The film Breath
of Sense by Helen Petts, is based on the translation of his poem into the
whistled language of La Gomera - Canary Islands. He has
collaborated with visual poet Márton Koppány in Asylum, London 2017 and published El Lector de
Núvols and Fennec.
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| Lock-Butterfly |
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