May 26, 2016

The Bury Poems

Talking about the publications of the Text Festival, I pulled out a copy of The Bury Poems from the bookshelf, and was surprised to find alongside Tony Lopez, Robert Grenier, Ron Silliman, Geof Huth, Phil Davenport, Carol Watts and Holly Pester, there were three poems by me. I'd completely forgotten. On reading them, I only just remembered writing two of them, and had no memory of the third. The second was inspired by something Riiko Sakkinen wrote, so I think I will save posting that until November when his exhibition opens in the Bury Sculpture Centre. The other two are below. 

You can purchase the Bury Poems from the Bury Art Museum shop. 

(The Art of Pedestrianisation referred to in one of the poems was going to be the title of the next book after my last book The End of Poetry ; Strangely I was reminded of what this was going to be about this week at the Royal Academy - hope this isnt a sign of the return of the poetry virus).

The Tragedy of Althusserianism

The tragedy of Althusserianism he is
the worst thing that could happen other types of hysteresis
also give rise to objects quite like free objects, in that they are left
adjoint to forgotten, not necessarily
the absence of rebel strangled instead of barricading

urelements feels/thinks/flashing lights/facades
- Them unphotgraphed seconds
Through artists have an excuse: Save us from poets
lumbered with poets as list-makers
The obscure reveries of the inward
gaze as the effect of our ignorance is Time.


Trehy
I am the last
Considered an autotopology
thus elimination of intermediate inference
the soldier who died for perspective
of the Art of Pedestrianisation unwritten -
the mechanics of walking and falling.

Despite rigorously the inattentive secretary
other possible Trehys from Leibniz
originating parameters
a continuous closed circuit of periphrasis

Catharist feeling abruptly out of date
our happiness gives way to the next by-passed by
a long distance

Scorn for slow mediocrity, contained of two types of obscurity
And for reasons of yield I am uniformly continuous

from superclasses: A taxon comradeship

baffles the man counting on the abacus.
What is the hysteretic source of the heredity
of prefiguration the which began in Shicho markers' historic
clinicla observations of life-threatening descriptive, retrospective
historical characters nonholonomic navigations susceptible to fall.

May 14, 2016

The Australians Are Coming (to Bury)

Over the next week/month Bury celebrates Australian contemporary art. On Saturday afternoon (yes, I know it's an odd time), two shows - one an installation  Illuminating configurations : re forming the line; edges, splats and cuts by Irene Barberis and (curated by Irene) a survey of contemporary Australian drawing featuring 100 works. I'm very excited to see Irene again, we first met in Tokyo back in 2006 and it's always a pleasure to see her and her work. (some of you might have seen her installation in Bury alongside Mike Parr in 2011). 
Both shows run to 13 August. The Contemporary Australian Drawing has organically evolved from six previous exhibitions around the world, from Chicago and Rome to Dubai. The participating artists were asked for a visual response to two texts on writing/drawing, taken from essays by Serge Tisseron and Michel Butor, “All Writing is Drawing’, and ‘the Space of Writing, what is that?’.  

All artists were supplied with a standard size and weight paper. The thoughtful and enthusiastic response of all artists concerned has resulted in this extensive exploration and examination of the themes, ‘All writing is Drawing’ and ‘the Space of Writing'. 

The Australian intervention in the Sculpture Centre is Jayne Dyer working in collaboration with Wayne Warren. Funnily enough I met Jayne in Beijing through an introduction from Irene Barberis, and we immediately got on very well. She has shown in Bury before - you might remember her piece in the Text Festival.

Last Thing previews on 17 June, inspired by Paul Auster's 'In the Country of Last Things'; the book presents a world where architecture and space constantly vanish, preventing individuals from building their own identity relative to the space they inhabit. An arena where matter is scarce and what is available is regurgitated until it becomes unrecognizable or depleted. 'Last things' documents fictional spaces about to disappear. 

Three great shows not to be missed. 

December 23, 2015

Merry Christmas: "twelve"

for the first ethic of christmas my true love sent to me an ambiguity in a non-temporal truth for the second ethic of christmas my true love sent to me two hierarchies between body and soul and an ambiguity in a non-temporal truth for the third ethic of christmas my true love sent to me three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the fourth ethic of christmas my true love sent to me four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the fifth ethic of christmas my true love sent to me five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the sixth ethic of christmas my true love sent to me six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the seventh ethic of christmas my true love sent to me seven inner experiences six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the eighth ethic of christmas my true love sent to me eight possibilities of realising seven inner experiences six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the ninth ethic of christmas my true love sent to me nine ladies dancing eight possibilities of realising seven inner experiences six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the tenth ethic of christmas my true love sent to me ten favourable circumstances nine ladies dancing eight possibilities of realising seven inner experiences six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the eleventh ethic of christmas my true love sent to me eleven singular conjunctures ten favourable circumstances nine ladies dancing eight possibilities of realising seven inner experiences six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth for the twelfth ethic of christmas my true love sent to me twelve harmonious equilibria eleven singular conjunctures ten favourable circumstances nine ladies dancing eight possibilities of realising seven inner experiences six phenomenal modalities five extrinsic justifications four errors of dogmatism three veils of illusion two hierarchies between body and soul and an ambiguity in a non-temporal truth


(first published in 2005)

December 15, 2015

Women in Art - Bury Art Museum

Funny how when you're busy you don't notice you're own patterns. I only realised this morning that all the contemporary art installed currently at Bury Art Museum is by women artists: Liz West "Colour Collection" in the Museum;

Alison Erika Forde "There's Nothing for you here" in the gallery;


Jo Clements "Retrospective" in the video gallery

Hilary Jack "The Late Great Planet Earth" in the Sculpture Centre

And Penny Anderson's 'Speech Bubble' Christmas Tree on the Ring Balcony
 

I quite like that there wasn't a plan for an all-women display - and it was just the brilliance of the work that brought it together. 

October 08, 2015

National Poetry Day

Twitter tells me that somewhere in the world it's National Poetry Day and in the threatening context of the Conservative Party conference which thankfully ended yesterday in Manchester, I thought I'd put up a poem from my last book: The End of Poetry. It's called 'Intolleranza' after Luigi Nono's socialist opera  


Intolleranza

Lower than vermin


… the gates are opening. Our murderers are here.

Suspended Song

Today: Conceit: will shoot us truth construct it Instruction all
Bijective the quiet fragile of this work to be silent and 
Instead the listener who is silent.
minuend individual receives
From it, fretting is overwhelmed we an idea opposed
mereologic fragility and have a collective

A new audience and a presence of nilpotent
unfolding of a silence to die in company
null conquest of the interior of musical structures taking Different forms, shining paths as revolt.
FIST. FITS. The favoured design for the future
Flow class features
I will love you from beyond the grave


… the gates are opening. Our murderers are here.



July 31, 2015

Total Recall

Phil Davenport installing his "The Weather, in lipstick" -
and part of Marco Giovenale's "asemic encyclopedia"
As mentioned in the previous blog, this year is the 20th anniversary of me starting work in Bury - the 4th of August to be exact. I only came across this by accident in some old job papers and thought maybe we'd have a party or go for a quiet meal - whatever. Anyway, I mentioned it to Phil Davenport some months back in passing and it turns out a surprise was hatched. Phil talked to Derek Beaulieu over in Canada and the two realised that it was not only my 20th anniversary but also the 10th anniversary year of me creating the Text Festival. To wit, the pair invited various artists involved in the Text over the years to make a commemorative artwork. Though I should say that I am humbled and honoured that so many artists actually did (I am, of course), typical of Phil and Derek, instead of celebrating my genius or my contribution to the history of art/poetry, adopted a framework of memory -  as they say: "How do you remember the people who are important to you? How do you conjure your shared past? Is it in images, a sound, a smell, a touch? Or do you use words?" I've obviously not quite cracked the cult of the personality, but still it's flattering and very nice of everyone. 


Part of Erica Baum's Total Recall
The result is a pop-up exhibition which was installed this week. Originally it had a fancy/obscure title TEXTfestschrift but Erica Baum's piece "Total Recall" so nailed the moment, that as the installation unfolded it felt like that had to be the title of the display. To make it manageable/low cost, Phil and Derek limited everyone to A4 paper, which magnifies the displays guerrilla aesthetic in the classical space of the Gallery ring balcony.


The exception to the A4 rule came from Lawrence Weiner who suggested installation of a work originally made for Leo Castelli in 1977. It was very flattering for Lawrence to make the connection between me and Castelli. 



TOTAL RECALL includes work by local, national and international text-based artists and poets - lots of whom have become friends over the years of dialogue and exhibition (eating and drinking) together: angela rawlings, Barrie Tullett, Bob Grenier, Carolyn Thompson, Cecilie Bjørgås Jordheim, Darren Marsh, derek beaulieu, Emma Cocker, Eric Zboya, Erica Baum, Jaap Blonk, James Davies, Jayne Dyer, Jesse Glass, Karri Kokko, Kristen Mueller, Lawrence Weiner, Leanne Bridgewater, Liz Collini, Lucy Harvest Clarke, Marco Giovenale, Márton Koppány, Matt Dalby, Mike Chavez-Dawson, Paula Claire, Penny Anderson, Peter Jaeger, Phil Davenport, Rachel Defay-Liautard, Ron Silliman, Satu Kaikkonen, Sarah Sanders, Steve Miller, Seekers of Lice, Steve Emmerson, Steve Giasson, Tom Jenks, and Tony Lopez - more works than we had wall-space to display so there are various conceits that allow access to all the works. 

I was joking earlier - I am very grateful to everyone who sent something - there's some great things - I'll revisit and talk more about individual works in a later blog. 
Marton Koppany: "Concrete Poem - for Tony Trehy"