verysmallkitchen

Archive for October, 2010|Monthly archive page

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ONE DAY EXHIBITION AT SIDESHOW, NOTTINGHAM, OCT 30: WHAT IS IMPORTANT IS KEEPING IT MOVING

In Uncategorized on October 29, 2010 at 7:08 am

For its contribution to INVITATION ONLY at SIDESHOW, on Saturday October 30, VerySmallKitchen presents WHAT IS IMPORTANT IS KEEPING IT MOVING, a one day exhibition in response to a proposition within an artists book fair within an arts festival in Nottingham within unfolding networks of new, ongoing and potential collaborations and exchanges.

seekers of lice, QUOT (2008)

 

Featuring: Jonathan Jones/ The Sticky Pages Press, thwart; Pippa Koszerek, Top 100 and Spoiler(Glossary); C S Leigh, Syntax (London, New York and Tokyo versions); Achim Lengerer, SCRIPTINGS; Jill Magi, SMALL TALK SMALL BOOKS; Tamarin Norwood, Homologue and DO SOMETHING; Onomatopee, A Task for Poetry 1-3; seekers of lice, LOUSE FACTORY, QUOT and dumb show; Red Fox Press, C’est Mon Dada and Franticham’s Assembling Box.

In relation to the notion of invitation, VerySmallKitchen has seen the context of INVITATION ONLY as a chance to showcase and develop ongoing collaborations and exchanges; to bring together areas of its work previously separate; and to instigate new dialogues and exchanges through the particular context of SIDESHOW.

Achim Lengerer, MODELS FOR REHEARSING THE SCRIPT (2010)

As part of this process, the time span of WHAT IS IMPORTANT IS KEEPING IT MOVING will also see the completion and launch of THE COMPLETE BULLETINS of THE DEPARTMENT OF MICRO-POETICS SEP-OCT 2010, whose contributors include, amongst others, all the co-authors of INVITATION ONLY (Emma Cocker, Rachel Lois Clapham and Marit Muenzberg).

The Sticky Pages Press, from the fullcrumb series 1-20

Picking up on a number of recent collaborations and dialogues between the three of us (in varying combinations), we have described INVITATION ONLY as follows:

Invitation Only brings together a series of book works, pamphlets, readers, scores … that operate at the level of the invitational, instructional or propositional, as potential provocations or departure points prompting future action or enquiry. For the Sideshow Book Fair these works are invitations they ask be to be pursued, used and engaged with as part of the live event itself.

Tamarin Norwood, from AS PIVOT (2010)

WHAT IS IMPORTANT IS KEEPING IT MOVING is followed R.S.V.P, a talk/ event on invitational text with presentations by Emma Cocker and David Berridge, and a first performance of Achim Lengerer’s MODELS FOR REHEARSING THE SCRIPT, a score for a talk about the project which will be interpreted by David Berridge.

Achim describes the SCRIPTINGS project as follows:

SCRIPTINGS functions as a discursive platform parallel and additional to Achim Lengerer’s solo-projects. Artists, writers, graphic-designers, performers as well as publishers are invited – all of which are working with the formats of “script” and “text” within their processes of production. The use of “script” or “text” does not necessarily head towards the final production of printed matters, but might result in the production of a movie, performance or object generated through processes of reading, writing or verbal utterance. The presentations consist of live events (talk, discussion, reading, display, performance) as well as the instant publishing of the magazine SCRIPTINGS, which contains textual and visual materials provided by the participants.

seekers of lice, QUOT (2008)

 

Both events take place at 1 Thoresby Street, Nottingham, NG1 1AJ. See map here.

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DEPARTMENT OF MICRO POETICS: AUDIO LETTER TO DAVID and SMALL BOOKS by Jill Magi

In Uncategorized on October 28, 2010 at 8:42 am

Jill Magi and Stephen Motika, from PLEASURE IS A TREASURE (2010)

 

In September 2010 Jill Magi was  in residence at the DEPARTMENT OF MICRO POETICS with SMALL TALK SMALL BOOKS. The original announcement for that residency can be seen here. Jill described the project as follows:

SMALL TALK SMALL BOOKS is a four-day residency/poets retreat taking place in theDEPARTMENT OF MICRO-POETICS. Jill Magi will be in residence for four days, inviting four New York area poet publishers and editors to come and talk informally about poetry, respond to the text works installed in the DEPARTMENT, discuss the relationship between publishing and writing, and chit chat about other topics perhaps not related to poetry.

Jill Magi and Sara Joredeno, What did you do with your body or mind? (2010)

Jill Magi and Jennifer Firestone, direction for how to leave poetry (2010)

A cross between coffee klatch, talk show, cooking show (where something is made together), and workshop, each SMALL TALK SMALL BOOKS session culminates in Jill and her guest making a small book together. The text for the small book—it may be prose, poetry, a survey, an essay or manifesto—comes out of the time they spend together talking, responding, and doing some writing together.

 

Jill Magi and Sara Jordeno at the THE DEPARTMENT OF MICRO-POETICS

 

Jill used the DEPARTMENT OF MICRO-POETICS to meet and discuss with Stephen Motika, Jennifer Firestone and Sara Jordeno. The images in this post document the books that were made. These were: PLEASURE IS A TREASURE (w/Jennifer Firestone); direction for how to leave poetry (w/ Stephen Motika) and What did you do with your body or mind? (w/ Sara Jordeno).

The original invitation for the residency invited artists to send a letter about their work, and Jill sent the following AUDIO LETTER TO DAVID.

 

 

The essay was first broadcast as part of VerySmallKitchen’s contribution to WRITING/ EXHIBITION/ PUBLICATION/ PRESENTATION/ DISCUSSION/ PERFORMANCE/ READING/ LISTENING/ SINGING/ PLAYING, curated by Sarah Jury and Ruth Beale for Charlie Woolley’s RADIO SHOW project at SPACE Studios on Oct 6.

On October 30th the SMALL BOOKS will be part of VerySmallKitchen’s contribution to SIDESHOW in Nottingham. More info about that project here.

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EXHIBITION REPORT: DOG MAN’S WEEK OF THE 10,000 STORIES

In Uncategorized on October 27, 2010 at 11:38 am

David Berridge, DOG MAN'S WEEK OF THE 10,000 STORIES, 2010

 

DOG MAN’s WEEK OF THE 10,000 STORIES was an installation at the Gooden Gallery 24/7 vitrine as part of NierghtravAOnWint’sIf A Teller: a book in 8 chapters and 4 dimensions (September 16th – November 25th 2010).  Each artist has a week in the space, responding to the previous installations in accordance with the project rules. More info is here.

Artists participating: David Berridge, Wayne Clements, Cinzia Cremona, George Eksts, Anna Francis, Hugh Gilmour, Daniel Lehan, Simon Lewandowski, Richard Price, Barbara Ryan, Ben Woodeson.

 

I installed DOG MAN’s WEEK OF THE 10,000 STORIES on Friday 15th. After a week in the Gooden Gallery 27/7 vitrine, Dog Man moved out. He had gone to the Gooden Gallery on Wednesday, planning to remove and re-arrange his stuff in accordance with the project rules. However, instead he spent the day writing the following letter for Hugh Gilmour, the artist who followed him:

 

The Gooden Gallery
Wednesday October 20th 2010

Dear Mr. Hugh Gilmour,

I am delighted to welcome you to be the next artist privileged to work in the 24/7 Gooden Gallery vitrine. For the last week this glorious space has been home to DOG MAN’S WEEK OF THE 10,000 STORIES. I originally wanted to make this space into a temporary fish stall, a perfect replica of Tubby Isaacs stall in Aldgate East, complete with Tubby himself, but, really, what would that have meant in the context of the Gooden 24/7 Vitrine and our unfolding exhibition? It was better things worked out this way.

My own arrival in this space seems a long time ago now (it was last Friday). I remember I was very nervous because Dog Man, I confess it now, has never before expressed himself so spatially. When I arrived there was a sculpture in the centre of the room, like a dead misshapen body under a white sheet, and a text on the wall informed me “Daniel Lehan fears for his life.”

So I acted quickly. A sleeping bag and pillow made the dead body into a bed. I  also began covering over the text, leaving only words that could contribute to the act of resurrection I felt it was my Dog Man duty to perform.

Since the first week of this exhibition (because Dog Man often snuck down from his Watney Market hideout to look ) there has also been, on the back wall of the vitrine, an arrangement of letters on bathroom tiles, hung from nails. Each artist has made a new version of this, adding letters, taking away nails, as suited their aims. Dog Man made his own text for this. You can see it, but I repeat it here:

WIT IS NOTW IMPOSSIBLE

My aim, as it seems to me now, was both to resurrect myself, and scare death from ever returning to Vyner Street. That explains my prominent central position in the window: my old broken boots, cardboard tube legs, coins, compass, all positioned on pages of the London Metro, with a text pinned to my right leg which says:

GRIMMICK
GRIMMICK
GRIMIMICK
GRIMMICK

I have been asked the meaning of this text. I can only lie to you like I did to Della Gooden and say it is a combination of GRIM and GIMMICK.  Oh, Hugh, the deceptions we give in life with a smile, particularly where language is concerned, are many!

There are also a few “sculptures” around the vitrine, mostly of things I had lying around at home and no longer needed. I won’t spoil your pleasure by describing them, just  observe that, as a life long West Ham supporter, it is delightful to discover the bliss of both small and large acts of appropriation and maneuvering.

On the floor I put the writing that I did here as part of resurrecting. If I was forced at gunpoint to say what these texts were I would say they were broadly humorous. They articulate just being Dog Man, but also Dog Man articulating Dog Man’s Dog Man, which is not the same thing at all. Perhaps the same dilemma applies to being Hugh Gilmour? (I should add that I have not always been Dog Man, but that is another letter).

So in all these ways (getting quickly to the point because I have to go to Dalston within the hour) DOG MAN’S WEEK OF THE 10,000 STORIES took shape. The 10,000 stories are not things I have written down or spoken. The story is not in the Gooden vitrine but it is only possible to get to the story through the Gooden vitrine, which of course you can only view from the street, unless you are an artist like you, Hugh, are an artist (after me), who can go into the vitrine and do what he or she has to do.

There is another thing I must confess, Hugh. After I put all this work here I was nervous about coming here again. It was like I was worried about encountering my double. Maybe it would have all fallen down or been trashed, or something would have happened to it so that it was “ruined” (what would that mean?). So when I came here (because I did, I had to) it was furtively, like I was stalking myself, a tourist of myself in the darkness.

As a result of these trips, I wrote more. These texts seemed darker. Perhaps they also got closer to that casualness I was seeking.  I have come to the vitrine and replaced the original texts with these new ones. I have taken everything away. The reason for writing this letter is to tell you Dog Man has gone, taking his stuff with him, back to Watney Market

Hugh Gilmour! I have changed my mind. I was worried about leaving you a lot of stuff. I had been thinking about the rule we had for this project, that things could be added and changed but not taken away. (This was nothing new to me. My flat above Watney Market has filled up with SHIT according to the same restriction, albeit unconsciously).

I wondered if there was a way of being creative with the restrictions. That things could stay but become another form. Maybe – you see where I am going, Hugh! –  they could all become part of this letter. Because the letter wouldn’t take up much room. You could put it on the wall or under something, or even just slip it in your pocket “by accident” and no would know.

I changed my mind because I found I liked the idea that the exhibition was a frozen moment,  a body under a white sheet, something fearing for its life. By the end of making my installation I wanted to un-resurrect. I wasn’t sure what further rearrangement of my materials would really serve. I was still hoping my mum would get along to see it, and this won’t happen until Friday. Etc. Etc.

Importantly for you, Hugh, I don’t think this changes the essential point about what you have to do. All this stuff can still take other forms. After all, Hugh, anything is possible at this point of magical metamorphosis from me to you, like one Doctor Who becoming another.

Also, I would like back the sleeping bag, the Virginia Woolf mug, the pillow, the Argos catalogue, and any of the writings that you do not need. I also have plans for the sheets of paper folded on the bed in the rough shape of my own body with “S” “O” and “L” on them. If you could leave these at the gallery reception desk, I can come and collect them later.

 

I am aware that if you take away my actual writings then the specific importance and meaning of a sentence such as DOG MAN USED TO BE A JELLIED EEL might be lost. But, Hugh, do not panic! Through this letter – and through you, Hugh – my writings will remain in another form, as something further back in the brain than language, and perhaps that is more useful in the long term (as Tubby himself, I remember, said that terrible day when all the jellied eels had gone by 11AM). Perhaps, too, I know not what I am saying, I have invented money!

Dalston is imminent so Dog Man will now depart forever into the economic downturn of your creativity, Hugh, (don’t misunderstand me – I mean FIRES) never to return, at least not until the end of project party. I don’t want to limit in any way my ability to burn. As I give you my full, complete, total Dog Man, Hugh, I feel close to tears. Sorry if anything I have said or done here should cause you any inconvenience.

Dog Man’s Week of the 10,000 STORIES is over.
Farewell Gooden Gallery 24/7 Vitrine
Good luck to you, Mr. Hugh Gilmour and
Much Love to everyone from

DOG MAN

 

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BURST RESIDENCY: COPENHAGEN CRIT NIGHT 27th OCTOBER

In Uncategorized on October 26, 2010 at 8:40 am

This week I am in residency at COPENHAGEN PLACE, a new gallery and studio space in East London. I am working each day in the space according to the following score:

WEEK IN RESIDENCE

SCHEDULE

1. CURRICULUM
2. SCORE
3. SPACE
4. TIME
5. DISSEMINATE
6. DAY OFF
7. ENACT

On Wednesday I am curating one of Copenhagen Place’s monthly crit nights. Full details of this are above and here is some more information about the particular presentations:

HYUN JIN CHO show an extract from her film MEET THE ARTIST. She writes:

In May I took part in Away Day, a weekend event featuring site-specific artworks for three public parks in South London.  My work was a video entitled “Meet the Artist” in which each of the participating artists was interviewed for his or her own conception of public art.  Their conversations were collected in video, transcribed, and edited together – resulting in a single text.  Using the transcript, I filmed two actors performing/reading the text in alternating sections of the artist’ words – in the manner of two people conversing but a conversation composed of 20 different voices.

In a sense, the video is a study of a group of artists collectively who are involved in public art practice – including myself : what are we offering?  what is achievable?  what is the significance of a public setting?  to whom do we expect to communicate? (The final video was 40 minutes in length and composed of 5 acts;  it was shown, with the artist’s in attendance, at a closing night event at a local pub.)

RENATA GASPAR presents CONTEMPLATION OF THE PRESENT:

The performance will address one of the main issues around contemporary time-based art, the one of the present, not the historical present that circumscribes the work context but the here and now that makes a live event physically true. I’ve been starting to think about questions related to how art, specifically the activity of creating, occupies time when being devised, rehearsed and presented, in an attempt to transfer the time of the process of making into the time of the live event.

MARY YACOOB will present the full series of BULLETIN OF THE DEPARTMENT OF MICRO POETICS- time drawings made as part of her contribution to VerySmallKitchen’s  DEPARTMENT OF MICRO POETICS project at the AC Institute in New York.

PATRICK COYLE writes “I recently had a stamp made of the ‘spellcheck squiggle.’ I am thinking about how to return an ‘analogue-inspired’ digital graphic back to the analogue world. I am also thinking about places in which to test it out, as part of a kind of proof-reading service, as i am obsessive about spelling, although not always correct!”

COPENHAGEN CRIT NIGHT will be a testing ground for this work in progress, which will be shown at the New York Art Bookfair and (as part of the art writing collective antepress) at the  New Art Gallery, Walsall.

PRESENT ATTEMPT propose the following:

We have been doing some work around developing a performance lecture relating to our performance Networks 1.0 which we did in summer 2009 and was a 24 hour journey round the country which ‘attempted to connect all the people in the world’.

There is some info about it on the project blog here. We have a few things we have been working on lately in relation to relating that time back to an audience and particularly exploring the impossibility/failure of our attempt to do this and also our dependancy on several networks (road, internet, social) and this all in relation to how we feel about it now.

In this context we have also been asking ‘what does it mean to be late for your own performance?’

I am also curating an installation of Achim Lenegerer’s SCRIPTINGS project. More information on that is here.

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SCRIPTINGS by ACHIM LENGERER at INVITATION ONLY, SIDESHOW, NOTTINGHAM OCTOBER 30th

In Uncategorized on October 19, 2010 at 7:00 pm

I have been working with Achim Lengerer on a presentation of SCRIPTINGS, his “traveling showroom and instant publishing house”, which I first encountered through Lecture Performance, a 2009 show at the Museum of Contemporary Art in Belgrade.

Achim describes the project as follows:

“Scriptings” functions as a discursive platform parallel and additional to Achim Lengerer’s solo-projects. Artists, writers, graphic-designers, performers as well as publishers are invited – all of which are working with the formats of”script” and “text” within their processes of production. The use of “script” or “text” does not necessarily head towards the final production of printed matters, but might result in the production of a movie, performance or object generated through processes of reading, writing or verbal utterance. The presentations consist of live events (talk, discussion, reading, display, performance) as well as the instant publishing of the magazine “Scriptings”, which contains textual and visual materials provided by the participants.

The images here show the presentation Achim has devised for SIDESHOW , entitled MODELS FOR REHEARSING THE SCRIPT. For an evening event Achim has also prepared a lecture-from-afar by which I can present the project. These two events are part of my contribution to INVITATION ONLY, a project initiated by Emma Cocker, the working blurb for which is as follows:

Invitation Only brings together a series of book works, pamphlets, readers, scores . that operate at the level of the invitational, instructional or propositional, as potential provocations or departure points prompting future action or enquiry.

For the Sideshow Book Fair these works remain as invitations only: they prefer not to be sold – possessed by any single individual – but rather ask to be pursued, used and engaged with as part of the live event itself.

SCRIPTINGS will also be presented as part of CRIT NIGHT 2 at Copenhagen Place in London on October 27th. More on that to follow.

In the catalogue for LECTURE PERFORMANCE Lengerer reproduces a letter that is part of his 2009 work Pictures exemplify quite nicely the Exhibition as an Event from afar . It concludes with a paragraph I have found very useful in thinking about both Achim’s project and the work of VerySmallKitchen more broadly:

You and me talked QUITE a lot about my way of working, obviously touching methods of curating (but avoiding its terminologies … getting them out of my way). I’d put it like this: I make exhibitions, but I don’t necessarily make the single object or the art work. I perform the object and I narrate, I detail, I retell an EXHIBITION in its preparation, its making and its further life. From the beginning on I wanted the catalogue to be used AS material for a later EVENT. I always imagined the pages AS PICTURES within an installation that constructs and countermands transient meanings. Tonight I propose the catalogue as a projection, choosing a fugitive mode of presentation.


The installation will also include a full set of the 13 editions of SCRIPTINGS. A hint of the concerns and possibilities of these issues can be seen in the following list of titles, which will be available to read at SIDESHOW.

#1 Folded Matter by Paul Gangloff
#2 Suspended collapse, collective script
#4 Microdramas, by Kerstin Cmelka
#4.1 About a guy through a woman, a scenario with Mary Ann Glicksmann
#5 Temporary Scenarios – fake or feint by Katrin Mayer
#6 Hold on, I, too am drifting … by Achim Lengerer
#7 A patient waiter is no loser, by David Bennewith
#8 In/OUT/EITHER/NEITHER, by Alexis Blake
#9.1/9.2 A rehearsal for one dancer and several writers, collective script
#10 Speech Practice: Disassembling Voice collective script, in collabration with Sönke Hallmann and IASPIS, SW
#11 Otherwise Unexplained by Matthias Meyer
#12 Exit THE AZTEC, by Giles Bailey
#13 Practising La Prise de la Parole in collaboration with Kerstin Meyer, Ker Thiossane and Rosa-Luxemburg-Stiftung, Dakar and Schloss Solitude and IFA, Stuttgart, DE.

MORE INFO: In 2010/11 Scriptings collaborates with IASPIS, Stockholm, SW; Ifa/Schloss Solitude, Stuttgart, DE and Ker Thiossane, Rosa-Luxemburg-Stiftung, Dakar,SN; KUNSTWERKE, Berlin, DE; Kunstverein Harburger Bahnhof, Hamburg, DE; Künstlerhaus Büchsenhausen, Innsbruck, AT; Sparwasser HQ and After-the-butcher, Berlin, DE; CNEAI, Récollets and Goethe Institut Paris, FR; W139, Amsterdam, NL.

Upcoming Scriptings presentations: Salon light#7, CNEAI, Paris, curated by Sylvie Boulanger and Alexis Zavialoff. Scriptings#14: Le Moindre Geste, Künstlerhaus Büchsenhausen, Innsbruck, AT.

Achim is currently writing his first novel in script-form, ZOOOOM I+II, which will be published in April 2011.

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DEPARTMENT OF MICRO-POETICS: TALK by PAOLO JAVIER and MAGIC MOVIE DAY 3 + 4 by PAOLO JAVIER & ROBERTO JAMORA

In Uncategorized on October 18, 2010 at 12:41 am

Paolo Javier’s residency at the DEPARTMENT OF MICRO POETICS concluded with a talk/ performance on Saturday 16 October. You can see the talk above. 

Paolo Javier and Robert Jamora also made  a MAGIC MOVIE’s of their third and fourth day working in the DEPARTMENT (see below). The movie of DAY ONE can be seen here. 

A full description of Paolo’s residency can be found here.   Paolo and Roberto have also  produced the silkscreened, multi-folded first issue of the concluding sequence of obb a.k.a. The Original Brown Boy. 

 

Department of Micro-Poetics, AC Institute, New York. Photo: Matt Dalby

 

 

 

 

An e-chapbook of work produced during the residency is forthcoming from VerySmallKitchen.

More info on all this to follow, along with details/ recordings of Matt Dalby’s performance on the 14th, and the complete BULLETINS OF THE DEPARTMENT OF MICRO-POETICS… 

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MAGIC MOVIE: PAOLO JAVIER AND ROBERTO JAMORA AT THE DEPARTMENT OF MICRO-POETICS

In Uncategorized on October 15, 2010 at 7:20 pm

 

Paolo Javier sent the above video as a record of his first day in residence at VerySmallKitchen’s DEPARTMENT OF MICRO-POETICS, with Roberto Jamora.  Full details of the residency at the AC Institute in New York City can be seen here.  

The residency concludes on Saturday 16th with a reception at 3pm and a talk/performance at 4pm. 

Paolo’s description of the residency is as follows:

During his residency at the Department of Micro Poetics, Queens Poet Laureate PAOLO JAVIER will complete obb a.k.a. the original brown boy, a collaborative multimedia poetry comic begun in 2006 that imagines an octopus and a catfish moving through New York City at the turn of the new millennium. Comic (book art) history, (trans)nationalism, race, and desire are among obb’s many intersections and collisions.

The work also foregrounds the presence of the poetic in comic books, and experiments with it in a fragmented text built on/with/from/through illustration, cut-up, collage, video, and painting. Javier will be joined by collaborators ERNEST CONCEPCION, MIKE ESTABROOK, andROBERTO JAMORA throughout the residency, and will exhibit the entirety of their collaboration with a talk and performance on the last day.

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DEPARTMENT OF MICRO-POETICS: PAOLO JAVIER IN RESIDENCE

In Uncategorized on October 10, 2010 at 10:13 pm

The Department of Micro-Poetics concludes this week at the AC Institute in New York with a four day residency by Paolo Javier 13-16th October 2010. Paolo describes his project as follows: 

During his residency at the Department of Micro Poetics, Queens Poet Laureate PAOLO JAVIER will complete obb a.k.a. the original brown boy, a collaborative multimedia poetry comic begun in 2006 that imagines an octopus and a catfish moving through New York City at the turn of the new millennium. Comic (book art) history, (trans)nationalism, race, and desire are among obb’s many intersections and collisions.

 

The work also foregrounds the presence of the poetic in comic books, and experiments with it in a fragmented text built on/with/from/through illustration, cut-up, collage, video, and painting. Javier will be joined by collaborators ERNEST CONCEPCION, MIKE ESTABROOK, and ROBERTO JAMORA throughout the residency, and will exhibit the entirety of their collaboration with a talk and performance on the last day.

 

Paolo will be working in the AC Institute space from Wednesday to Saturday. Join him on Saturday October 16th for a reception at 3pm and a talk/ performance at 4pm.

Goldfish Kisses, a fifty five-page chapbook excerpt from obb, appeared in a limited edition published by Sona Books in 2007. Extracts from the project can be viewed here and here.

 

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WRITING/ EXHIBITION/ PUBLICATION: JAMES DAVIES Acronyms(ms)

In Uncategorized on October 7, 2010 at 8:00 am


Acronyms

The first Acronyms were created by using systems. For example taking the second letter of each of a set of words

As the project developed the letters were chosen unsystematically. For example choosing the second and fourth letters from a set of two words 

In the later stages Acronyms were created which did not have their roots in words at all

The Acronyms were then shuffled

The words which the acronyms stand for (where they do stand for words) are forgotten

All Acronyms are now essentially the same in structure but not process

In the ‘real world’ acronyms often take the place of the set of words

Acronyms always have heavy pragmatic value

The viewer can choose to give these Acronyms a meaning or take them as concrete object

None of these Acronyms are copies. However in some senses they are readymades in that many of them have already been invented by somebody else: google many of these Acronyms and you will see

These works are not conceptual

These works are conceptual

James Davies 2010

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ACRONYMS(MS) by James Davies was first published in Onedit here. It was installed as a video installation at The Pigeon Wing as part of WRITING/ EXHIBITION/ PUBLICATION from Sept 3- Oct 3 2010.

A text installation of ACRONYMS(MS) was included in VerySmallKitchen’s DEPARTMENT OF MICRO-POETICS at the AC Institute, New York from Sep 9-Oct 16th 2010.

James edits If P Then Q and is co-organiser of The Other Room. PLANTS will be published by Reality Street in 2011, and The Manual Handling Process is published by Beard of Bees. He collaborates with Simon Taylor as JOY AS TIRESOME VANDALISM.

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DEPARTMENT OF MICRO-POETICS: KAI FIERLE-HEDRICK AND RACHEL ZOLF EXCHANGE VALUE #3

In Uncategorized on October 3, 2010 at 10:58 pm

Emma Cocker, Field Proposals 2010, for Department of Micro-Poetics, AC Institute, New York

 

Kai Fierle Hedrick

EXCHANGE VALUE #3; 01 October 2010
+ With thanks to Emma Cocker and Anonymous

What gaps in a language worried by love –
or like

zones of conversation.

I body their truth and causal
exchanges of naïveté –
the swagger-hip, swagger-hip.

Censorship is a technique of remembrance.

Scratchings on wood brittle
our felt betweens.

This is a strategy.

And, a heap of negotiation, I kiss you.

The absence of text is a question of position.

A slick of sweat behind my knees:

unstable truths and ethical possession.

Cost is the backbone of each speech-act.

Social assemblage.

You exit left, vanished, a relationship
neither to history nor without it.

Object action object

I am against a chair and still in it.
Ragged edges and gloss.

Repeat, repeat

I am at a loss for what’s left to describe.
The draft goes like caution and

the marks are doors

where the language stuck us. I push
this heart through what’s left.

Rachel Zolf

Satisfactions are gaps in desire
(for what’s left)

Pass the object around and share its story
A placebo made of velvet, filled with sawdust and spores
A cluster of fruit flies in the heat of my chest
I trusted you with the bases pointing inward

Has the heart of shame grinned?
This is a portrait of a pale straight list if I say so
Two past lovers and a boss
Where I used to scratch to go out or in

Tough, hard and rigid produced in high-gloss colours
We do most of our thinking with our vocal cords
The composition must react to the edges
I didn’t mean to say anything about “docile”

Create a gap between the two parts of the logo
The solvent of the native gum and then the epiphany
When machines shift context the needless detail emerges
I never felt stupid before I took this test

Utilize proprioceptive surplus against the firm numb organ
No longer a procedure of heroization
In fact there was a blanket of hills, it saturates relief 
Confusing or genuine magic pixel amazes me

Either way, this is a valuable purchase
Everyone must write a book called house
Assigning zones of immaterial sensibility to the various collectors
Forms and scales of high-creep-resistant “freedom”

Language is a part of orgasm and no paperwork is overwhelming
To preach anything is to give it away
Doing this experiment felt more like a translation
The plane is also emphasized and nearly single





ABOUT THIS PROJECT

The above work by Kai Fierle-Hedrick and Rachel Zolf  was the outcome of their residency in the DEPARTMENT OF MICRO POETICS at the AC Institute, New York City on Oct 1 2010.  Kai and Rachel describe the project as follows:

Rachel Zolf and Kai Fierle-Hedrick will collaborate – via an on-site/off-site residency at the AC Institute – to write a sequence of poems responding to the exhibition EXCHANGE VALUE. Fierle-Hedrick will write on-site at the gallery, and at the end of each session will forward an ekphrastic poem to Zolf. 

Responding via The Tolerance Project – a collaborative MFA in Creative Writing rooted in an online archive of “poetic DNA” traces donated by 86 writers, artists and thinkers – Zolf will identify a set of search terms in Fierle-Hedrick’s poem and use these to generate a new response from within The Tolerance Project’s archive. 

Zolf’s poetic permutation will then serve as the starting point for Fierle-Hedrick’s next session in the gallery, and so on. The residency explores a variety of exchanges – ekphrastic, dialogic, technological – in addition to embodying some of the challenges and creative loopholes of distance collaboration.

Poems from EXCHANGE VALUE  1 (17 Sep)  can be seen here. Poems from EXCHANGE VALUE 2 (24th September) can be seen here.