tag:blogger.com,1999:blog-94164792024-03-14T03:13:23.609+00:00Tony TrehyA writer and cultural theorist based in Portugal. Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.comBlogger508125tag:blogger.com,1999:blog-9416479.post-81029799734985643432023-10-30T12:05:00.000+00:002023-10-30T12:05:07.880+00:00Gaza, Take This Cup from Me<p><span style="font-family: Constantia; font-size: large;">a
Compendious Book on Guernica reruns in a place</span></p><p class="MsoNoSpacing">
</p><p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">Urim
and Thummim chose to transform every figure <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">A
cheap breastplate as random as desultory tribes <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">Equates
to autoimmune disorder: acts sensitive to assumption<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">Reports,
exogenous acts of God – by incidence and effects<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">Enshrine
pernicious anaemia around anthropic argument<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">–
imposing on you the easiness of death, <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">Defeat
won’t matter, in every scenario they lose<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">stones
placed for some day in the future, ordinance won’t matter, <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">in
every scenario they lose, operations run their inquisition,<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">the
vanquished of today <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: Constantia; font-size: large;">Masjids
call <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-size: large;"><span style="font-family: Constantia;">Flowers
braver than us. </span><span style="font-family: Garamond, serif;"><o:p></o:p></span></span></p>
<p class="MsoNoSpacing"><span style="font-family: Garamond, serif;"><o:p><span style="font-size: large;"> </span></o:p></span></p><br /><p></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-31637446786666809962023-09-08T10:05:00.005+00:002023-09-08T12:28:24.463+00:00Identity and Genius (Writing 2023)<div style="text-align: justify;"><span style="font-family: helvetica; font-size: 12pt;"><b>Is </b>2023 a year in some form of demonic
possession? It’s been pretty dark for us so far but strangely one of my most
productive writing periods for years. The metaphor of the band continuing to
play as the Titanic sank comes to mind, but more positively maybe the writing was
a way of getting through.</span></div><div style="text-align: justify;"><span style="font-family: helvetica; font-size: 12pt;"><br /></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11mfOK2j4vHMZadWbSUbE-thP8iXazH_mN8L7okaBRl3TC4kZsXX5_mMZS7qIZPlmAH_7_kDVgQQkbXuX5BUlfTxZugyOW4RIjDFeMfo_YpfZDM3_00s3QWpZ3h8S5adet8tc_2cHjYvAP8zVNg_M_KZr4IR4u-rmrV8IrTmysOc_YRjxtvKi5Q/s640/Mycerinus%201.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="492" data-original-width="640" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11mfOK2j4vHMZadWbSUbE-thP8iXazH_mN8L7okaBRl3TC4kZsXX5_mMZS7qIZPlmAH_7_kDVgQQkbXuX5BUlfTxZugyOW4RIjDFeMfo_YpfZDM3_00s3QWpZ3h8S5adet8tc_2cHjYvAP8zVNg_M_KZr4IR4u-rmrV8IrTmysOc_YRjxtvKi5Q/w400-h308/Mycerinus%201.jpg" width="400" /></a></div><br /><span style="font-family: helvetica; font-size: 12pt;"><br /></span></div>
<div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><b><span style="font-family: helvetica; font-size: 12pt;">Identity Theft Poems</span></b></div><div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica; font-size: 12pt; text-align: justify;"><br /></span></div><div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica; font-size: 12pt; text-align: justify;">One of the major
horrors has been a sophisticated Identity Theft fraud - malevolent actions full of unpleasantness and threatening developments every day for literally weeks. In
poetic terms it raised all sorts of issues about identity and the experience of
identification of self, generating material questions about the nature identity
itself, material turned into poems. I wouldn’t recommend fraud as a way of
kickstarting a project, and it didn’t exist in my work plans in June but now I
have more than half a book’s worth of intense poems with more in urgent draft.</span></div>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica;"><span style="font-size: 12pt;">One of the poems ‘Hymn’
is a eulogy for the loss of Barney and will form part of a forthcoming
exhibition by <a href="https://www.waynewarren.co.uk/about" target="_blank">Wayne Warren</a></span><span style="font-size: 12pt;"> at the <a href="https://cowperandnewtonmuseum.org.uk/" target="_blank">Cowper Newton Museum</a> </span><span style="font-size: 12pt;">(by
evil coincidence, the Fraud attack began the day we brought Barney home from
hospital to die.) </span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica;">In similar vein, though not part of Identity Theft, I've been invited to write a 'Psalm' to form part of a sound installation by the John Cage of our Time, <b>Helmut Lemke</b>, at The Byre, @ Corriedoo Forest, addressing the hewing negation of Scottish Forestry Strategy. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><b><span style="font-family: helvetica; font-size: 12pt;">Novels</span></b></p>
<div style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica; font-size: 12pt;">Working on the novels
has been harder, due to impossibility of creating the time and mental space
needed while shit things happened. It’s mostly been research and mapping out
stuff. Though again something unexpected occurred. The logic of the <b>Urim </b>novel
required that I rewrite the Christian Gospels, which I started with no great
enthusiasm, it being just world-building background, the text of which will not
be an undue presence in the final novel. </span><span style="font-family: helvetica; font-size: 12pt;">However, in the other novel that I am fired
up about, ‘<b>Singing Voices</b>’, I needed a character to be eavesdropping on Ezra Pound
sitting in his cage writing the Pisan Cantos. As I needed to use a fair chunk
of Canto LXXIV-LXXXIV, it occurred to me that I could face copyright issues;
having already committed to rewriting the Gospels in the other novel, rewriting
the Cantos was the obvious solution.</span></div><div style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica; font-size: 12pt;"><br /></span></div>
<div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><b><span style="font-family: helvetica; font-size: 12pt;">Genius</span></b></div><div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><b><span style="font-family: helvetica; font-size: 12pt;"><br /></span></b></div>
<div style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica;"><span style="font-size: 12pt;">BUT Bob Perelman
observed in <i><a href="The Trouble with Genius by Bob Perelman - Paperback - University of California Press (ucpress.edu)" target="_blank">The Trouble with Genius</a> </i></span><span style="font-size: 12pt;"> “No one but Pound
could write <i>The Cantos”.</i> As I reread them for “Singing Voices”, I was
struck by how many points of Pound’s reference coincide with my experience. My
answer to Perelman’s observation increasingly turned into a skeptical question “Is he though?”
Putting aside some affected OULIPO reinterpretation or meta-rewriting from the Conceptual
Poetry School, (see Derek Beaulieu’s impressive ‘<a href="ICYMI: flatland | derek beaulieu's blog" target="_blank">Flatland</a>’ </span><span style="font-size: 12pt;"> or Simon Morris’s ‘<a href="Re-writing Freud : Morris, Simon, 1968- : Free Download, Borrow, and Streaming : Internet Archive" target="_blank">Re-Writing Freud</a>’ </span><span style="font-size: 12pt;">etc, etc.) I needed my Cantos to dovetail with the requirements of the novel, so it had to be
written in Poundian terms. <o:p></o:p></span></span></div><div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"><br /></span></span></div>
<div style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica; font-size: 12pt;">Like Pound, I have spent a lot of time writing
in Venice (and married Sue there). </span><span style="font-family: helvetica; font-size: 12pt; text-align: justify;">When writing the Venice
section of <a href="Tony Trehy’s “50 Heads” | derek beaulieu's blog" target="_blank">50 Heads</a></span><span style="font-family: helvetica; font-size: 12pt; text-align: justify;">, though I didn’t realise immediately, I often
sat on the bench which Pound had sat on when he considered throwing his first
book into the Grand Canal rather than sending it to be published. In Cantos
LXXVI, he records the moment, and, as if planting a seed for myself, 4 years
later when in Florence I wrote ‘Benches’ (sitting on a different bench beside
the Arno) which was published in <a href="Tony Trehy – Space The Soldier Who Died For Perspective - Veer Books" target="_blank">Space: the Soldier Who Died For Perspective</a></span><span style="font-family: helvetica; font-size: 12pt; text-align: justify;"> in 2009. The first
stanza is quotation of Pisan Canto and the second is my response.</span></div>
<p class="MsoNormal"><b><i><span style="font-family: helvetica;">Benches<o:p></o:p></span></i></b></p>
<p class="MsoNormal"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">shd/I chuck the lot into the tide-water?<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: helvetica;"><span style="mso-bidi-font-family: Arial;"><span style="mso-tab-count: 2;"> </span></span><span lang="IT" style="mso-ansi-language: IT; mso-bidi-font-family: Arial;">le bozze ‘A Lume Spento’/<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: helvetica;"><span lang="IT" style="mso-ansi-language: IT; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 3;"> </span></span><span style="mso-bidi-font-family: Arial;">And by the column of Todero<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">shd/I shift to the other side<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: helvetica; mso-bidi-font-family: Arial;"><span style="mso-tab-count: 3;"> </span>or
wait 24 hours<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: helvetica; mso-bidi-font-family: Arial;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">shared benches, A Lassitude Seed <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36pt; text-indent: 36pt;"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">anticipate
other my Arno<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 72pt; text-indent: 36pt;"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">outside/Armani
Time<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 72pt; text-indent: 36pt;"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">can’t/I face<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">the moment of nowhere in particular <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 36pt; text-indent: 36pt;"><span style="font-family: helvetica; mso-bidi-font-family: Arial;">only be
sobbd/ <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica;"><span style="mso-bidi-font-family: Arial;">quietly</span><span style="font-size: 12pt;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica; font-size: 12pt;"><o:p> </o:p></span></p>
<div style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica;"><span style="font-size: 12pt;">My last book, <i><a href="https://metasentapublishing.com/product/the-end-of-poetry/" target="_blank">The End of Poetry</a></i> had the subtitle ‘Other possible Trehys with Leibniz’
referencing of course other worlds, so this would appear to be the world in
which I rewrite the Pisan Cantos. The things that are supposed to make the
Cantos difficult such as the interweaving of histories & mythology, the culture
of China, the renaissance, multiple languages, turn out to directly paralleled
in my own lifetime research trajectory: in my teens I was obsessed with China,
and had studied multiple translations of Confucius Analects, Menius, the
Buddhist Scriptures, Tao Te Ching, Chuang Tzu, and many Chinese poets; for many
years, I was never without the <a href="Richard Wilhelm (sinologist) - Wikipedia " target="_blank">Wilhem </a>translation</span><span style="font-size: 12pt;"> of the I Ching – all the sources Pound used. </span></span></div>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica; font-size: 12pt;">“Bartok’s Fifth Quartet
… is the record of a personal struggle, possible only to a man born in the
1880s. It has the defects or disadvantages of my Cantos” - Ezra Pound. </span></p></blockquote>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica; font-size: 12pt;">In one respect in
relation to Pound’s Chinese, I have the advantage of having visited and worked
in China on many occasions. He frequently name drops restaurants he ate at
around the world and artists he hung out with in London, Paris etc. I can go
some better, name dropping say the best Italian restaurant in Shanghai or the
great French food in Taipei and my years of curating international contemporary
art, sound art, Text, dance, etc, mean I can anecdotalise and appropriate stride
for stride with Pound. He wrote once: “blessed are they who choose the right
artists and makers” – which I used to use as my joke defence when taking
curatorial risks. Similarly, when I was doing my art education the Renaissance
was the key period of study – it’s probably not nowadays. My first ever
published poem (in Chain) was ‘<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">de re aedificatoria</span><b style="mso-bidi-font-weight: normal;">,</b></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">’ which uses Leon Battista Alberti’s
Renaissance treatise (in Latin) on Architecture published in 1452. And of
course, my title ‘</span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">Space: the Soldier Who Died for Perspective’</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> is the art
historical epithet for the dead soldier at the foot of Paolo Uccello’s 1438
painting ‘The Rout of San Romano’. My favourite biography in Vasari’s ‘Lives of
the Most Eminent Painters, Sculptors & Architects’ (1568) has always been
Uccello’s and the opening of this was the postscript in ‘…</span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-weight: bold;">the
Soldier Who Died for Perspective’</span></i><span style="mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">:</span><o:p></o:p></span></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhCQmLkr7Gll_PaScikVURN4btskCKh_pg5b8o-gFxuo8d8O0xrMtowWBnHnYvmTB4HSQXIDlJ29hq31Wsq2p3BlluaXA6widLZIpbkL_D_ReydIGtR_z28H1X1HziF_T4m_NPpSo-c4_FkhwIvvBgQKoqP1-ynPF0y6A1xM92lx1ks5dyxPrv_ZA" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="577" data-original-width="558" height="240" src="https://blogger.googleusercontent.com/img/a/AVvXsEhCQmLkr7Gll_PaScikVURN4btskCKh_pg5b8o-gFxuo8d8O0xrMtowWBnHnYvmTB4HSQXIDlJ29hq31Wsq2p3BlluaXA6widLZIpbkL_D_ReydIGtR_z28H1X1HziF_T4m_NPpSo-c4_FkhwIvvBgQKoqP1-ynPF0y6A1xM92lx1ks5dyxPrv_ZA" width="232" /></a></span></span></div><span style="font-family: helvetica;"><span style="font-size: 12pt;"><br />“Paolo Uccello would
have been the most gracious and fanciful genius that was ever devoted to the
art of painting from Giotto’s day to our own, if he had laboured as much at
figures and animals as he laboured and lost time over the details of
perspective.”</span><span style="font-size: 12pt;"> </span></span><p></p></blockquote>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm; text-align: justify;"><span style="font-family: helvetica;"><span style="font-size: 12pt;">I’ve always had a
‘gracious and fanciful’ fascination with the idea of the failing genius. After modernism,
genius is a problematic idea, only useable without irony to describe
sportspeople. However, as Perelman writes “Genius is not simply a critical
demerit to be applied whenever a writer oversteps generic and aesthetic
boundaries.” What does it mean if a ‘genius’ <i>could</i> overstep and doesn’t?
To paraphrase Alain Badiou in ‘<a href="Ethics – Verso (versobooks.com)" target="_blank">The Ethics of Evil</a>’</span><span style="font-size: 12pt;">,
to fail to live up to a creative fidelity is Evil in the sense of <i>betrayal</i>.
So my ‘Cantos’ is called ‘Genius’. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"><o:p> </o:p></span><span style="font-size: 12pt;">The Pisan Cantos opens:</span></span></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"><o:p> </o:p></span><span style="font-size: 12pt;">The enormous tragedy of
the dream in the peasant’s bent</span></span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica; font-size: 12pt;"><span style="mso-tab-count: 1;"> </span>shoulders.</span></p></blockquote>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"><o:p> </o:p></span><span style="font-size: 12pt;">Genius opens:</span></span></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica; font-size: 12pt;">If Mycerinus and his
wife is no longer categorically possible,</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica;"><span style="font-size: 12pt;"><span style="mso-tab-count: 1;"> </span></span><span lang="EN-US" style="font-size: 12pt; mso-ansi-language: EN-US;">revetment</span></span></p></blockquote>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0cm;"><span style="font-family: helvetica; font-size: 12pt;"><o:p> </o:p></span></p><div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica; font-size: 12pt;">Don’t get me wrong,
Pound is <i>not </i>a hero of mine. Another reason for taking on the Cantos is to confront
his fascism with my militant communism. Politically, I would have supported his
execution in 1945.</span></div><div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica; font-size: 12pt;"><br /></span></div>
<div style="line-height: normal; margin-bottom: 0cm; text-align: left;"><span style="font-family: helvetica;"><span style="font-size: 12pt;">The character in
‘Singing Voices’ novel will hear Poundian writing of this contra-Cantos, the
poem will be ‘Genius’ and that as a stand-alone work will be a poem including
history.</span></span></div>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-66120830818384864642023-05-13T06:49:00.000+00:002023-05-13T09:29:32.111+00:00The Last International Poetry Dog Day<p><span style="font-family: helvetica;">This would have been the 15th birthday of <b>Barney</b>, <a href="https://tony-trehy.blogspot.com/2010/09/and-award-for-best-poetry-dog-goes-to.html" target="_blank">the famous Poetry Dog</a> - he missed it by one month. We have been touched by the outpouring of condolence for him. So I thought a last acknowledgement of his status in the Poetry World was a suitable memorial. </span></p><p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHayeddstv5aySBU9GnIjSkBnmwRQZgv4la1BdX-wf8aykhtvcAgp98M1-Be--Z5oAPyyDB4TOLvoBRW8uCVGSDMDrzyhv7WQK8o0O10G0vScT3lQh90btiDNXxmR9H_95vE0oEP1kNrDbryfC5xWG5mR_GL7PD6TQsRRmi21WY0XBCh73kY/s604/Poets%20and%20Poetry%20Dog2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="339" data-original-width="604" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTHayeddstv5aySBU9GnIjSkBnmwRQZgv4la1BdX-wf8aykhtvcAgp98M1-Be--Z5oAPyyDB4TOLvoBRW8uCVGSDMDrzyhv7WQK8o0O10G0vScT3lQh90btiDNXxmR9H_95vE0oEP1kNrDbryfC5xWG5mR_GL7PD6TQsRRmi21WY0XBCh73kY/w640-h360/Poets%20and%20Poetry%20Dog2.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Ron Silliman, Tony Lopez, Tony Trehy, Christian Bök (Text Festival)</td></tr></tbody></table><br /><br /><br /><span style="font-family: helvetica;"><br /></span></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-56833402741125378102023-05-01T07:27:00.005+00:002023-05-01T07:40:08.744+00:00The King's Basement<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEG9areSIKdBLNge6xBXUsJoECX4FvXhDF252vbu5WJiPephb8qriztXw08nJ19sVyAhKlbN0mZUjhSKYH8TfC6YEgEsvhD38HJZi0DlmZJqtxduXz-HjT0YHWBXsvoa1LXu9r54W02nKaKFatml6bqE_E8dBC4GvYAdmmnPD_U7J-E4iSEAw/s787/Prince-Charles-Arab.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="787" data-original-width="570" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEG9areSIKdBLNge6xBXUsJoECX4FvXhDF252vbu5WJiPephb8qriztXw08nJ19sVyAhKlbN0mZUjhSKYH8TfC6YEgEsvhD38HJZi0DlmZJqtxduXz-HjT0YHWBXsvoa1LXu9r54W02nKaKFatml6bqE_E8dBC4GvYAdmmnPD_U7J-E4iSEAw/s320/Prince-Charles-Arab.jpg" width="232" /></a></div><br /><p><br /></p><p></p><p class="MsoNoSpacing"><b><span style="font-family: "Garamond",serif; font-size: 12pt;">The
King’s Basement</span></b><span style="font-family: "Garamond",serif; font-size: 12pt;"><o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Bedside
manners are extra prayers empty, <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">As
succession entropic acts <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">A
new stamp a new head posted to <a href="https://en.wikipedia.org/wiki/Ipatiev_House" target="_blank">Ipatiev House</a>. <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Usurping
timorous laureation we <i>must</i> to Ipatiev House<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Search
engines at the ready, to calculate the difference … a falling blade,<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">A
spike, a headshot, a poll ending with a hung result.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Coronation
words and celebratory foods, chicken, charcuntery, and inertia<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Until
when the poor will eat promises<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">All
unusual and active vectors orient to Ipatiev House, <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">The
Rite of Passage for all kings.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Search
engine differentials calculate the museological relevance of a meat-hook, <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;"><span> </span>or
a headshot, a poll resulting in a crumbling Bourbon end. <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;">Big
fat hands gasping for air – as entitlement is to justified, as ascension is to basement. <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;"><o:p> </o:p></span></p><br /><p></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-31422286097869198532023-04-04T12:56:00.001+00:002023-04-04T13:23:02.398+00:00The Bijouterie of Winnie and the Shiba Fellas<p><span style="font-family: Verdana;"></span></p><div class="separator" style="clear: both; font-size: 12px; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_LfsSwGNy-DMdgLT8j7anB3mr3OOMBgXSaqsEF9SC6lKK4DNdm67B47cQsKsxGWkAyeOXjylJyqRJlH3jeA9UAPsO12P3I7bwT1Gp4qPJNp2uUXYXxiHWeBzW3CndVC8WVT98s7El3TGtrOGFrC16KVrahf0ojLWfwDlyS4MHbIPuf1yyYq8/s680/nafo.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="680" data-original-width="481" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_LfsSwGNy-DMdgLT8j7anB3mr3OOMBgXSaqsEF9SC6lKK4DNdm67B47cQsKsxGWkAyeOXjylJyqRJlH3jeA9UAPsO12P3I7bwT1Gp4qPJNp2uUXYXxiHWeBzW3CndVC8WVT98s7El3TGtrOGFrC16KVrahf0ojLWfwDlyS4MHbIPuf1yyYq8/w260-h320/nafo.jpg" width="260" /></a></div><div style="text-align: justify;"><span style="font-family: times;">On social media, at the beginning of the war, the <b>CIA </b>unleased an army of twitter 'campaigners'/bots supporting Ukraine (at the same time preparing cyber tactics for Taiwan for the coming war with China which the US will manufacture after the Ukraine). They created the identities in the first instance by appropriating a subculture from computer gaming where cool teen gamers used cartoon dog-human hybrids as their avatars and called themselves 'fellas'. The second 'anti-China' 'army' similarly adopted an animal persona - this time Winnie the Pooh, because there had previously been a campaign suggesting that Xi Jinping looked like Pooh and had therefore banned Winnie the Pooh from China - untrue of course. If you look at Fella twitter accounts they often don't even hide their location is 'Langley' (the CIA HQ). It initiates pile-ons, cyber bullying and abuse campaigns, as you'd expect frequently racist and misogynist. Yesterday, a North Atlantic Fellas Organisation (NAFO) dog replaced the blue bird logo with their trademark dog-face - it is unclear whether this is an actual hack or a Elon Musk marketing stunt related to a court case; either way, <span style="text-align: left;">I wrote this poem some months ago in response to the Fellas but the twitter hack seems make this a good time to post it. </span></span></div><div style="font-family: Verdana; font-size: 12px;"><br /></div><div style="font-family: Verdana; font-size: 12px;"><br /></div><div style="font-family: Verdana; font-size: 12px;"><p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The Bijouterie of Winnie and the Shiba Fellas</span></b><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And did those in ancient time walk upon mountains?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And was the anonymous pleasant pasture anxious?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And when the oozing flood conspired to the
anthropomorph,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And assertive hope was mocked to undermine,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">And mills still Satanic, though closed and burned
out<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> For
future residential development<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">
or locations for cold people to starve.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">As bristling musculature stared at screens and,
chewing,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">As if cry havoc dogs and wagin' doges, callin’ tantrum chagrin
for war<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">As if broadcasting pustular to its proud
constituency of residual pornocrats, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Ageing as futureless empires do, sanded in desert
storms lost, herniated, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> burger fat
believers in a half-century pre-dream state, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">as if every night, without fail, the bijouterie of
Winnie and adrenal Shiba Fellas struts <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-family: "Garamond",serif; font-size: 12pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">that banal masturbatory oath. <o:p></o:p></span></p></div><div style="font-family: Verdana; font-size: 12px;"><br /></div><div style="font-family: Verdana; font-size: 12px;"><br /></div>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-80325614516860512582022-12-26T10:01:00.000+00:002022-12-26T10:01:32.604+00:00Stalin<p><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIZTWxLP7pPMYLzYm6z3cy8Y8ZEs7BLo8Pe2WTM8_GUwwmUYhIS8BjOm8niCvZ6gODvlJW79aJK_CcKoxhuxkWklHmbTfEEd2OGAFrJnmcGuhfOIBqDYV3M2oe5T_uwNQPBCguYpDNxE9JiKl9OybQm-pYKB7UnMYHsJv43hk4dGayDW0CFTU/s1470/stalin%20xmas.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="949" data-original-width="1470" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIZTWxLP7pPMYLzYm6z3cy8Y8ZEs7BLo8Pe2WTM8_GUwwmUYhIS8BjOm8niCvZ6gODvlJW79aJK_CcKoxhuxkWklHmbTfEEd2OGAFrJnmcGuhfOIBqDYV3M2oe5T_uwNQPBCguYpDNxE9JiKl9OybQm-pYKB7UnMYHsJv43hk4dGayDW0CFTU/w640-h414/stalin%20xmas.jpg" width="640" /></a></span></p><p><span style="font-family: helvetica;">The other day I was calling out the latest American Empire colour revolution on social media. It doesn't matter which one it was because I've counted another 2 or 3 more since I posted it. Anyway, some big-gob/bot/whatever (unknown to me but apparently a follower of other people I know), barged onto my time-line to accuse me of being a 'Stalinoid'. Hard to think of a more adolescently feeble 'insult', but it reminded me that while back I wrote a two-part piece about <b>Stalin </b>for my 'Dyer & Mahfouz' Collection. So this is a good excuse to roll it out:</span></p><p><span style="font-family: helvetica;"><br /></span></p><p></p><p class="MsoNoSpacing"><b><span style="font-size: 12pt;"><span style="font-family: helvetica;">The Birth of Stalin</span></span></b></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-size: 12pt;"><span style="font-family: helvetica;">Gerard Trehy had been an active shop steward in
the building trade in the 1960s. He’d stood against old style bosses alongside
the legendary firebrand Union man, ‘Red’ Eric Heffer. So, when I began work, my
very first job, and almost immediately got ‘volunteered’/put myself forward to
be a shop steward, I asked for his advice. He said: “the thing to watch out for is
at some future union meeting or stewards committee, the top table will report
that the employers have proposed some terrible change to working conditions or
pay or holidays, whatever. And the bloke beside you will lean over and say –
here, that’s outrageous, we can’t let them get away with that. Etc. etc. and
he’ll get you wound up and feed you ammunition, make you angry to such a point that
you will stand up and make an impassioned speech about how the union needs to
stand and fight. And you will pull everyone else up to that pitch and the top
table will agree to confront the bosses and you’ll be volunteered to be at the
forefront because you are so passionate. And later when things get difficult,
the bloke who sat next to you won’t be anywhere to be seen.”<o:p></o:p></span></span></p>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-size: 12pt;"><span style="font-family: helvetica;">And true enough, in only my second or third
stewards meeting, the branch secretary reported an outrageous stunt from the
bosses, and I leant over to the steward sitting next to me and said: “Here, we
can’t let them get away with that. That’s fucking outrageous.”<o:p></o:p></span></span></p>
<p class="MsoNoSpacing"><br /></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica;"><b><span style="font-size: 12pt;">The Triumph of Stalin</span></b><span style="font-size: 12pt;"><o:p></o:p></span></span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: 12pt;">In the
spring of this dissymmetry, singular and true, I am Stalin qua Stalin, to</span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica;"><span style="font-size: 12pt;">the
big picture, shaping the new individual, indexed to the double scission, </span></span></p><p class="MsoNoSpacing"><span style="font-family: helvetica;"><span lang="EN" style="font-size: 12pt;">fifth
of five but </span></span><span style="font-family: helvetica; font-size: 12pt;">with renewed undeniable music; I am remembered, </span></p><p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: 12pt;">fond of </span><span lang="EN" style="font-family: helvetica; font-size: 12pt;">binary </span><span style="font-family: helvetica;"><span lang="EN" style="font-size: 12pt;">meets, the very Idea </span></span><span style="font-family: helvetica; font-size: 12pt;">secretary of all meets and all joins</span></p>
<p class="MsoNoSpacing"><span style="font-family: helvetica;"><span style="font-size: 12pt;">the
warmth, the warmth in that household </span><span lang="EN" style="font-size: 12pt;">to preserve <o:p></o:p></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: 12pt;"><span style="font-family: helvetica;">an
infinitely expanding tautology of action, singular and true, A<o:p></o:p></span></span></p>
<p class="MsoNoSpacing"><span style="font-size: 12pt;"><span style="font-family: helvetica;">determination unsympathetic and dismissive assertions,</span></span></p><p class="MsoNoSpacing"><span style="font-size: 12pt;"><span style="font-family: helvetica;">appropriations under-specified </span></span><span style="font-family: helvetica; font-size: 12pt;">and my model axiom:</span></p><p class="MsoNoSpacing"><span style="font-family: helvetica; font-size: 12pt;"> “Never ask, command.”</span></p>
<p class="MsoNoSpacing"><span style="font-size: 12pt;"><span style="font-family: helvetica;"><span> </span><span> </span>and
by all accounts <o:p></o:p></span></span></p>
<p class="MsoNoSpacing" style="text-indent: 36pt;"><span style="font-size: 12pt;"><span style="font-family: helvetica;"><span> </span>I won, to be fair. </span><span style="font-family: Garamond, serif;"><o:p></o:p></span></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12pt;"><o:p> </o:p></span></p><span style="font-family: helvetica;"></span><p></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-24406296162841812852022-12-05T11:10:00.002+00:002022-12-05T18:25:10.342+00:00Broadside<p><span style="font-family: helvetica;"></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkUiA6qCu5Po8vGLjcc7J8vYCnBpmUvq-QUfon0wNj_FZS57QcHt36kSUK2PATepPa71vMMJ1WylbC-25wRd-CyOwprFUGo15fyv6qO0rTIwuXIuTTF_dKWIMpcB1qbALvx8STSbHNyx_Xqa4mIg3DsGHIwNl4fOinjTknvUoN07UwAOs9pI/s4160/IMG20221202145016.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqkUiA6qCu5Po8vGLjcc7J8vYCnBpmUvq-QUfon0wNj_FZS57QcHt36kSUK2PATepPa71vMMJ1WylbC-25wRd-CyOwprFUGo15fyv6qO0rTIwuXIuTTF_dKWIMpcB1qbALvx8STSbHNyx_Xqa4mIg3DsGHIwNl4fOinjTknvUoN07UwAOs9pI/w640-h480/IMG20221202145016.jpg" width="640" /></a></span></div><span style="font-family: helvetica;"><br /><div style="text-align: justify;">Soon after arriving in Portugal, I was introduced to the American artist <a href="http://www.marshamcdonaldart.com/about" target="_blank"><b>Marsha McDonald</b> </a>by the inestimable <b>Marton Koppany. </b>It's a small world since it appears there's a fair degree of overlap between our networks, but we didn't know of each other until we met in Porto. It turns out that we also have a mutual friend in <a href="https://tony-trehy.blogspot.com/2008/07/introducing-robert-grenier-to-cotswolds.html" target="_blank">Robert Grenier</a>, and maybe in a nod to the form of his 'Sentences', Marsha and I have collaborated on a Limited Edition 'Broadside'. </div><p></p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjog-ofG8QhMms-bJ-l9WYM8woUWpfCh4HNHyqmjAiMWy0_7j4K-Zzd0Y8RpJ3e1J2vhen7B-pvEaFDXQSIH0NTy81efU9MLAkEzFJrWYE7ID7ymxDr5prKOTRXzbDt70WX8AhnNA2jH2Erlh26MZQbtTinuEBO6vkhmA_c7WKYQAyZHXRlyLA/s4160/collation1.jpg" style="clear: left; display: inline; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjog-ofG8QhMms-bJ-l9WYM8woUWpfCh4HNHyqmjAiMWy0_7j4K-Zzd0Y8RpJ3e1J2vhen7B-pvEaFDXQSIH0NTy81efU9MLAkEzFJrWYE7ID7ymxDr5prKOTRXzbDt70WX8AhnNA2jH2Erlh26MZQbtTinuEBO6vkhmA_c7WKYQAyZHXRlyLA/s320/collation1.jpg" width="320" /></a></p><p style="text-align: justify;">The set of 7 prints features Marsha's photography juxtaposed with four of my new poems (Indigo, The Last Time, The Tree of Moments, and Types of Failure. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3XFXsLenXuiUmE51aJ8vPgCPOWP703z9Ic_Ha6ZXZ1lYj98zm322QUkyMwjEco8wOku9uVIZLP8hcQIEWhz15aQXsZUz8VXSN2r2evACR9NOPmnBw3rxFywoJPAAh6MpRF5wZ_GX4GqO_pwdTKSRmoSIQODJWvuLs0qViFo4l8mXzVjpsI0/s4144/blog2.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2592" data-original-width="4144" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH3XFXsLenXuiUmE51aJ8vPgCPOWP703z9Ic_Ha6ZXZ1lYj98zm322QUkyMwjEco8wOku9uVIZLP8hcQIEWhz15aQXsZUz8VXSN2r2evACR9NOPmnBw3rxFywoJPAAh6MpRF5wZ_GX4GqO_pwdTKSRmoSIQODJWvuLs0qViFo4l8mXzVjpsI0/w400-h250/blog2.jpg" width="400" /></a></div><br /><p><br /></p><br /><div class="separator" style="clear: both; text-align: center;"><br /></div>They are available from me (tonytrehy@ymail.com) or Marsha (marsham6@gmail.com)</span><span style="font-family: helvetica;"> for 10 euros (plus postage/packaging).</span><p></p><p><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: left;"><span style="font-family: helvetica;"><br /></span></div><span style="font-family: helvetica;"><br /><p><br /></p></span><p></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-7549070465605865992022-09-25T11:37:00.000+00:002022-09-25T11:37:24.464+00:00Funeral Poetry<p style="text-align: justify;"><span style="font-family: Garamond, serif; font-size: 12pt; line-height: 107%;">Like any other sane/unindoctrinated person, I found the
funeral propaganda around Queen Elizabeth II’s death and the Establishment’s
rush to overwhelm critical thought with the rapid accession of ‘King’ Charles
III to be infuriating and risible in equal measure. I am reminded of Picasso’s
comment that after a walk in the countryside, he had ‘green’ indigestion and it
had to be relieved with a green painting on return to his studio. So the steady
stream of mind-numbingly stupid worshipful coverage became so indigestible that
I needed to write a funeral poem. Almost coincident with this decision, the
former Poet Laureate Carol Ann Duffy published her commemoration in the
Guardian, (</span><a href="https://www.theguardian.com/books/2022/sep/19/former-poet-laureate-carol-ann-duffy-shares-poem-to-mark-queens-passing">Former
poet laureate Carol Ann Duffy shares poem to mark Queen’s passing | Carol Ann
Duffy | The Guardian</a>) <span style="font-family: Garamond, serif; font-size: 12pt; line-height: 107%;">which, unsurprisingly, turned out to be laugh out
loud appalling – spoiler alert – it’s a list poem. (At this point I
was going to quote a small sample but on re-reading it, the cringe is
too great to stomach). Then <i>the</i> Poet Laureate Simon Armitage also
knocked one out, (</span><a href="https://www.theguardian.com/uk-news/2022/sep/13/floral-tribute-poem-queen-elizabeth-simon-armitage-poet-laureate">Floral
Tribute, a poem for the Queen by Simon Armitage | Queen Elizabeth II | The
Guardian</a>)<span style="font-family: Garamond, serif; font-size: 12pt; line-height: 107%;">
which turned out to be a fucking Acrostic. The Establishment claim that the
Funeral is the most important event in history (yes, the narrative is that
bad!) and their Establishment poet comes up with a cowardly acrostic flower poem. As an ex-primary
school teacher I know commented, if one of her eight-year-olds had offered that
she would have asked them to try again.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%;">Although you know it subconsciously, it wasn’t until I saw
these ‘poems’ that I fully realised how the moral, political and cultural
bankruptcy and corruption of the UK was so clearly mirrored in its Official
Verse Culture. As </span><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: "Times New Roman";">Charles
Bernstein wrote in ‘My Way’: </span><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></p>
<blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p class="MsoNormal" style="text-align: justify;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: "Times New Roman";">“Poetry can
interrogate how language constitutes, rather than simply reflects, social
meaning and values. You can’t fully critique the dominant culture if you are
confined to the forms through which it reproduces itself, not because hegemonic
forms are compromised ‘in themselves’ but because their criticality has been
commandeered.” (Yes, I know I am stretching it to connect Duffy and Armitage to
the idea of cultural criticality).</span></p></blockquote>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: "Times New Roman";">All this randomly coincided
with my current reading of Alain Badiou’s ‘<i>The Immanence of Truths</i>’ in which he
articulates the ontological and evental structure of worlds. It’s a massive
undertaking and too large a subject for here, but a key theme is the systemic
finitude limiting societal change, and the operational covering-over of the
possibility of thinking about change. Capitalism consumes everything with the idea that the dismal
future is endless, unchangeable and theirs:<o:p></o:p></span></p>
<blockquote style="border: none; margin: 0 0 0 40px; padding: 0px;"><p class="MsoNormal" style="text-align: left;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">“Any system
that maintains that the current laws of what exists will be confirmed
indefinitely because they are deduced, insofar as their universe is
constructible, from what has already been defined.”</span></p></blockquote>
<p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">In ‘Immanence’,
Badiou identifies that change is very much possible and </span><span style="font-family: "Garamond",serif; font-size: 12.0pt;">“<a name="_Hlk114648609">a
fundamental ethics can be derived, in three interrelated imperatives</a>” to achieve it. The Queen’s funeral qua hegemon is an ethic challenge to
humanity and to poetry as truth procedure - a challenge that Armitage and Duffy
have clearly failed. Here is my poem: <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: "Times New Roman";"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="font-family: "Garamond",serif; font-size: 12.0pt; line-height: 107%;">Endless <o:p></o:p></span></b></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">1<span style="mso-tab-count: 1;"> </span>“You must always commit to an Idea”</span><span style="font-family: Garamond, serif; font-size: 12pt;"> </span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">See that? <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">It’s passed that. A line of trees hopeful between
two buildings, or maybe <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">as big as ‘let not another child be slain’, as strong
as memory of stolen lands, <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">To create a pulsing ripple, that soliton which
surfs even under their palimpsest,<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; text-indent: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">This our secret opera in
a key undefaced by crucifixion or commodity<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt; text-indent: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">or gangmasters for captive
freedom.<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Our delicate wont to violent negation is a vinculum
to black and red posters <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Untouched acts vs the fading replacement written
in tepid ink<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">the discretion out of reach and living as if
divined<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Forever and passed there, <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">you can see that? <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: Garamond, serif; font-size: 12pt;"> </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">2<span style="mso-tab-count: 1;"> </span>“You must contribute to uncovering”<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Clown Laureates offer the consolations of traffic
management, uniform imbalances, <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">A planning conceit of property values, secretly
waged, a chart of dominant percentages, </span></p><p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">with walking children, royally screwed,
to exude the smell of spoilage and unpasteurised </span></p><p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">genitals, lined up<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">in good order, salutes, highborn as primitive and
weakened to obtain a “good” </span></p><p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">remembering, our photos are the same as life in
Queue Theory chicanery <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">or chicane being-for-death – let not another
child be slain, remember? <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Ordinal </span><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">to name things, number things, and hierarchize them, mediated as to
police<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">This recurring procession dream and rule as repetition. </span><span style="font-family: "Garamond",serif; font-size: 12.0pt;"><o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"><o:p> </o:p></span><span style="font-family: Garamond, serif; font-size: 12pt;"> </span></p>
<p class="MsoNoSpacing"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">3<span style="mso-tab-count: 1;"> </span>“Open thought up to real infinity”</span><span style="font-family: Garamond, serif; font-size: 12pt;"> </span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">With the Hierarchy of Mediations in transit by
deletion, with each local gesture, <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">The joyous breeze of interruption of imaginary
nations as the true value<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">As art preserves, with the promise of happiness,
the memory of the goals that failed fade. </span></p><p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">We<o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">to be earned can commit the happiness of
thoughtcrime to increment, to replacement. <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">And that’s it. Bypass feudal linear procession.
Use elevated biocular focus to see that: <o:p></o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Passed <i>even</i> that. A sombre toast: to the grand
narratives of us </span></p><p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">in the absence of </span><span style="font-family: Garamond, serif; font-size: 12pt;">gods, kings, laureates, etc.</span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>
<p class="MsoNoSpacing" style="margin-left: 36.0pt;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"><o:p> </o:p></span></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-41343365276917231932022-07-20T19:33:00.002+00:002022-07-20T19:42:02.477+00:00Writing: World-Building<p><span style="font-family: helvetica;"> </span></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: helvetica;">As per the last blog, the first novel of my post-UK period,
<b>The Family Idiots</b>, is near enough finished (just proofing, etc) so I have moved
on to writing the next two books, in parallel and (sort of) intertwining: <b>Urim
</b>and <b>The Museum Quarter</b>. Contrary to the implication of the title, The Museum
Quarter is as much about museums as Sartre’s Roads to Freedom is about living
in Paris or Lord of the Flies is about life on an island. Maybe its antecedence is closer to George Perec’s Life: A User’s Manual (without the OULIPO). <o:p></o:p></span></p>
<p class="MsoNormal"></p><div style="text-align: justify;"><span style="font-family: helvetica;">If you watch ‘how to write’ YouTube videos etc. (which I
wouldn’t advise), one of the things often extolled is “world-building” your
novel, a convincing world for the reader to navigate. The Museum Quarter is not
about museums, but there are five museums in its world. Two or three of them
are composites of museums I know well, but I wanted a New Art Museum, which
needed to be authoritatively contemporary. So rather than conjure up
something architecturally unconvincing, I turned to a real architect, </span><b style="font-family: helvetica;">Maurice
Shapero</b><span style="font-family: helvetica;">, whom I curated in </span><a href="Bury Art Museum - STUDIO MAURICE SHAPERO" style="font-family: helvetica;">my last show</a><span style="font-family: helvetica;"> in Bury Art Museum</span><span style="font-family: helvetica;">. After the show we completed a book of my poem ‘Architecture
& Now’ and his drawings but Covid and related budget issues interfered with
the final production. Although the new novel is set in an unspecified city,
there is a steeply sloping site in Porto, slowly intersected by the curve of
Rua Amaldo Leite and Rua da Mocidade da Arr</span><span style="font-family: helvetica;">á</span><span style="font-family: helvetica;">bida, and dropping down from
Campo Alegre to the Douro river, which I walk Barney through quite often and I
began to see this as the location for the New Art Museum. </span></div><span style="font-family: helvetica;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhezI2kvBRtxQUOTv7UNcKI01hIlQLPK4jeH1WEKM_Fsln25gXhkIYrLomrf3ft3y9G68rCzS9Uf7TwhSreURAAlTys2tR6cj6LTRYjSnIKT_AfDvBwRhNYmY-eZ9fyWQzFTXO5sxmi4490mBTHF8MAZJrB2NuE5CbkUnaxXf33g3heMK3i6Cw/s4160/IMG20220714091205.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="4160" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhezI2kvBRtxQUOTv7UNcKI01hIlQLPK4jeH1WEKM_Fsln25gXhkIYrLomrf3ft3y9G68rCzS9Uf7TwhSreURAAlTys2tR6cj6LTRYjSnIKT_AfDvBwRhNYmY-eZ9fyWQzFTXO5sxmi4490mBTHF8MAZJrB2NuE5CbkUnaxXf33g3heMK3i6Cw/s320/IMG20220714091205.jpg" width="320" /></a></div><br /></span><p></p><p class="MsoNormal" style="text-align: justify;"><span style="font-family: helvetica;">I shared a Google
maps screenshot to Maurice, hopeful that he’d be at least up for a quick sketch
from his kitchen table which I could fill in the gaps novelistically. But it
turns out novel ‘world-building’ has stepped up to a level, maybe even to a new
genre. Architects rarely get a brief for such an ambitious site, where there is
no budget limit and no planning bureaucracy, an opportunity for free
architectural expression; this is the sort of non-brief I used to give artists
I was curating. Who cares what the curator wants? It’s the artist that is doing
the creating. And Maurice has embraced the brief: the Museum Quarter will have
its New Art Museum (<a href="http://www.mauriceshapero.com/maurices-blog/a-fictional-art-gallery" target="_blank">link</a>). I look forward to the novel’s ‘characters’ wandering its
halls incised into the slope (below):<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4pslGYVCPheRO6Z-hyT1mJPDUWalHQwafqN9vjbZ7yvd07Qgsgi1qB7fPUdFr6Qsqi6btVZcsCAkEnTgh2UujDKTpNYKDYSrpdD1Zj9X7ZRztyHzVzWq4rMfdbgVns5e8tN2Q6FLHzp_kjLau373bqfnKRtzw1ecLj2yrPTGyy6eUOOHTXAo/s1920/003.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4pslGYVCPheRO6Z-hyT1mJPDUWalHQwafqN9vjbZ7yvd07Qgsgi1qB7fPUdFr6Qsqi6btVZcsCAkEnTgh2UujDKTpNYKDYSrpdD1Zj9X7ZRztyHzVzWq4rMfdbgVns5e8tN2Q6FLHzp_kjLau373bqfnKRtzw1ecLj2yrPTGyy6eUOOHTXAo/w640-h360/003.jpg" title="New Art Museum" width="640" /></a></div><span style="font-family: helvetica;"><br /></span><p></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-family: helvetica;">I’m not going to say much more about the novel because the
focus is on writing it rather than talking about writing it, but with five
museums to wander around, in the same spirit, I have also invited one guest
curator and various artists to exhibit in shows that won’t exist. Hopefully,
the novel’s funders, ‘stakeholders’ and visitors to these museums are not going
to be happy. <o:p></o:p></span></p>
<p class="MsoNormal"><o:p><span style="font-family: helvetica;"> </span></o:p></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-4647973496826553132022-04-26T10:44:00.013+00:002022-04-27T06:04:53.197+00:00Writing 2022<p><span style="font-family: helvetica;"><span style="font-size: 12pt; line-height: 107%;">For years while curating and directing
Bury Art Museum and the Text Festival, I mostly put my own work on the
backburner. My first publication <b>50 Heads</b> (downloadable version <a href="Tony Trehy’s “50 Heads” | derek beaulieu's blog" target="_blank">here</a>)</span><span style="font-size: 12pt; line-height: 107%;"> was only written in 2006 because I
was able to take a sabbatical, and was mostly written in Iceland, Netherlands, Japan
and Italy. This became one of the features of subsequent publications with them
written around the world at a creative distance from the day job. My second
book was eponymously located in Reykjavik alongside my exhibition (alongside Dan
Flavin & Alan Charlton) at Safn.</span></span></p>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><img border="0" data-original-height="624" data-original-width="1259" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDDNL_sBBOg9i9bX9NP2lAbDBDEv01HTMroSzYYIwF2Q1ekzOpfgxAE4gjaiWiPip2PoWjTkxlqgFBJxDte6slFIEXKyuxB3D3YdUbhsdl4yfFg9KT6U7gusCyvUl84bQxK2fPnSxws6N8HVG02rvPvpjeydnKRsdYsG5IJ482ifj2gQ9ZIXo/w640-h318/Reykjavik%20cover.jpg" width="640" /></td></tr><tr><td class="tr-caption" style="text-align: center;">Reykjavik cover</td></tr></tbody></table><p class="MsoNormal"><span style="font-family: helvetica; font-size: 12pt; line-height: 107%;"><b>Space The Soldier who died for
Perspective</b> (<a href="https://www.veerbooks.com/Tony-Trehy-Space-The-Soldier-Who-Died-For-Perspective">Veer Books</a></span><span style="font-family: helvetica; font-size: 12pt; line-height: 107%;">) is even
structured in sections identified for the location they were written or
installed (Tampere, Berlin, Bertinoro, Melbourne, Budapest, Edinburgh). By the
time my Bury projects had reach China my workload was so great that I sort of
announced my retirement from writing with <b><a href="https://www.metasenta.com/publications">The End of Poetry</a></b> </span><span style="font-family: helvetica; font-size: 12pt; line-height: 107%;">.</span></p>
<p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">So leaving Bury meant I could finally give
my own work the concentration I had only been able to squeeze in for the last
20 years. Leaving the fetid corruption and racism of Brexit England gives me
the context to quote Robert Graves that I have waited 40 years for: “<a href="Good-bye To All That : Graves Robert : Free Download, Borrow, and Streaming : Internet Archive" target="_blank">Goodbye </a>to
all that”. </span></span></p>
<p class="MsoNoSpacing"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;">So moving to Porto gives me one of the things
that I find conducive for writing - detachment. The ill-health that triggered
my retirement decision plus the pandemic made initial concentration difficult.
And with my previous propensity to find a theoretical framework for my
(curatorial) practice, one of the first things I distracted myself with was researching
the answer to the problem I identified in <a href="https://tony-trehy.blogspot.com/2020/07/poetry-as-thoughtcrime.html" target="_blank">Poetry as Thoughtcrime</a> - in
brief: <o:p></o:p></span></span></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><p class="MsoNoSpacing" style="text-align: left;"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;">‘In this historic moment of crisis, where the
omniscient capitalist lying data-god turns us into the raw material it consumes -
Poetry is Thoughtcrime. But how do you commit that crime when every thought is
predicted, manipulated and commodified?’ <span style="mso-spacerun: yes;"> </span></span></span></p></blockquote>
<p class="MsoNoSpacing"><span style="font-size: 12pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;">I’m happy to say that I conceived a theory for
the future of poetry and, by extended logic, other artforms. I shared an
initial Manifesto with a handful of similarly-concerned artists and have it mostly written
in what would have been my first post-Bury book - <b>Poetry as Thoughtcrime</b>. Then I had cause to pause.
If I’d still been in Bury and curating, the theory would have formed the basis
for a Text Festival, but I realised that this was just a habit of thought and
that now I was not in Bury or curating, it was time for me to apply my analysis to my own work rather than providing a forum or a context for others -
that can come later. In part as a deferment and part a compromise, I moved onto
the second book, which would be the transition in literary practice. It struck
me that frequently in history philosophers have ‘inserted’ a ‘prequel’ work to
their major discovery that seeks to explain their methodology for their
breakthrough later work. So I set off write my first poetry book since 2012
calling it <b>In Search of Method</b>. Let the book’s own introduction explain:</span></span></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;"><b>In Search of Method</b></span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;"><br /></span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">In Search of Method is a lie.</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">In Search of Method is the conceit of sequential philosophers.</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">Jean-Paul Sartre called his 1957 precursor to the ‘Critique
of Dialectical Reason’:</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">‘Search for a Method’.</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">The Rules of Rene Descartes’ ‘Discourse on Method’</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">contain the most detailed description of his method but
magically</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">for the Search for Method, he never completed it, and never
refers to it</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">in his published writings or correspondence. Alain Badiou, in
‘Logics of Worlds’</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">pauses before the launch, his stepping off - “Once
we are in possession </span></p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">of a Greater Logic, of a completed theory of worlds and
objects, it is possible to examine on its own terms the question of change,</span> </p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">especially the question of radical change, or of the event”.</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">They all do. Writing their method is to already know where it
will end,</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">“we will adopt a method of maximal interiority”</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">“to show from the outset</span></p><p class="MsoNoSpacing" style="margin: 0cm;"><span style="font-family: helvetica; font-size: medium;">that which is only fully intelligible at the end”</span></p></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p style="text-align: left;"><span style="font-size: medium;"><span style="font-family: helvetica;">The Search for Method is the rigorous path of the poet.</span></span></p></blockquote><p class="MsoNoSpacing" style="text-align: left;">
<span style="font-family: helvetica;"><u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
<u1:p></u1:p>
</span></p><p class="MsoNoSpacing" style="margin: 0cm; text-align: left;"><o:p><span style="font-family: helvetica;"> </span></o:p></p><p class="MsoNoSpacing" style="text-align: justify;"><span style="font-family: helvetica; font-size: 12pt; text-align: left;">So my poetic investigation tests four
methods of (re)searching:</span></p>
<blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;"><b>Lévy Flight</b> - the evolutionary
approach, favoured by sharks and people who are lost.</span></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;"><b>Descartes’ Rules</b> based methodology.</span></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;"><b>Seeing To It That (STIT) Theory</b> - The contemporary
theoretical system parsing the nature of knowing and action. </span></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;"><b>Separation & Lapse</b> method
developing the <a href="https://www.seagullbooks.org/our-authors/l/sylvain-lazarus/" target="_blank">Anthropology of the Name</a>, Sylvain Lazarus’s seminal
investigation of thought.</span></span></p></blockquote><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;"> <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;">Except for the conclusion, this book is
near enough finished now too. <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: helvetica;"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">I’ve been invited to curate an
intervention for <a href="https://synaptry.blogspot.com/" target="_blank">Synapse International</a></span><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-spacerun: yes;"> </span>and expect to structure it around the Search
of Method, plus pointing the direction of my new theories. And I’ll be doing an
online work called <i>The Answer</i> on Rachel Defay-Liautard’s <a href="https://maintenants-synapse.blogspot.com/">maintenants-synapse </a></span></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;">Despite all this apparent precedence
for poetic output, not a lot of people know that my decision to write poetry
originally was only because it was quicker to write than fiction. So more
importantly and exciting for me, I am just completing my first novel in years, <b>The Family
Idiots</b>, and have made a start on my second, <b>Urim</b>.<o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="font-family: helvetica;">A couple of other things are floating
around. I’ve just written a foreword for a collaboration between Rachel
Defay-Liautard between Marton Koppány, and I’ve been invited by </span></span><span style="font-family: helvetica; font-size: 12pt;"><a href="http://www.marshamcdonaldart.com/" target="_blank">MarshaMacDonald</a> to work on a limited-edition broadsheet, which will be called </span><i style="font-family: helvetica; font-size: 12pt;">Hurry/Depression</i><span style="font-family: helvetica; font-size: 12pt;">.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-47773916418728517672021-12-03T17:01:00.000+00:002021-12-03T17:01:39.372+00:00Lawrence Weiner<span style="font-family: helvetica;">The sad news this week that <b>Lawrence Weiner</b> has passed away. I first met Lawrence in 2005 when he completed an installation of WATER MADE IT WET on a bridge over the Manchester-Bolton Canal in Radcliffe as part of the Irwell Sculpture Trail and the first Text Festival. (although I had already acquired a public work from him which is installed on the riverbank in Radcliffe town centre). I spent a lovely day with him on the day of the unveiling and then did an In Conversation with him in front of a live audience at the Met - I think I blogged about it at the time. I remember being really nervous because I'd just read the thick volume of Interviews with Lawrence Weiner in which he frequently humiliated interviewers. He reassured me that that was because early on Conceptual Art was targeted by the Establishment and so he was interviewed by many idiot academics and journalists who wanted to show how clever they were.
Soon after I went off to write my first poetry collection 50 Heads published in 2006. I sent a copy to Lawrence with a note that the poem 'Sculpture' was a response to his work.</span><div><span style="font-family: helvetica;"><br /></span></div><div><b><span style="font-family: helvetica;">Sculpture </span></b></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">0. The object of making your opponent weep descriptions </span></div><div><span style="font-family: helvetica;">between the upper and lower structures in vertebrates </span></div><div><span style="font-family: helvetica;">forming the framework of the mouth, containing the teeth, </span></div><div><span style="font-family: helvetica;">the parts of tool or machine. That body language material </span></div><div><span style="font-family: helvetica;">with the tongue intropunitive instead of angry, anger our </span></div><div><span style="font-family: helvetica;">faults are most obvious as nothing hides them breasts </span></div><div><span style="font-family: helvetica;">move </span><span style="font-family: helvetica;">as sacks of liquid dynamic contents. The knife </span></div><div><span style="font-family: helvetica;">f</span><span style="font-family: helvetica;">ixation on things in evaluation, of sweat-scented straps </span></div><div><span style="font-family: helvetica;">forward and back in the infantile world of ready-made </span></div><div><span style="font-family: helvetica;">values, woman, the happy or resigned slave lives allowing </span></div><div><span style="font-family: helvetica;">both misogyny and visionary context. Scattering </span></div><div><span style="font-family: helvetica;">amplitude internationally is that difference in any given </span></div><div><span style="font-family: helvetica;">place. Choice language to present material realities, </span></div><div><span style="font-family: helvetica;">histories that I only deal with divergent objects and all </span></div><div><span style="font-family: helvetica;">translatable to stand outside a less human presence more </span></div><div><span style="font-family: helvetica;">profound for their human attachment to non-living things </span></div><div><span style="font-family: helvetica;">and construction of bridges to be crossed as opposed too </span></div><div><span style="font-family: helvetica;">catalogued: 1 </span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;"><br /></span></div><div><span style="font-family: helvetica;">He sent back postcard in which he said he had read the book on the plane to the Venice Biennale and responded to it very warmly, and specifically included his response back ARRIVING AT THE SAME PLACE AT THE SAME TIME. I'm not sure how true that is, but from then on he was constantly supportive of my practice in Bury. We met up over the years usually at some Art Fair or exhibitions he'd invite me to. And I liked to think of him as a friend. In 2014, when I opened the Bury Sculpture Centre, it could only be Lawrence with whom it opened. I remember the humour around the coincidence of him opening two other shows on the same night - one in Rio and (I think) Berlin. And as a recognition of our artistic dialogue across the years, the centre piece for his installation was ARRIVING AT THE SAME PLACE AT THE SAME TIME.</span></div><div><div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5p6_MKLX2k0AfzDgXAx9StWb9KP7-RNy3SoLjGR_dTyk_KyDvGYzs4pS7O2PDOEqdbbV_R6_3ssb8E5ITlIl2TPtgL0isukxaC04HKIsN5GXOg3PTxhJDZniTS-YAuSvCDhQUYQ/s2048/DSCF2093.JPG" style="display: block; padding: 1em 0px; text-align: center;"><img alt="" border="0" data-original-height="1250" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5p6_MKLX2k0AfzDgXAx9StWb9KP7-RNy3SoLjGR_dTyk_KyDvGYzs4pS7O2PDOEqdbbV_R6_3ssb8E5ITlIl2TPtgL0isukxaC04HKIsN5GXOg3PTxhJDZniTS-YAuSvCDhQUYQ/s400/DSCF2093.JPG" width="400" /></a></div>
</div>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-44328860914379042002021-02-03T16:32:00.000+00:002021-02-03T16:32:03.033+00:00Winter with Helmut Lemke<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgQPtTXwfDZdu2kTPomYrSvNO0V0l8v3M9YGEBqGltXUknaCpfVsfHNtB2CzO1uoDmVvkhbsVUkrOX1zfRVPJHcLq__xfhD_hy5VYU_01k0UiIVrw8UMFfQppbinLHUl34FqaRQ/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1181" data-original-width="886" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwgQPtTXwfDZdu2kTPomYrSvNO0V0l8v3M9YGEBqGltXUknaCpfVsfHNtB2CzO1uoDmVvkhbsVUkrOX1zfRVPJHcLq__xfhD_hy5VYU_01k0UiIVrw8UMFfQppbinLHUl34FqaRQ/w300-h400/image.png" width="300" /></a></div><br /><a href="https://vimeo.com/506140184" style="text-align: center;">the WINTER on Vimeo</a><span style="text-align: center;"> </span><p></p><p><span style="font-family: arial;"><b>Helmut Lemke</b> posts '<a href="https://vimeo.com/506140184" target="_blank">Winter</a>', the last in his seasonal art 'lectures' featuring his reading of my specially written poem: </span></p><p><span style="font-family: arial;"><b>Zugzwang
as the Fourth Part registering Transition to Rumours of Winter and End </b></span></p><p><span style="font-family: "Arial Narrow", sans-serif;">Transition
from rumours of winter, positional to suns rising over there (</span><i style="font-family: "Arial Narrow", sans-serif;">points in that
direction</i><span style="font-family: "Arial Narrow", sans-serif;">) rather than over there (</span><i style="font-family: "Arial Narrow", sans-serif;">points in that direction</i><span style="font-family: "Arial Narrow", sans-serif;">).</span></p><p><span style="font-family: "Arial Narrow", sans-serif;">Record
suns replace cold lyric frost</span></p>
<p class="MsoNoSpacing"><span style="font-family: "Arial Narrow",sans-serif;">Counting
as<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Arial Narrow",sans-serif;">Drift<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Arial Narrow",sans-serif;">As
Autumn’s pension arrangements are now irrelevant to the quartet. To hang on . .
. to hang on <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Arial Narrow",sans-serif;">To the
field of action mostly taking place at night or winter daylight, passed
celebrating the cold last day, <o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: "Arial Narrow",sans-serif;">The
series addition delays to die in the gap, immortal but only by implication, by
hope, by leaving the new clear to go on<o:p></o:p></span></p><p align="right" class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow",sans-serif;">precarious in Queue Theory<o:p></o:p></span></p><p align="right" class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow",sans-serif;">waking each morning darker</span></p><p align="right" class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow", sans-serif;">our moment of inertia and the
failing capacity to self-heal </span><span style="font-family: "Arial Narrow", sans-serif; text-align: left;">telomere degradation</span></p><p align="right" class="MsoNoSpacing" style="text-align: right;"></p><p class="MsoNoSpacing" style="text-align: left;"><span style="font-family: "Arial Narrow",sans-serif;">This
rhythm of fourths, a promise we aim to break, weakened, diagnosed, conditioned
to lose<o:p></o:p></span></p><p align="right" class="MsoNoSpacing"><span style="font-family: "Arial Narrow",sans-serif;">winter as weary<o:p></o:p></span></p><span style="font-family: "Arial Narrow", sans-serif; text-align: left;"></span><p></p><p align="right" class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow",sans-serif;">our Lévy Flight bouncing between
this point and that point<o:p></o:p></span></p><p align="right" class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow",sans-serif;">frantic without knowing<o:p></o:p></span></p><p class="MsoNoSpacing" style="text-align: right;">
<span style="font-family: "Arial Narrow", sans-serif; line-height: 107%;">the unannealed countdown</span></p><p class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow", sans-serif; line-height: 107%;"></span></p><p align="right" class="MsoNoSpacing" style="text-align: right;"><span style="font-family: "Arial Narrow",sans-serif;">…eighth, twenty-ninth, thirtieth,
thirty-first.<o:p></o:p></span></p><br /><p></p>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-6248369245837635352020-07-20T14:01:00.001+00:002022-10-02T09:13:33.401+00:00Poetry as Thoughtcrime<br />
<div class="Body" style="line-height: normal;">
<b><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">The Poetic Imperative in the Age of Surveillance<o:p></o:p></span></span></b></div>
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<b><span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><br /></span></span></b></div>
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US">In returning to writing from curating, I find the absence of a unified
theory of poetry distracting, especially in these dark times. I have “<b>Architecture
& Now</b>” (my poem with Maurice Shapero’s architectural drawings) coming out
shortly and my hybrid-poetry collection “</span><span lang="FR"><b>Dyer & Mahfouz</b></span><span lang="EN-US">” is rapidly taking shape, but a theoretical framework
is missing. Thus, I am preparing just that: <b>“Poetry as Thoughtcrime”</b>. This aims
to examine the huge existential problem facing contemporary writing and
includes my manifesto for what to do about it. The analysis flows from the
curatorial practice developed in the Text Festivals from 2005 to 2014. After
that, I was creatively focused on the projects in China, which took my
attention away from theoretical and practical next steps that should follow
from the Text. In retrospect, this post-Text hiatus gave me a parallax view and
distance from which my vision for the future could mature. <o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"><br /></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US">The full analysis will be available soon as a publication, but with the
request from <a href="https://synaptry.blogspot.com/2020/03/synapse-essay-tenth-poetry-as.html" style="background-color: white;" target="_blank"><span style="color: #cc0000;">Synapse </span></a>for an extract, and the near apocalyptic turn of
world events in 2020, it feels imperative to offer some form of the new
thinking. The starting point for any analysis of future direction has to
acknowledge the backdrop of the crises of Late Capitalism, Brexit, Trump, and
of course the big one, climate catastrophe; in this truncated disaster
timescape, the hope that the post-virus world will be a brighter future already
looks </span><span lang="IT">delusional;</span><span lang="EN-US"> indeed, though I have referenced capitalism
as the evil, there are credible arguments that it has <i>already</i> been
replaced by an economic system that is even <a href="https://www.youtube.com/watch?v=eiV0wS_in-4" target="_blank"><span style="color: red;">worse </span></a>. </span></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-pOiPj4-Z2RxmA4-s6reLDl9q3kUW1VYFJQFXvHbjOimwUc2my0_WLEuwBCWhvYk70JlJ3akd0zF5oZEMAjSx_cy7rgNVqkas1eI2YGMtHRotaC6D8_5477VS__wXgx0-tJaNwQ/s1600/Is+Capitalism+Dead.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="499" data-original-width="331" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-pOiPj4-Z2RxmA4-s6reLDl9q3kUW1VYFJQFXvHbjOimwUc2my0_WLEuwBCWhvYk70JlJ3akd0zF5oZEMAjSx_cy7rgNVqkas1eI2YGMtHRotaC6D8_5477VS__wXgx0-tJaNwQ/s320/Is+Capitalism+Dead.jpg" width="212" /></a></span></div>
<span style="font-family: Verdana, sans-serif;">When Mark Fisher
bleakly observed “it is easier to imagine the end of the world than the end of
capitalism” you sort of optimistically imagine that he meant capitalism being
ended with something better. Anyway, increasingly the massive crisis of the
pandemic and capitalism’s responsibility and response continues to fit my
initial analysis of the dangers we face as humans, and specifically, the
challenge for writers isn’t materially changed. <o:p></o:p></span><br />
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"><br /></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">My analysis does have an implicit fatalism – the longer version of this
essay investigates the implication of writing in the countdown to <a href="https://tony-trehy.blogspot.com/2020/06/conjugating-verb-to-say-something-about.html" target="_blank"><span style="color: red;">extinction</span></a>. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">My project then will be as follows: as with all manifestos, the opening
essay (a taster for which this is) is an analysis for the scale of the dangers
we face – ‘Poetry as Thoughtcrime’. This is followed by a Manifesto, which
posits an imperative direction for writing, and, more specifically, a unified
theory for poetry in this age of multiple global crisis. In support of this
statement and proposal, there are a series of related essays examining the
implications for literary production which include a new vision for
internationalism, a recognition of the inadequacy of Conceptual Poetry to meet
the challenges, the poetic space within Post-Truth and the
distractions/implications of dominant tropes in popular culture. <o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;">There are two ‘problems’ writers no longer have. From Albert Camus “A
writer writes to a great extent to be read (as for those who say they don’t,
let us admire them but not believe them).” And from Derek Beaulieu - “Don’t
protect your artwork. Give it away. Trust your audience. Be your own pirate.” We
have entered the age when <i>everything</i> is read and you don’t have to give
your artwork away, because it is taken <i>at the moment</i> of conception. In
fact, more than that, writing will soon be heteronomically<i> </i>manipulated
in advance of its creation. In this regard, as the conceptualist writers argue,
writers will not be the special category which they have claimed for
themselves, as we progress into the end of Personhood. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US">In the full essay, I expand on the threats to </span><span lang="EN-US" style="color: windowtext;">Personhood (“You”) </span><span lang="EN-US">through three dynamic appropriations:
commodification of consciousness, addictive attention sequestration and
behaviour manipulation. For the sake of brevity here, I will just touch on some
of the main sources of analysis. Shoshana Zuboff’s ‘The Age of <a href="https://www.youtube.com/watch?v=hIXhnWUmMvw&t=911s" target="_blank"><span style="color: red;">Surveillance Capitalism</span></a>’ articulates the final stage of capitalism where humans themselves
are the commodity, humans are ‘farmed’:</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4LDITVl5DUZpzSlAUUj2pjPXL2qpxFRUeMhemdzInH5B5wiDFqyDkZm27XTabLsyJEHZWAoVLHmQG1iDc_TKAfhuZGXxLTyuUM2C7puuHqDyPXtcGx8eA1MuSTlAJ-KcSWAii_Q/s1600/surveillance+capitalism.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="293" data-original-width="192" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4LDITVl5DUZpzSlAUUj2pjPXL2qpxFRUeMhemdzInH5B5wiDFqyDkZm27XTabLsyJEHZWAoVLHmQG1iDc_TKAfhuZGXxLTyuUM2C7puuHqDyPXtcGx8eA1MuSTlAJ-KcSWAii_Q/s400/surveillance+capitalism.png" width="261" /></a></span></div>
<span style="font-family: Verdana, sans-serif;"> “Surveillance capitalism migrated to
Facebook, Microsoft and Amazon – and became the default option in most of the
tech sector. It now advances across the economy from insurance, to retail,
finance, health, education and more, including every “smart” product and “<span lang="IT">personalised</span><span lang="EN-US">” service.” … “Surveillance capitalism
unilaterally claims human experience as free raw material for translation into
behavioural data … fabricated into prediction products that anticipate what you
will do now, soon, and later”. So “Computer-based personality judgements are
more accurate than those made by humans” - Facebook knows you better than
members of your own family do. “The team found that their software was able to
predict a study participant’s personality more accurately than a work colleague
by analysing just 10 ‘likes’’; and “Belgian police now say that the Facebook is
using ‘likes’ as a way of collecting information about people and deciding how
best to advertise to them. As such, it has warned people that they should avoid
using the buttons if they want to preserve their privacy” (Andrew Griffin, the
Independent). With personal data becoming the world’s most valuable commodity,
the best analogy I’ve seen comes from Digital Ethicist <a href="https://www.youtube.com/watch?v=C74amJRp730" target="_blank">Tristan Harris</a> where he likens the digital model of you to a voodoo doll. Every action you
take, real or digital, updates a more perfect copy of you which can then be
used to predict what you will think, do or consume next, but more than that it
can be tested, digital ‘pins’ can be poked into it to see how the real you will
react to stimulus, and building on that, can be used to alter you. Algorithms
are developing in ways that allow companies to profit from our past, present,
and future behaviour – or what Shoshana Zuboff <span class="Hyperlink0"><span lang="ES-TRAD" style="color: black; mso-ansi-language: ES-TRAD; text-decoration: none; text-underline: none;">describes</span> as our “behavioural surplus.” <o:p></o:p></span></span></span><br />
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<span style="font-family: Verdana, sans-serif;"><span lang="EN-US"><span class="Hyperlink0"><br /></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxRgOn0Cop6_eIZBIHMzXGMu4Ez-3jIs1ImwitzqndOCMbrKQK-Xx0UsxzfkNDRJrv2k84X5dl3Doek29PWReireX3wRKMzSl8dslBpVr9WEuaRchbhzBrmz4d3BC-QV4bB2LUng/s1600/Ea5y7PnWsAAdncS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxRgOn0Cop6_eIZBIHMzXGMu4Ez-3jIs1ImwitzqndOCMbrKQK-Xx0UsxzfkNDRJrv2k84X5dl3Doek29PWReireX3wRKMzSl8dslBpVr9WEuaRchbhzBrmz4d3BC-QV4bB2LUng/s320/Ea5y7PnWsAAdncS.jpg" width="320" /></a></div>
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<span class="Hyperlink0"><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">You’ve already heard this. You know that
your data is farmed. You know governments sell citizens’ records to the private
sector. You know that facial recognition and location technologies have started
following you – you’ve seen it on TV from China, cameras that identify citizens
crossing the road wrong, etc. Every time you upload a photo, every time you
download an app that makes an comic avatar of you or turns your selfie into a
Renaissance style painting, or shows what you’d look like if you were a
different gender, etc, you give more of yourself away, and make the software
better at recognising everybody else. </span></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibD_xRcxjlPYADCSEsAOP3LMXAngCVlTVf_02iHDdUBcGTspkX81zDLNJgh9vjgfRRdVmnqLv25nUhxYfM9sNL3eAMnhRkY31SUjU2ZafHF5oS_I7TWwMyjDLAPn-PgRxParhPZQ/s1600/Microsoft+facial+recognition.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="680" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibD_xRcxjlPYADCSEsAOP3LMXAngCVlTVf_02iHDdUBcGTspkX81zDLNJgh9vjgfRRdVmnqLv25nUhxYfM9sNL3eAMnhRkY31SUjU2ZafHF5oS_I7TWwMyjDLAPn-PgRxParhPZQ/s400/Microsoft+facial+recognition.jpg" width="400" /></a></span></div>
<span style="font-family: Verdana, sans-serif;">Even more extreme Microsoft were, until
recently exposed, working with the Israelis on implant technology for children;
and under cover of the pandemic the transnational digital passport system
ID2020 is actively being promoted, which will be able to restrict movement on
the basis of your health status. It’s no coincidence that American police
departments are using Covid Tracking Apps to identify <b>Black Lives Matter</b>
protestors. “The internet is, in its essence, a machine of surveillance. It
divides the flow of data into small, traceable, and reversible operations, thus
exposing every user to surveillance”, writes Boris Groys. <o:p></o:p></span><br />
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<span class="Hyperlink0"><span lang="EN-US"><span style="font-family: Verdana, sans-serif;"><br /></span></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span class="Hyperlink0"><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">Predictive data will tune and herd our
behaviour towards the most profitable outcomes. It is not enough to automate
information about us; we need to be consumable consumers. As one data scientist
observed: “We can engineer the context around a particular behaviour, and force
change that way … We are learning how to write the music, and then we let the
music make them dance.”<span style="mso-spacerun: yes;"> </span>Herbert Marcuse
wrote in <a href="https://en.wikipedia.org/wiki/One-Dimensional_Man" target="_blank"><span style="color: red;">One Dimensional Man</span></a> “The music of the soul is also the music of
salesmanship. Exchange value, not truth value counts. On it centres the
rationality of the status quo, and all alien rationality is bent to it.” <o:p></o:p></span></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span class="Hyperlink0"><span lang="EN-US"><span style="font-family: Verdana, sans-serif;">The final step will be AI. One might
imagine that AI research is driven by the spirit of philosophic or scientific
enquiry, but fundamentally it is business driven: AI, when successful, will be
able to work faster, cheaper and beyond the limits of labour laws. With human
factory labour already replaced, companies like Google, Amazon and Facebook
have the automation of white-collar jobs directly within their sights. “It is
no surprise that the idea of creative machines is coterminous with the ascent
of platform capitalism. Art is among the last problems for which a human is
still the best solution. No ruling class can exist without an appeal to the
aesthetic, as almost any page from art history will show. To administer the
aesthetic – to control the terms of what counts as an image, or what
constitutes art – is to rule both the mind and the body, to influence the whole
sensate world of human emotion and expression.” Mike Pepi (Frieze).</span></span></span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">The world has become more digital in
response to the Covid19 lockdowns, so the dynamics of control and subsummation
are magnified. You may think that this is over-egging the threat of
Surveillance and even that this is a First World anxiety, but the combination
of corporate capitalism, rapidly expanding dictatorships and controlling
propensity of neoliberal-fascist government, there are numerous examples of not
only the dangerous direction of travel but significant inhuman initiatives.
Orwell’s prediction - “Nothing was your own except the few cubic centimetres
inside your skull” will be surpassed very soon when that few centimetres has
gone too. </span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="EN-US">This is not a luddite rejection of the
digital, </span></span><span class="None" style="font-family: Verdana, sans-serif;"><span lang="EN-US">we can only live in
now, the 21<sup>st</sup> Century.</span></span><span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="EN-US"> But facing a more voracious form of
capitalism: how can artists respond? Artists responses to surveillance hegemony
fall into 3 categories (ignoring the blind innocents farmed as human cattle):</span></span></div>
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<span style="font-family: Verdana, sans-serif;"><span class="Hyperlink0"><span lang="EN-US"><br /></span></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span class="None"><i><span lang="FR" style="mso-ansi-language: FR;">Lamentation</span></i></span><span class="Hyperlink0"><span lang="EN-US"> - “the Internet,
completely and unreflectively subject to market processes and dedicated to
monopolists, controls gigantic quantities of data used not at all
pansophically, for the broader access to information, but on the contrary,
serving above all to program the behaviour of users, as we learned after the
Cambridge Analytica affair. Instead of hearing the harmony of the world, we
have heard a cacophony of sounds, an unbearable static in which we try, in
despair, to pick up on some quieter melody, even the weakest beat.” Olga
Tokarczuk (Nobel Lecture)<o:p></o:p></span></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span class="None"><i><span lang="EN-US">Compromised Embrace </span></i></span><span class="Hyperlink0"><span lang="EN-US">- There are writers, certainly within the
Uncreative/Conceptual movement who piratically celebrate the ‘creative’ utility
of technology, the prospect of AI creativity, the literate viruses etc, etc.,
but in the context of this consciousness Final Solution, their commitment is
reminiscent of<span style="mso-spacerun: yes;"> </span>Buddhist Monks willing to
self-immolate: they prove their absolute belief; you can be impressed with
their rigour and their faith but you have considerable doubt that they will be
reborn in their next life. Notwithstanding this zeal and accepting that
conceptual literary techniques will have a place in the way forward I will
propose, we can also accept that there will be writers and readers who will
choose subsummation. </span></span><span class="None"><span lang="EN-US" style="color: #e22400;"><o:p></o:p></span></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span class="None"><i><span lang="FR" style="mso-ansi-language: FR;">Subversion</span></i></span><span class="Hyperlink0"><span lang="EN-US"> – There are many
technology critical artists mostly reliant on guerrilla or subversive
utilisation of digital tools – a good example is <a href="https://pipthornton.com/2019/03/12/language-in-the-age-of-algorithmic-reproduction-a-thesis/?blogsub=confirming#subscribe-blog" target="_blank"><span style="color: red;">Pip Thornton</span></a>’s ground-breaking
critiquing of linguistic capitalism using the system algorithms
themselves to question the appropriation of value.</span></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="Body" style="background: white; line-height: normal; margin: 5pt 0cm; text-align: justify;">
<span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="EN-US">I contend that these strategies ultimately fail to
free human creativity. None of them address the scale of the threat and will be
subsumed by it. So where does poetry come in? Without Romanticism or wishful thinking,
how is poetry answer to be all-consuming capitalist behemoth? After all, if you
look at the canonical moments when poetry is addressed seriously, it doesn’t
generally measure up. Everyone’s first thought, of course: Plato bans it from
the Republic; and the go-to in times of totalitarian threat, George Orwell is
even less enthusiastic: “There can be no doubt that in our civilization poetry
is by far the most discredited of the arts, the only art, indeed, in which the
average man refuses to discern </span></span><span class="None" style="font-family: Verdana, sans-serif;"><i><span lang="EN-US">any</span></i></span><span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="EN-US"> value. Arnold Bennett was hardly exaggerating when he
said that in the English-speaking countries the word ‘</span></span><span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="NL">poetry</span></span><span class="Hyperlink0" style="font-family: Verdana, sans-serif;"><span lang="EN-US">’ would disperse a
crowd quicker than a fire-hose.” Interestingly
though, Orwell soften his dismissal of poetry in the context of the totalitarian:
“Poetry might survive, in a totalitarian age, and certain arts or half-arts,
such as architecture, might even find tyranny beneficial,” and “It follows that
the atmosphere of totalitarianism is deadly to any kind of prose writer, though
a poet … might possible find it breathable.” Maybe his observation of discredit
becomes a utility: “It is not certain whether the effects of totalitarianism
upon verse need be so deadly as its effect on prose … To begin with,
bureaucrats and other ‘practical’ men usually despise the poet too deeply to be
much interested in what he is saying…It is therefore fairly easy for a poet to
keep away from dangerous subjects and avoid uttering heresies: and even when he
does utter them, they may escape notice”.
It would be a pretty lame revolutionary claim to posit irrelevance and
inefficacy as the resistance space against Surveillance Capitalist. However,
these ‘weaknesses’ have the strength in the context of the commodification of
Personhood of being an agency with intrinsically no value. As Guy Debord observed: “Poetry
is becoming more and more clearly the empty space, the antimatter, of consumer
society, since it is not consumable”. So, in this historic moment of crisis,
where the omniscient god they have created turns to consumption of us, its flock -
Poetry is thoughtcrime. But how do you commit that crime? There are already
programmes that create artificial poetry. So, poetry as thoughtcrime must take
a specific resistance form: I will lay out what that is in the second (Manifesto) essay.</span></span></div>
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Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-74714366823918390462020-06-22T06:49:00.000+00:002020-06-22T06:49:34.348+00:00Conjugating The Verb ‘To Say Something About Extinction’<div class="separator" style="clear: both; text-align: center;">
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This week the Arctic Circle reached the highest temperature ever recorded. We are rapidly approaching, if we haven't already passed, the point where the evidence for climate change is the evidence for extinction. This is my contribution from my forthcoming collection <b>Dyer & Mahfouz</b>.<br />
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<b><span style="font-family: "Garamond",serif; font-size: 12.0pt;">Conjugating
The Verb ‘To Say Something About Extinction’<o:p></o:p></span></b></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Clapping
for Capitalists with Children. Quasicrystalline mannered </span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Between the amorphous poset
of the dead and completely dead.<o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Young
birds fly from the nest or fall like discarded beer cans, late </span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">night pizza
boxes, young detritus. Tiny delicate birds decathect<o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">With
or without us, profitcunts bijective to deathcunts reboot <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">exciting
joy at new products - </span><span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-ansi-language: EN;">a false antecedent and a false </span></div>
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<span lang="EN" style="font-family: "Garamond",serif; font-size: 12.0pt; mso-ansi-language: EN;">consequent atmosphere overloaded with </span><span style="font-family: "Garamond",serif; font-size: 12.0pt;">the vertical electric </span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">charge in the planetary
boundary layer of aerosol particles. A <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">picture
– foot-stamping won’t help, you can’t swim in your boots. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">The
extreme separation anxiety of our anomalous atmosphere,<o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Decaying
as ignoble gas; maybe, we weren’t supposed to make it. <o:p></o:p></span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Wealth can provide independence of mind. Wealth </span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">affords one a position of natural leadership and trust. </span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">Wealth enables one to
live more healthfully, with fewer of </span></div>
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<span style="font-family: "Garamond",serif; font-size: 12.0pt;">the <o:p></o:p></span></div>
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<br />Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-17145109919410635862020-01-28T15:34:00.000+00:002020-01-28T15:34:05.513+00:00Brexit PoemAs Brexit is upon us, I think now is a good time for the Brexit poem, extracted from my collection in progress 'Dyer':<br />
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<b>Terms & Conditions</b><br />
<b></b><b></b><br />
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<a href="https://www.blogger.com/null" name="_Hlk2845734"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="color: black;">Is there no question about my relationship to an
auxetic good </span></span></a><br />
<a href="https://www.blogger.com/null" name="_Hlk2845734"><span style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="color: black;">rejected? Lossless compression, intropunitive to distract </span></span></a><br />
<span style="color: black;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">from </span><span style="font-family: "Garamond",serif; font-size: 12.0pt;">a lifetime’s facial
recognition, as a practical matter</span></span><br />
<span style="color: black;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">To both appellant cases </span><span style="font-family: "Garamond",serif; font-size: 12.0pt;">of a rules-based system,</span></span><br />
<span style="color: black;"><span style="font-family: "Garamond",serif; font-size: 12.0pt;">To
storms</span><span style="font-size: 13.5pt;"> </span><span style="font-family: "Garamond",serif; font-size: 12.0pt;">in the guise of good,
contrary to the season’s darkness, </span></span><br />
<span style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="color: black;">our fugal rebirths past the revenge of deathcunts,
the fading light</span></span><br />
<span style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="color: black;">not far from this maladroit crowd's ignoble
strife rehearses</span></span><br />
<span style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="color: black;">echo bone crepitus.</span></span><br />
<span style="font-family: "Garamond",serif; font-size: 12.0pt;"><span style="color: black;"><br /></span></span>
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<span style="color: black;"></span>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-39077236830157921752019-10-04T18:34:00.000+00:002019-10-05T10:13:14.590+00:00Leaving Bury<div align="justify">
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Is there a certain symmetry in the coincidence that my
first module of study at Loughborough Art College (back in 1980) was the
History of Architecture and the last exhibition I curated in Bury was
‘Architecture Now’? Probably not. Although not widely shared, my health,
especially last year, was not so good and so I have decided that now is the
time to move on from Bury after 26 years. I will finish at Christmas, but I
have no more shows or commissions in the curatorial pipeline, so there you have
it, Architecture was my last Bury show. Thanks to Sarah Hardacre and Maurice
Shapero for making the last show a pleasure to curate. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I think I can leave Bury satisfied with my achievements. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Although I came up with the proposal for the Irwell Sculpture Trail in 1993, </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I conceived it in its full form when I arrived in Bury and proceeded to bid for
£2.4 million from the National Lottery - at the time the biggest lottery award
in the UK. In 25+ years I have worked on more public art commissions than I can
remember. The first commission Logarythms (now long gone), by Pauline Holmes and
the last was Graham Ibbeson's memorial statue to Victoria Wood unveiled in May
this year. In between there have been commissions by <b>Ulrich Rückriem,</b> <b>Lawrence
Weiner</b> and <b>Maurizio Nannucci</b>. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ed Allington’s <a href="https://tony-trehy.blogspot.com/2018/02/irwell-sculpture-trail-tales-2-ed.html" target="_blank">titled vase</a> was threatened with an
oppositional 500 signature petition before it was even installed in 1997 and
this year, as I leave, the local campaign has been for it to be restored as a much-loved Ramsbottom landmark.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I commissioned <b>Ron Silliman</b>'s first (and as far as I know only)
public artwork in 2011.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjji1oZi5xWWHB1BaZ8r6JsNWQU2yViz_E5e-UHWRPreAw81UiG_eDjsGAvlh6YePDVpAzaL7Hbt1RkTmGvUi1JdJXs2vVd_45MjpofZWp76iL7Zi-rgcod5aiKE-QgpKk9_Uvzaw/s1600/IST+re-launch+003.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjji1oZi5xWWHB1BaZ8r6JsNWQU2yViz_E5e-UHWRPreAw81UiG_eDjsGAvlh6YePDVpAzaL7Hbt1RkTmGvUi1JdJXs2vVd_45MjpofZWp76iL7Zi-rgcod5aiKE-QgpKk9_Uvzaw/s1600/IST+re-launch+003.JPG" imageanchor="1" style="-webkit-text-stroke-width: 0px; clear: right; color: #0066cc; float: right; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 1em; margin-left: 1em; orphans: 2; text-align: center; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjji1oZi5xWWHB1BaZ8r6JsNWQU2yViz_E5e-UHWRPreAw81UiG_eDjsGAvlh6YePDVpAzaL7Hbt1RkTmGvUi1JdJXs2vVd_45MjpofZWp76iL7Zi-rgcod5aiKE-QgpKk9_Uvzaw/s320/IST+re-launch+003.JPG" style="cursor: move;" width="320" /></a><br />
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The 2016 installation of <b>Auke de Vries</b>' magnificent
space-capturing sculpture at Burrs Country Park is last commission about which
I am personally very proud to have facilitated into the world. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LTVlAu4abEOV3H7yCyMK6QnuH9eIHWpYb7RgawhEzo9l8NwVJ4wkJ1G0tVQRWTk_RUNZLwk4lBp-ivtiR4MMX5S1PnMtQDoY0LuGC84TOgAR7yKA_HtkgQdQqrkt7fl9pWq2bA/s1600/DSCF2100+%25281%2529.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBRkYneLGP9HpD6JpbmK9Usvsi_vGp2dRz9mwd4suMDVz3m6Rb8X9LfutfQMhg0TUaz8c9NzoN8yhENcKY8oOnTaWC9Nn2smoJviiKBdd-gL4TSTJJwAddDC54bUuCpIpQPB1iYA/s1600/AdV+Burrs+1.jpg" imageanchor="1" style="-webkit-text-stroke-width: 0px; color: #0066cc; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-left: 1em; margin-right: 1em; orphans: 2; text-align: center; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><img border="0" data-original-height="680" data-original-width="960" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBRkYneLGP9HpD6JpbmK9Usvsi_vGp2dRz9mwd4suMDVz3m6Rb8X9LfutfQMhg0TUaz8c9NzoN8yhENcKY8oOnTaWC9Nn2smoJviiKBdd-gL4TSTJJwAddDC54bUuCpIpQPB1iYA/s400/AdV+Burrs+1.jpg" width="400" /></a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I’ve lost count of how many exhibitions I’ve curated. Before
‘Architecture Now’ I curated ‘Foreigners’ of which I was mighty proud. I was
also responsible for the first ever exhibition of the <a href="https://tony-trehy.blogspot.com/2010/10/moomin-valley-at-bury.html" target="_blank">Moomins</a> in Britain. I led
the refurbishment of Bury Museum, the creation of the Bury creative studios and
the creation of the <b>Sculpture Centre</b> in 2014. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 2012, I conceived a different way to organise
international exhibition touring and subsequently led a 6-venue ground-breaking
tour of the History of British Art across China. Until my health started
playing up this visionary stuff and expertise developed in China led to
regular presentations on the global conference circuit, getting me speaking
gigs around the world from Taipei to Tokyo, Dusseldorf to Beijing, Siena to Chengdu, Seoul to Banya Luka.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjezzkU1EXk_THZqdpHew5g1aqtGM6KKjsePG67qGqr4vTH_NSq2HfJNDg5UeMJ0FmRg3MQuA1kXTD_pS08k0jLq1hR0a0ICzyjW3rdHe1T6e-O84I0J1JFvvnvxGxNlEU76MiIrQ/s1600/1231628_10151628707512005_866618313_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="960" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjezzkU1EXk_THZqdpHew5g1aqtGM6KKjsePG67qGqr4vTH_NSq2HfJNDg5UeMJ0FmRg3MQuA1kXTD_pS08k0jLq1hR0a0ICzyjW3rdHe1T6e-O84I0J1JFvvnvxGxNlEU76MiIrQ/s640/1231628_10151628707512005_866618313_n.jpg" width="640" /></a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I never tired of the commentary from Art Monthly about my
other great achievement, the <b>Text Festival</b>: “<i>According to Foucault, the
singularities that serve to rupture and renew normative discourse always emerge
from the interstices – in other words, where nobody is looking. Almost
certainly nobody was looking in the direction of Bury for the emergence of this
significant project</i>…”. I originated, programmed and curated Text Festivals in
2005, 2009, 2011, and 2014.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3hPhkWz3wYUwV2Be4iOuPbYJC5G2gbbVgCRHH9sQ_Gi6PFgmqWFDfq-bYELZbdXiwI12SoDF3WpXc5rrMnk30SWgnlNy7Yyg6ZWC7fuJY5d8wbL7ZfTqSu-ViuW_iSS4vsUVT9g/s1600/opening+remarks.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="680" data-original-width="1024" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3hPhkWz3wYUwV2Be4iOuPbYJC5G2gbbVgCRHH9sQ_Gi6PFgmqWFDfq-bYELZbdXiwI12SoDF3WpXc5rrMnk30SWgnlNy7Yyg6ZWC7fuJY5d8wbL7ZfTqSu-ViuW_iSS4vsUVT9g/s320/opening+remarks.jpg" width="320" /></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> Through these ground-breaking moments, I have curated more than 30 exhibitions, commissioned numerous new works, gallery based and public art, publications and
performances. It was important too for me that I facilitated creative
collaborations and friendships connecting vispo, conceptual, sound, digital,
sculptural, literary practitioners across the world and I think those
relationships may be the long-term legacy of all the work. Funnily enough as
the curator, I have rarely been in a position to participate as an artist in
the dialogues beyond the Text, so I look forward to the opportunity of being
free from my institutional position. The Text Festival also leaves a legacy of
the Text Archive, including text works from all over the world, with the subset
of one of the biggest collections of works by Bob Grenier. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2frS2T23qqnZAN5UZCJCnZV5w90AHLm9NLOZx3LVPt-55xSi5kliLtLffog1AoGFb4GnwP9DCKwhP6XHaSpI6aBRc61lMR52dDpzjWMrGa0c_NRa-6rDs6oR7i_awCL__RFKMkQ/s1600/DSCF5910.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1205" data-original-width="1600" height="482" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2frS2T23qqnZAN5UZCJCnZV5w90AHLm9NLOZx3LVPt-55xSi5kliLtLffog1AoGFb4GnwP9DCKwhP6XHaSpI6aBRc61lMR52dDpzjWMrGa0c_NRa-6rDs6oR7i_awCL__RFKMkQ/s640/DSCF5910.JPG" width="640" /></a></span></div>
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</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Although I've curated loads of festivals across artforms, my main regrets are that I didn't get to create the contemporary music/sound art festival I really wanted to; and I was just about to launch a new concept called '<b>The Radical Museum</b>', but that coincided with my health packing in. I guess someone could still invite me to develop this somewhere, but the museum world is notoriously timorous so that won't happen. <span style="background-color: white; color: black; display: inline; float: none; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">It feels like I've done a lot and I can leave proud of what I
achieved; I thought I’d feel more let down about all the other projects I
proposed but that were blocked, such as the John Pawson designed Ulrich
Rückriem marketmuseum proposal in Radcliffe or a visionary globe-shifting approach to culture opening up of
the UK-China Silk Road, but now I’m leaving, it doesn’t matter so much now. </span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Parallel to all this art malarkey, I wrote 5 books of
poetry, Vertigo, <a href="https://derekbeaulieu.wordpress.com/2013/12/12/tony-trehys-50-heads/" target="_blank">50 Heads (pdf available here)</a>, Reykjavik, <a href="https://www.veerbooks.com/Tony-Trehy-Space-The-Soldier-Who-Died-For-Perspective" target="_blank">The Soldier Who Died for Perspective</a> and
The End of Poetry. I’ve also exhibited my text works in various galleries from
Reykjavik to Melbourne. So, retirement from Bury means an excited return to my
personal projects. In the first instance, I will be writing a new theory of Poetics,
finish my first poetry collection (Dyer) since 2010; and publish a
collaboration with Maurice Shapero investigating poetic and architectural
space/form/ideas. There’s also a couple of novels knocking around which won’t
write themselves. </span><br />
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-7449995821034739722019-02-24T15:45:00.001+00:002019-02-24T15:45:34.383+00:00Architecture Now<div style="background-color: transparent; color: #1d2129; display: block; font-family: "helvetica","arial",sans-serif; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin: 0px 0px 6px; text-align: justify; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
Due to illness, it's two years since I curated a <a href="http://tony-trehy.blogspot.com/2017/03/foreigners.html" target="_blank"><span style="color: red;">show</span></a>. So it's quite exciting to work on the forthcoming '<b>Architecture Now</b>' show, opening at <span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: #1d2129; display: inline !important; float: none; font-size: 14px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">2pm on Saturday 9th March at <b>Bury Sculpture Centre</b>. Originally, I started working on this as a response to the appallingly poor quality of new 'architecture' in Manchester (about which I will write in another blog after the show opens). But I quickly rejected the idea of a polemic show in favour of something more about architectural thinking as art. So the show blurb reads: </span></span></div>
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'Throughout history, architecture has been the creative form most closely entwined with symbols of power. In a society where building is mostly profit driven, architects create our living environment and work to accommodate this imperative. Faced with challenges of climate change to failing public housing, the tension between good architecture and bad building has never been starker. Globally there is new energy emerging in community place making and creative green solutions, can architecture respond to the challenge?'</div>
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‘Architecture Now’ features installations by Manchester architect <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/user.php?id=577105945&extragetparams=%7B%22__tn__%22%3A%22%2CdK-R-R%22%2C%22eid%22%3A%22ARBU6T43uwe09ysCndfVX90hKDumxYjN2qqu2SdYFek3t10GltyPIiV5N61fWnkzLNoenWLCSkJDjruG%22%2C%22fref%22%3A%22mentions%22%7D" href="http://www.mauriceshapero.com/" style="cursor: pointer; font-family: "helvetica","arial",sans-serif; text-decoration: none;" target="_blank"><span style="color: red;">Maurice Shapero</span></a> and feminist printmaker <a class="profileLink" data-hovercard-prefer-more-content-show="1" data-hovercard="/ajax/hovercard/user.php?id=100008039113940&extragetparams=%7B%22__tn__%22%3A%22%2CdK-R-R%22%2C%22eid%22%3A%22ARBqu92dkZvuxuBDwk5D61-U1hVhv_T9DKwbBqOJbvmYeO8BWfjxXhZnGFRTOzEK6_PzXoNdhtQTthHw%22%2C%22fref%22%3A%22mentions%22%7D" href="http://www.mirabelstudios.co.uk/sarahHardacre.html" style="cursor: pointer; font-family: "helvetica","arial",sans-serif; text-decoration: none;" target="_blank"><span style="color: red;">Sarah Hardacre</span></a> noted for her work investigating class and women’s experience of the built environment.</div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Exhibition runs 9th March to 29th June.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_KjMbh7RKJm19oNYgYYkmbkkRPSbje8OmMJU32p_VPVV2mb4Y6M04l_oBtOlokMy8gpQtLoyF1x2rj817tTkJ1uAaq2KLzyIqMQ2g7aOU86imK_VU7DTfL7B1Va2nbel7001wA/s1600/52846956_2286223284988953_3167554821934809088_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="605" height="489" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ_KjMbh7RKJm19oNYgYYkmbkkRPSbje8OmMJU32p_VPVV2mb4Y6M04l_oBtOlokMy8gpQtLoyF1x2rj817tTkJ1uAaq2KLzyIqMQ2g7aOU86imK_VU7DTfL7B1Va2nbel7001wA/s640/52846956_2286223284988953_3167554821934809088_n.jpg" width="640" /></a></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-5064770715970666162018-07-06T13:20:00.000+00:002018-07-06T13:20:04.422+00:00On returning home<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Family issues have required me to return to the Isle of Man, where I lived from 1966-1979. It has changed a lot but still has a geography of memory and poetry....</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: large;"></span><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><b>Ersatz Memphis</b></span><br />
<br />
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Your old school only with extensions, of stiff
joints, </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Smeared and running down, draining, creaking
gulls, salt grime </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">sticky, blown dry, of corrosion to that pretender syndrome. </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Newness
equals something quintessential like the early eighties - </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">ersatz Memphis </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Of a bad idea bankrupt in poor locations,
dregs. Sacrificing First </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Nation hate sanded & mouldering to resentment that
corporal </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">arrogance aspires only to commissioner syndrome. But linger</span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Nice skies and fresh air and concrete of
pebbles and small stones </span></span></div>
<div style="margin: 0px 3.33px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">cracking and damp </span></span><span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">With salt</span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Memories </span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> like the Latin
for ‘flying buttress’ </span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> Normal distribution
is to American churches as vinyl</span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> over slate and
stone is to Old haunts – </span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">there and gone with scaffolding in beautiful
geometry with only</span></span></div>
<div style="margin: 0px 92.93px 0px 0px;">
<span style="line-height: 107%; margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: large;">Spring further on.</span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif; font-size: large;"> </span>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com1tag:blogger.com,1999:blog-9416479.post-90834255644853117412018-04-01T13:36:00.000+00:002018-04-01T13:36:38.184+00:00Gaza<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">It's not much in the horrific <a href="https://www.haaretz.com/israel-news/.premium-five-palestinians-reportedly-killed-by-israeli-army-as-thousands-rally-for-mass-gaza-protests-1.5962159" target="_blank">circumstances</a> of 16 Palestinians killed and more than 1400 injured yesterday, but I thought I'd republish my 2005 poem 'Israel': </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">0. </span><span lang="EN-US" style="color: black; margin: 0px;">homotopy
equates to </span><span lang="EN" style="color: black; margin: 0px;">autoimmune disorder</span><span lang="EN" style="margin: 0px;">: </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">to transform
every figure into a Compendious Book on Guernica </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">by incidence and effects enshrine
</span><span lang="EN-US" style="margin: 0px;">pernicious
anemia </span><span lang="EN" style="margin: 0px;">around anthropic argument: </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">verb sensitive to assumption reports exogenous
acts of God – operations</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> run their inquisition. </span><span lang="EN" style="margin: 0px;">All the texts submitted and accumulate authority</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> to help run their
Inquisition </span><span lang="EN" style="margin: 0px;">moving a negative quantity</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> from one side of the equation
to the other side</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> with changing its commutation all the same. These so
irretrievable. </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">The overstaid fraction, so irretrievable, overstaid, auxetic, </span><span lang="EN-US" style="margin: 0px;">coloured by pungent
ahistoricism; unsettling sonorities webbed over the other</span><span lang="EN-US" style="margin: 0px;"> </span><span lang="EN" style="margin: 0px;">ideas
report adverse events</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> and deterred from becoming expert witnesses no human
conjecture is involved,</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> a physical transportation, curfewed to
prove its own consistency</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> to a basic telomere assumption, without realising
inverse geometry penetrates both ways, blood poisoning on statistics, with
fanatical odds, </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">analogy admonition against misinterpretation, restoration and uncompensation.</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">
With significant outside support apostasy equals the</span><span lang="EN" style="margin: 0px;"> </span><span lang="EN" style="margin: 0px;">pun of
impenetrability</span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;"> according to looking at this dead baby. </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">The underachiever
anomaly applies even with the Name change </span></span></div>
<div style="margin: 0px; text-align: justify;">
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN" style="margin: 0px;">where it is the last word in law: 1</span></span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-84208838310376048442018-03-03T08:53:00.000+00:002018-03-03T08:53:00.979+00:00Marianne Eigenheer<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1t1bQpJ06KyImaetIvaTHFLvjeB0FKrbVqlX_vVuybE_Nv7S4-LUAbS6lMWqr83APi5o-tpR0aSI1P6tmmiTVpM-TkEDH4lggM3cWGdMnNcZ-l4JcB0dIlcSwxn4GWVfooi-Mfg/s1600/009+%25283%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1t1bQpJ06KyImaetIvaTHFLvjeB0FKrbVqlX_vVuybE_Nv7S4-LUAbS6lMWqr83APi5o-tpR0aSI1P6tmmiTVpM-TkEDH4lggM3cWGdMnNcZ-l4JcB0dIlcSwxn4GWVfooi-Mfg/s320/009+%25283%2529.JPG" width="240" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt; line-height: 107%; margin: 0px;">I discovered this week that the great
artist and my friend </span><span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><b>Marianne Eigenheer</b> has passed away. Marianne has been
a constant support in the work of Bury Art Museum since 2006. We met that year
in Reykjavik at an Alan Johnson exhibition at <b>Safn</b>. We actually met at the exhibition,
but it turned out when we started talking that her first encounter with me had
been earlier. She was walking up the main street and passed my hotel. My first
time in Iceland, I was wondering how warmly one needed to dress. The hotel room
window only opened ajar, so I pushed my arm out to test the temperature and
Marianne, below, was fascinated by this hand inexplicably waving in the air
from an upstairs window. </span></span></div>
<div style="text-align: justify;">
</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In Bury we have shown (and have in the permanent collection) her
beautifully poetic line drawings, and her video-drawing “<span style="margin: 0px;">Dancing Chairs and a Walking Woman</span>” originally in the <a href="http://tony-trehy.blogspot.co.uk/2008/07/announcing-irony-of-flatness.html" target="_blank"><span style="color: red;">Irony</span> <span style="color: red;">of</span> <span style="color: red;">Flatness</span></a> in 2008 and again as part of the <a href="http://tony-trehy.blogspot.co.uk/2017/03/foreigners.html" target="_blank"><span style="color: red;">Foreigners</span></a> exhibition last year. </span></span></div>
<div style="text-align: justify;">
</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Marianne was endlessly well connected in the art world and I met a lot
of interesting artists through her. Her generosity of spirit was a defining
characteristic. She was a great support of young artists. Each year her house
in Basel filled with artists and curators staying over to see the Art Fair. I
did it twice. She attended every Text Festival in Bury, offering support and
connecting it to other actions and developments around the world.</span></span></div>
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</div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;">I remember going to Wiesbaden in 2009 specially for the opening of her
drawing show at the </span><span style="font-size: 12pt; line-height: 107%; margin: 0px;">Galerie Hafemann;
at the time I think she felt that the artworld was rediscovering her, the
phenomena of older women artists being re-evaluated and celebrated.<span style="margin: 0px;"> </span></span></span><span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"></span></div>
<div style="text-align: justify;">
</div>
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<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Her last activity at Bury was as the senior artist-mentor at the Bury
Summer School in 2014. She worked with the participants to create an imaginary
<a href="https://burybiennial.wordpress.com/" target="_blank"><span style="color: red;">Bury</span> <span style="color: red;">Biennial</span></a> </span></span></div>
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</div>
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<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">As part of this, the last thing we did together was a panel discussion
in Bury Sculpture Centre. </span></span><br />
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<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9REGzGFqA-scJp4AVikKyUKeEpoqHGhovKNN6vZXgWb9ztiYZIBKeomD6uxbZontZW-WJqvXWniJVqEGRTj6cHptp4Nfh8_PfdeQc4nXaoMhdm53glctXLZRozqEeffM4yEIdQA/s1600/IMG_0519.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9REGzGFqA-scJp4AVikKyUKeEpoqHGhovKNN6vZXgWb9ztiYZIBKeomD6uxbZontZW-WJqvXWniJVqEGRTj6cHptp4Nfh8_PfdeQc4nXaoMhdm53glctXLZRozqEeffM4yEIdQA/s320/IMG_0519.JPG" width="320" /></a></span></span></div>
<br />
<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I see her work every day - 2 large drawings adorn our bedroom and 2 etchings from the 1970's hang in the bathroom. </span></span><br />
<br />
<span lang="EN-US" style="font-size: 12pt; line-height: 107%; margin: 0px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Although we stayed in contact, this was the last time
I saw her. Her work was more and more in demand, there more shows and more
attention from younger artists whom she loved to support and help. She was
diagnosed with cancer but continued to work. Even as late as November last year
she was excited about a big drawing success in a show at <a href="https://kunstmuseumbasel.ch/de/sammlung/aktuell/gegenwart" target="_blank"><span style="color: red;">Kunstmuseum</span> <span style="color: red;">Basel</span>.</a> I last spoke to her in January when she talked about being so tired but hopeful of getting back to work soon. </span></span></div>
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Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-23692487509162990512018-02-19T15:49:00.001+00:002018-02-19T15:49:39.730+00:00Irwell Sculpture Trail Tales (2) – Ed Allington<div style="text-align: justify;">
</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">In the first IST blog, I mentioned how the National Lottery
Assessor, Mike Sixsmith, who recommended we receive the funding to build the
trail, observed that we hadn’t bid for enough money to achieve the scale of its
ambition. My previous experience had been with projects of up to about £15,000.
When describing the aim of commissioning internationally significant artworks
which would put IST on the world stage, I had guessed that such commissions
would cost about £80,000. Mike and I were standing in Ramsbottom Market Square
which was one of the highest profile sites on the whole trail. He really like
the site and thought it had massive potential for a sculpture but, like with
other key sites, he observed that such a location would need nearer to
£250,000. It was this conversation that prompted the significant increase in
the final lottery grant referred to in the last blog. </span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Because of the high visibility of the sculpture, we created
a selection panel of local councillors and organisations supported by arts
expertise. A long list of 27 artists was created by the arts consultant Bev
Bytheway and the panel narrowed it down to a shortlist of 5. One withdrew. So
the remaining four submitted proposals. The London-based sculptor <a href="http://www.tate.org.uk/art/artists/edward-allington-643" target="_blank"><b>Ed Allington</b></a>
was very keen to win the commission – as I recall submitting 3 or 4 possible
designs. The panel chose the Tilted Vase. </span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">The <a href="http://www.irwellsculpturetrail.co.uk/sculpture.html?name=Tilted Vase" target="_blank"><b>Vase</b></a> draws its inspiration from the legacy of the
Industrial Revolution in the valley. The classical shape reflects the Georgian
architecture of the square, while the manufacture of it points to industrial heritage,
built in sections and bolted together to look like a machine or the steam
engines operating on the railway a few hundred years away. <span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; display: inline !important; float: none; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Bronze and Steel.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6B9SDlbTO4zmUe5NJKuVjrxDDKmDOjgqVSCeKgPRoJWUCuSJZYRB0RryvgC_YUpZ0LlbSNp8UdzhgZWEjSNv6qMvbI45xB_5_tggjd6sdC7lvs80ASKBIzt6KHJykEo7dztkUJg/s1600/vase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1076" data-original-width="1600" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6B9SDlbTO4zmUe5NJKuVjrxDDKmDOjgqVSCeKgPRoJWUCuSJZYRB0RryvgC_YUpZ0LlbSNp8UdzhgZWEjSNv6qMvbI45xB_5_tggjd6sdC7lvs80ASKBIzt6KHJykEo7dztkUJg/s400/vase.jpg" width="400" /></span></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">As often happens with public art, a controversy followed. The
design hadn’t even been released when an angry local person decided that a
sculpture was a bad idea. The Square's current condition was a couple of scraggy rose
bush plots and a small graffitied shelter at the back used by drunks and young
people with nowhere to go. The angry person started a petition against ‘the’
sculpture and got 500 signatures in a week. But, except for the panel, no-one
had seen the design, so it was a petition against sculpture on principle.
Next phase was a public consultation, which on the evidence of the petition we
expected to be bloody. A public meeting was convened at the Grant Arms pub
which overlooks the site. On the evening I chaired the meeting (with some trepidation
expecting hostility). Ed Allington sat beside me. I recognised faces in the 50+
audience that were vocal opponents of the sculpture. The event started, I
introduced the plans for the Sculpture Trail and this and other sculptures proposed
for Ramsbottom; Ed introduced his practice, other commissions and then explained
the design. Then I threw it open to questions from the audience. A woman stood
up and said: ‘Well, I like it. Ramsbottom needs this to make the centre of the
town attractive to visitors’. This was a shock; even more shocking was that the
next and the next stood up and said the same thing. It turned out that the vast
majority of Ramsbottom actually liked and looked forward to the sculpture being
installed! After that, the petition was never mentioned again. </span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">A few months later, Ed was ready to install. The converging roads
to Market Square were closed (quite a big disruption to local traffic), cranes manoeuvred
into place, barriers, police, crowds, men in hard hats. The huge bronze arrived
on a flat-bed truck. Straps were attached and the crane lifted it into the air –
a magnificent sight. It hovered over the foundations, ready to be lowered, when
one of the Council engineers asked Ed: ‘when did you pour the concrete into the
foundations?’ At this point all hell broke loose. Ed’s team had poured the concrete
2 weeks before; within this was located a chemical bolt system which would bond
the sculpture immovably to the ground. But technically the chemical only works
if the concrete is 3 weeks old or more. At this a general chaos erupted. It couldn’t
be installed. I got a phonecall from the then Chief Executive (my overall boss)
angrily wanting to know who was in line for sacking; the Lisson Gallery which
represented Ed rang threatening legal action against the Council for stopping
the installation. The vase was re-lowed onto its truck and driven away to a yard
for storage, everything was taken down, the crowd drifted away. Against a
background of recrimination, a disconsolate Ed and I ended up sitting in the Grants
Arms with beers. I told him that when it all came down to it, all he and I
wanted was for a great sculpture to be standing in Market Square, nothing else mattered, we should
ignore all the noise and just reschedule and get it right. And that’s we did. The
vase returned a few weeks later and was installed without incident. The site
works around it were completed and the water was turned on. <span style="margin: 0px;"> </span></span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">This project (my first really big commission) was a real
learning experience. The first lesson of public art I would say to would-be project
commissioners is <i>never</i> install a water feature. The issues of public health
& safety, freezing, children adding detergent to make it bubble, pumps, electric
supplies, etc., make it the most complex long-term maintenance commitment. As
it is, the vase has not poured water for about 5 years for technical reasons;
but these are being sorted out specially to coincide with the 25<sup>th</sup>
Anniversary so it will be turned on this Spring. Sadly, Ed Allington died last September.
</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZDvoHaoabMOZqgYWnpuYm2Ch_Q4GDgUMEERpNvckAVvkVo7oDhgJbrzrVVvBOfnQehgnTfNzuq1ojCMeSJtB66iG1i_spQ8yCXgRhw_dexmR6gzqRdHkYs-qpBaW1q5NBL_jZw/s400/5a.JPG" width="400" /></span></div>
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Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0tag:blogger.com,1999:blog-9416479.post-67369035156509594672018-02-13T14:11:00.002+00:002018-02-13T14:11:42.049+00:00Irwell Sculpture Trail – 25 Years of Public Art (1)<div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;">
<u><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1486" data-original-width="1600" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixyhwuGMOX0yMpnqqVOVKdzpruuZfBKTgZbwDX98_cHb8z-6XR6BO_myzywjnji5M_w7OOgild9LjXI1F7MML3mtGwHKb4EXOvcIwI7mmjzGxfoi3kINfCygt_eqvFhQFcc13vgg/s200/IST-ID-25yrs-GenralUse.jpg" width="200" /><span style="color: black;">
</span></span></u></div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">This year is officially the 25<sup>th</sup> Anniversary of
the <span style="color: red;"><a href="http://www.irwellsculpturetrail.co.uk/" target="_blank"><span style="color: red;">Irwell</span> <span style="color: red;">Sculpture</span> <span style="color: red;">Trail</span></a> </span> (IST). It’s a funny feeling realising that you have
been working on something that long, provoking, inevitably, the urge to
reminisce. As anyone who tried to study the Text Festival, before Susan Lord
stepped in to establish the <a href="https://textartarchive.com/" target="_blank"><span style="color: red;">Text Archive</span></a>, will know I am notoriously
disinterested in past projects – as John Peel used to say: “The last song isn’t
as interesting as the next song”.<span style="margin: 0px;">
</span>Someone wanting to know about the IST can look at the website, visit the
sculptures or, if studying public art, make an appointment to see the
historical files. But there are very few people left who can tell the stories
behind the IST and the artists, and actually only me left still able to recount
the tales of the 40+ artworks plus supporting community projects, temporary
works and exhibitions, and ultimately also the creation of the <a href="http://buryartmuseum.co.uk/Sculpture-Centre-Exhibitions" target="_blank"><span style="color: red;">Bury Sculpture Centre</span></a> in 2014. The first sculpture I curated was by an artist called <b>Pauline
Holmes</b> who made a beautiful (no longer extant) work with logs in Rawtenstall
and </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIAwR0uUJC9JoT2APsffxg7_53kpiKoJU-kho8TIbrMOCPoeMMDiMBCrVOtXrE2elqbRSnkelaGjmdBsHphgax7LXcHTdtvOnaTaIciMCaBLAT_YL6A9X29XjcRz-ma-lBw_nMwQ/s1600/AdV+Burrs+1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="680" data-original-width="960" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIAwR0uUJC9JoT2APsffxg7_53kpiKoJU-kho8TIbrMOCPoeMMDiMBCrVOtXrE2elqbRSnkelaGjmdBsHphgax7LXcHTdtvOnaTaIciMCaBLAT_YL6A9X29XjcRz-ma-lBw_nMwQ/s320/AdV+Burrs+1.jpg" width="320" /></span></a></div>
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<span style="color: black; font-family: Arial, Helvetica, sans-serif;">the latest was <b>Auke de Vries</b> magnificent untitled sculpture at Burrs
Country Park last year. The next (later this year) will be the memorial
sculpture of Victoria Wood by <b>Graham Ibbeson</b>. So, this starts an occasional
series of blogs recounting an anecdotal history of sculptures in the Irwell
valley.</span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">The first thing to say is that this 25<sup>th</sup>
Anniversary isn’t commemoration of IST’s inauguration - I have actually been
working on IST since 1993. I had just arrived at Rossendale Council as the new
Tourism & Arts Officer, when the Councillor responsible for Tourism came
into my office and told me that he wanted me to organise Sunday markets at newly
opened Rawtenstall station to encourage visitors arriving on the East Lancs
Steam Railway to get off the trains and spend money in the town. The idea of me
organising Sunday markets was abysmal. So I had to think of something quick
that would achieve the same result without me wanting to kill myself in the
first month of the new job. At the time there was <a href="http://www.irwellsculpturetrail.co.uk/sculpture.html?name=Bocholt Tree" target="_blank"><span style="color: red;">one sculpture</span></a> on the
roundabout beside the station, celebrating the town-twinning with Bocholt in
Germany. A few days later while washing some dishes, it occurred to me that a
small sculpture trail around the station could be used to guide visitors to
point of interest in Rawtenstall. I started identifying sites for sculptures
with John Elliman in the Planning dept and realised that almost by accident the
locations were on the Irwell Valley Trail. So that’s how it started in
Rossendale. A few months later I was shopping in Manchester and saw a street
sign pointing to the Irwell River; blinkedly working in Rossendale I had only
recognised the river there. Suddenly I realised that, as rivers do, it ran all
the way down to Manchester. I wrote from Rossendale to Bury and Manchester with
the proposal that they commission art on the path too and together we could
create the longest public sculpture trail in Europe. I had no idea if that was
true, but we’ve been saying it ever since! </span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">In that period, I commissioned 3 or 4 artworks (some of
which no longer exist) and Bury commission a couple. I moved to a job in Bury
which coincided with the launch of the National Lottery. With that pot of money
available, I coordinated the 3 local authorities plus then Lancashire County
Council and a handful of Environmental agencies (most of which have been
abolished now) to bid for my vision of an environmental art trail running 30 miles
from Bacup at the source of the river to Salford Quays. This is why this year
is the 25<sup>th</sup> anniversary – it commemorates the year we started
commissioning in earnest with an operating budget of £4million (£2.1million
from the Lottery). We didn’t bid for that much money originally – it was much
less; but when the lottery assessor came, he said that I wasn’t asking for
enough money to achieve the scale of vision I was describing. He didn’t have to
submit his judgment straight away so he gave me 2 weeks to rewrite the bid. In
that 2 weeks I wrote 26 new documents and the money flowed. I doubt you can do
that in today’s bureaucracy – <span style="margin: 0px;"> </span>Lottery
funding was more wild west then!</span></div>
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</div>
<div style="margin: 0px 0px 10.66px; text-align: justify;">
<span style="color: black; font-family: Arial, Helvetica, sans-serif;">The other interesting anecdote about the bid itself came, when
one morning the Councillor mentioned above came to my office to congratulate me
on the success of the bid. I pointed to the documents still laying on my desk, and
told him I had not yet submitted it. But he told me that the Secretary of State
for Heritage/Culture had announce on Radio 4 that the Irwell Sculpture Trail
had been awarded the grant. It took a little time to work out what this was
about. It came down to politics. I
discovered that the Secretary of State, Virginia Bottomley MP was scheduled for
an interview on Radio 4 during which it was obvious that she was going to have
a hard time justifying the Lottery’s first major grant being £50million to ‘elitist’
Covent Garden Opera. Her bureaucrats were charged with finding something she
could point to that was ‘up north’ and ‘for the people’. To the system’s shame,
they had not funded <i>anything</i> of the kind, so her briefing had to talk about
something that fitted the bill and gloss over that it hadn’t actually been
approved yet. </span></div>
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</div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="color: black;">Anyway, on Saturday 17 February, the Sculpture Centre hosts
an IST retrospective celebration of the work of<span style="color: red;"> <a href="http://www.brassart.org.uk/worksmenu.php?tm=artwork&page=1" target="_blank"><span style="color: red;">Brass</span> <span style="color: red;">Art</span></a> </span>(Chara Lewis, </span><span style="color: black; line-height: 107%; margin: 0px;">Kristin Mojsiewicz and Anneke Pettican)</span><span style="color: black;">. Brass Art have a
long history of working with Bury Art Museum and did their IST<span style="color: red;"> <a href="http://www.irwellsculpturetrail.co.uk/sculpture.html?name=From the Tower Falls the Shadow" target="_blank"><span style="color: red;">From the Tower Falls the Shadow</span></a> </span>in 2002. </span></span></div>
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<span style="color: black; font-family: Arial, Helvetica, sans-serif;">(More IST artist stories in the next blog)</span></div>
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<b></b><i></i><sub></sub><sup></sup><strike></strike><u></u><span style="font-family: Arial, Helvetica, sans-serif;"></span><br />Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com1tag:blogger.com,1999:blog-9416479.post-738664942953374752017-06-25T15:17:00.002+00:002017-06-25T15:17:52.932+00:00The Next Text Festival
<br />
<div style="margin: 0px 0px 11px; text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="961" data-original-width="1600" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkHm-s1l33fgCLaHxde-escVPwbIWJf4HVGL7HFjqz73IIZqD0CByN26Tz3Q2odQoiMet8SLU4UmGkYBoMWWUOSwTf4b-G8FsL4ggys309ijIm4q9ktM7aaJefBkl0bH_5_wdAOA/s640/Random+Archive+view.jpg" width="640" />On a fairly regular basis I am asked when the next Text
Festival will be. My reply is always that the Text happens when there is
something for it to investigate. My answer over the last year has also pointed
to a European funding bid which if it had been successful would have linked a
festival in 2018 with developments in <a href="http://www.serlachius.fi/en/"><span style="color: red;">Finland</span></a> , Italy
and <span lang="EN" style="margin: 0px;"><a href="https://www.inspirock.com/bosnia-and-herzegovina/banja-luka/republika-srpska-art-gallery-a5180514061"><span style="color: red;">Srpska</span></a>. </span></span></div>
<span lang="EN" style="margin: 0px;"><span style="font-family: Arial, Helvetica, sans-serif;">So, we were
waiting to hear the EU decision. There is still the possibility of funding but
either way it feels about time to announce the Text Festival – maybe also
triggered by the <a href="http://buryartmuseum.co.uk/random-archive"><span style="color: red;">Random Archive</span></a>. </span></span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPWcbm6N3qQ6JnzvVj3iEsDPcrY0xIOQ4qkXaUAMwgF08UjxBAIGUIYcTeb8nhxVTcZycFA9aQX6VxaaS3qFIvDfh5jAATlM-dJhrNCCsm0-qx3QRIfOqkjXM4gujjFcUr3Jv2Zg/s1600/Irene+Barberis.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitKF2d_k8_WZqOVV0ME4TElg-7z2GK3XNvtO8voUelOe4jPIZzAfXcoB84lpzJU6QEcl-OlwbYT-9WxglTadi4bLSWFgQ6AnXERfilNO1Vy_rWOy4cumBLfpfwjRw3jnrdvJq4g/s1600/20170522_102808.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1600" data-original-width="961" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPWcbm6N3qQ6JnzvVj3iEsDPcrY0xIOQ4qkXaUAMwgF08UjxBAIGUIYcTeb8nhxVTcZycFA9aQX6VxaaS3qFIvDfh5jAATlM-dJhrNCCsm0-qx3QRIfOqkjXM4gujjFcUr3Jv2Zg/s320/Irene+Barberis.jpg" width="192" /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDVLXF_0epju1Q0BAMmpUd93ZrC2NiAoGfjWOYHxDaMkysDCXMU_CgxhZ5PO1lsc5n2GLmQSsKg-KuAGQBkXmuK40Pcir32VMVATwG2Rrm0K9cU2udKrlvILcXszsIXVAv9ggCLQ/s1600/Random+Archive+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></a></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<div style="margin: 0px 0px 11px; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGUIJU7O-LUu7B15BMiw-e7CVVwuCTpt23Ivf_H9cEka_9_D_Rmqf4GNH3L6xRPmb770VUfW6OViqf8_90DmtbLNlUJ5aRx797xMKttVBa1r-NkAqsOUizWnDuytGUeAzbV9cNQ/s1600/20170524_103805.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" data-original-height="1600" data-original-width="961" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGUIJU7O-LUu7B15BMiw-e7CVVwuCTpt23Ivf_H9cEka_9_D_Rmqf4GNH3L6xRPmb770VUfW6OViqf8_90DmtbLNlUJ5aRx797xMKttVBa1r-NkAqsOUizWnDuytGUeAzbV9cNQ/s320/20170524_103805.jpg" width="192" /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiGUIJU7O-LUu7B15BMiw-e7CVVwuCTpt23Ivf_H9cEka_9_D_Rmqf4GNH3L6xRPmb770VUfW6OViqf8_90DmtbLNlUJ5aRx797xMKttVBa1r-NkAqsOUizWnDuytGUeAzbV9cNQ/s1600/20170524_103805.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></a><span style="font-family: Arial, Helvetica, sans-serif;">Generally, I
subscribe to John Peel’s philosophy that the next song is more interesting that
the last one.<span style="margin: 0px;"> </span>So, researchers of the
Text Festival have been frustrated over the years when trying to study its four
manifestations by my mild disinterest in Text Festival nostalgia. Luckily,
Susan Lord has over the last few years been working to establish the Text
Archive and curated the current Random Archive working with the quite
significant collection and memory-trail of the Festivals. Despite my penchant
for new ideas, seeing the Text history (and its reinvigoration through someone
else’s eyes) has been fascinating and reminiscent – there’d been things I’d
forgotten. </span></div>
<br />
<div style="margin: 0px 0px 11px;">
<span style="font-family: Arial, Helvetica, sans-serif;">Anyway, more importantly perhaps,<b> the next Text Festival
will be in 2019</b>. No rush for submissions. Curatorially there needs to be some
serious research and thinking. My initially thinking is that it needs to focus
on the New. It’s time for it to reinvent and challenge itself. The
conversations and thinking will begin to be tested at the closing Random
Archive Symposium at Bury Art Museum on 12 August. </span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Arial, Helvetica, sans-serif;"></span>Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com1tag:blogger.com,1999:blog-9416479.post-32377852162969268492017-03-01T17:49:00.001+00:002017-03-01T17:49:32.630+00:00Foreigners<div class="MsoNoSpacing">
<div style="text-align: left;">
<span style="background-color: white; color: black; font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt; text-align: justify;">There's been a spate of museum ‘what-to-do-about-Brexit’
conferences/briefings since the EU referendum - a symptom of the uncertainty which museums (and everyone else) faces at this time. A fundamental
problem for museums is that one of the founding values of their purpose,
liberal progress, faces its darkest threat since WW2</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt; text-align: justify;">. A<span style="color: black;">s
custodians of history, Museums (should) recognise more than most that we have
been here before - rising hate crime, xenophobia, populist nationalism/fascism,
and now Trump in the White House adding gangster capitalism and climate change
denial. Chinese military officials openly operate on the assumption of the
'practical reality' of Sino-US war and, even since I started writing this,
Putin has told the Russian air force to prepare for war. We now know what it
felt like in Germany in 1933. The barbarians are at the gate and this time we
have no excuse for ignorance – we have the lessons of history.</span></span></div>
</div>
<div class="MsoNoSpacing">
<br /></div>
<div class="MsoNoSpacing">
<div style="text-align: justify;">
<span style="background-color: white; color: black; font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">So what will the museums do? There’ll be rhetoric of more cultural
democracy, participation, increased access etc. Museums have been educating and
engaging with their communities for decades.... but their communities still voted
to leave the EU. In the same way, Bury Art Museum has presented its audience
with an internationalist programme for more than 15 years; its cultural aspiration
being that Bury people shouldn’t need to go to Berlin or Basel to see the best
international contemporary art, people in Berlin or Basel should have to come
to Bury. But Bury was also one of the towns in which the majority voted for
Brexit.</span><span class="apple-converted-space" style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white; color: black; font-size: 12.0pt;"> </span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: black; font-size: 12.0pt;">
</span></span>
<br />
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: black; font-size: 12.0pt;"><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif; font-size: 12pt;">So what should museums do? Cultural
professionals often claim that it is a function of culture to challenge. In
truth, I can think of very few museums that ever really challenge. How often
have you left a gallery feeling challenged? And now culture faces an
existential challenge and it cannot fail to meet it. The assault on humanity,
decency, truth, even life on earth has been bewildering fast and, taken aback,
the response of civilised society has been slow and confused.</span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: black; font-size: 12.0pt;">
</span></span></div>
<div class="MsoNoSpacing">
<span style="color: black; font-size: 12.0pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background: white;">The International Committee for Museums (ICOM)
has a conference called 'Exhibitions Without Borders' this summer in Puerto
Rico - a dependant US territory and therefore subject to Trump's proposed ban
on Muslims entering the country. I asked ICOM what their position was going to
be on this as clearly the exclusion of Muslim museums would be an anathema to
the values of the organisation. ICOM and US-ICOM have announced that the ban is contrary to the values of museums, but is that enough? The US courts have knocked back the
Trump ban but this is no time for complacency, the Regime are coming back with
more bile. Maybe resistance is mobilising in the American Museums – I know that <a href="http://www.vulture.com/2017/02/moma-forefronts-art-from-countries-named-in-trump-muslim-ban.html">MOMA</a> responded by showing artists from the banned countries </span></span></span><span class="MsoHyperlink"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; color: windowtext; font-size: 12pt;">and the </span></span><span lang="EN-US" style="background-color: white; font-size: 12pt;"><a href="http://www.independent.co.uk/news/world/americas/donald-trump-protest-art-works-davis-museum-works-immigration-ban-a7584861.html">Davis Museum </a> in Massachusetts removed artworks by immigrant artists leaving
empty walls. </span><span style="background-color: white; font-size: 12pt;">So what can museums do? ('Community engagement', 'cultural democracy'
blah, blah, have their place, but don't face the crisis head-on).</span><span class="apple-converted-space"><span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-size: 12pt;"> </span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span>
<br />
<div class="MsoNoSpacing">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0DpDDq3DVNSRVjuxE5bhwvttfUSylSzOMVeMdMEazwvSUuBfru9WC_je-DCeEOIpJhj1iP2iQPlW2W2L_tUDnsEloRB3Tk4eJCf4HfBoX3N3FDi01tKS_N9bLiJuhTEAzmh65g/s1600/JuntaeTeeJayHwang.+Angry+Hotel+Propoganda.+Small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp0DpDDq3DVNSRVjuxE5bhwvttfUSylSzOMVeMdMEazwvSUuBfru9WC_je-DCeEOIpJhj1iP2iQPlW2W2L_tUDnsEloRB3Tk4eJCf4HfBoX3N3FDi01tKS_N9bLiJuhTEAzmh65g/s400/JuntaeTeeJayHwang.+Angry+Hotel+Propoganda.+Small.jpg" width="400" /></a><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="color: black; font-size: 12.0pt;">
</span></span></div>
<div style="text-align: justify;">
<div style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white; font-size: 12pt;">Bury Art Museum and Sculpture Centre already
has </span><span style="font-size: 12pt;">an international programme; and in terms of challenging, it is
currently showing </span><b style="font-size: 12pt;">Riiko Sakkinen</b><span style="font-size: 12pt;">'s critically sharp 'ABC of Capitalism', </span><b style="font-size: 12pt;">Juntae
Teejay Hwang</b><span style="font-size: 12pt;"> uncompromising ‘Angry Hotel Propaganda’ (left) and </span><b style="font-size: 12pt;">Jez</b><span style="font-size: 12pt;"> </span><b style="font-size: 12pt;">Dolan</b><span style="font-size: 12pt;">’s queer ‘Diary
Drawings’ and 60/50. But Brexit, Trump and rising racism require a specific
response. So this summer I’ll be curating an exhibition called ‘<b>Foreigners</b>’.</span></span></div>
</div>
<span style="font-family: "arial" , "helvetica" , sans-serif;">
</span><br />
<div style="text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">This won't be a show about immigration or refugees;</span><span style="background-color: white; font-size: 12pt;"> it won't even be a show about foreignness. It won’t romanticise the Foreign
as Other. We are being told to fear foreigners, to hate them, to blame them for
any and every problem we face. The
Foreigners exhibition will be a cultural action that defies fear with hope.</span></span></div>
<div class="MsoNoSpacing" style="text-align: justify;">
<span style="font-size: 12.0pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It is my belief that
Museums should do more than collect/preserve history, they are part of the
process of making it; the narratives we lay down now form our future past. This
is a dark moment in history, the future of humanity and truth is at stake: Museums have to be on the right side of History.<o:p></o:p></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: 12.0pt;">We are accepting
submissions from artists to be in the show at </span><a href="mailto:artgallery@bury.gov.uk"><span style="font-size: 12.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">artgallery@bury.gov.uk</span></a></span></div>
Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com1tag:blogger.com,1999:blog-9416479.post-31716872644769675772017-02-18T19:39:00.000+00:002017-02-18T19:39:08.707+00:00Listen Backwards to Advance<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj3Tl2teFt65K3Tpjqi3saiYWJ8ozCE7Dqb95-yqqpaGyVdyCkpcWSoAThwsjHx8474R3RrtHOx1-vTWFkEnW29DGqhg_WGeZDrf7UTNfRN-B1zqdHoytj7_t0WZxJlqCh9gFqjg/s1600/20170218_141152-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj3Tl2teFt65K3Tpjqi3saiYWJ8ozCE7Dqb95-yqqpaGyVdyCkpcWSoAThwsjHx8474R3RrtHOx1-vTWFkEnW29DGqhg_WGeZDrf7UTNfRN-B1zqdHoytj7_t0WZxJlqCh9gFqjg/s320/20170218_141152-2.jpg" width="192" /></a><span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">Today <b>Helmut Lemke </b>launched <a href="https://www.facebook.com/Listen-Backwards-to-Advance-339069176462554/">Listen Backwards to Advance </a>(LBtA) in
Bury. For the whole of 2017 he will work from the starting point of an archive of all his previous work
to move his practice forward. </span><span style="font-family: Arial;">He has moved everything that has anything to do with his artistic activities into the basement of the Fusilier Museum, opposite the Bury Art Museum – a process of creating a public archive, investigating a 40 year career in sound
art as a durational public performance. It examines a European sound art
practice through rigorous investigations of past work. This project unpacks one
person’s creative practice and collaborations across Europe.</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">LBtA will be performed in two stages – a research and development stage
from Jan to June and a second stage where he will follow questions that have
been identified in the R&D stage.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">The R&D and critical investigation will be public for 5.5 months in
Bury Art Museum (Jan-17 - June-17) investigating and questioning issues that
have determined and driven his practice.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">As a performative event and ongoing exhibition he will create a publicly
accessible Archive (1977-2017): Objects, Photos, Videos, Sound Recordings,
Writing, Publications, Drawings, Sound Machines.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">He will: <o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo2; text-indent: -18.0pt;">
</div>
<ul>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">Hold a series of
PUBLIC consultations and round table discussion to focus on elements of
practice,</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">Catalogue previous
work and documentation,</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">Reconstruct
installations as temporary experiences,</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">Perform extracts
of work,</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">Invite experienced
practitioners and thinkers (1 individual and 1 panel per month) to:</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">exchange knowledge
and experience</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">define relevant
historic steps and developments in sound art</span></li>
<li><span lang="EN-US" style="font-family: Symbol; text-indent: -18pt;">·<span style="font-family: 'Times New Roman'; font-size: 7pt; line-height: normal;"> </span></span><span lang="EN-US" style="font-family: Arial; text-indent: -18pt;">extrapolate and
critique significant chapters of his artistic journey.</span></li>
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<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;"><o:p> </o:p></span><span style="font-family: Arial;">I wrote the following essay for Helmut Lemke’s installation during the
2013 Venice Biennale, and thought now is a good time to repost it (with a
slight edit) to explain the important of his researches in Bury in the coming
year:</span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">Since the 1970's Helmut Lemke has developed site-specific concerts,
performances and installations. His endeavours have taken him to concert halls
and outdoor markets, to Galleries and Museums and to the frozen seas off
Greenland, to Function Rooms of Pubs and to International Festivals. He has
presented his work all over the globe, collaborating with other Sound Artists
and Musicians, with Dancers and Scientists, Visual Artists and Architects,
Poets and Archaeologists, Performance Artists and Wildlife Rangers. He has
experienced many audible sounds as well as those made audible through creative
interventions, and fundamentally come to understand <i>the site the sound
requires.</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">Through these investigations into sounds, some obvious, some familiar,
some to be found, he has become a Cageian presence, not in the sense of musical
or poetic lineage but as the value proposition conduit for a contemporary
insight into sound itself. Lemke has observed that sound is behind you when you
gaze toward the horizon: he places us in that moment, and constructs for us the
awe of our relationship between the sound he unveils and the phenomenology of
presence in that environment. This pursuit and representation of the
fundamentals of sound is driven by his conception “über den hörwert”, a Marxian
analog of the surplus value of hearing. His aim to represent a specific
environment through its sounds at a specific moment requires <i>listening</i>
with all senses. Accepting the impossibility of resonating the actual sounds
heard in the moment he heard them, he constructs a conceptual aural present.
Lemke talks about the tools he uses to communicate sounds heard to non-witnesses
of the original, the remarkable articulation of his line, - raw and skeletal -
poetry, visual poetry, onomatopoeia, soundpainting, photography and sound
recordings, uncovering the democracy of microphones. He states his attempt to
describe, to reproduce the experience of sound itself, its thickness, the
ontology of being in sound, but this is not accurate: in fact, he <i>becomes </i>the
act of hearing. In the offering of his approximations, objective and subjective
improvisations, Lemke evokes memories of sound, and more, posits the second
hearing, ours, in a new existential space, as a synesthetic osmosis. His quiet
declaration of inwardness tunnels us into him and our ears are replaced by his.
To know of the source of a sound helps to imagine it. Lemke is the source of
the sound because whether or not his listeners really hear what he has drawn,
written and document, verification lays in his trust in the audience’s
willingness and capacity to absorb the inspiration and imagination of being.
Reflecting declarations of purpose from Lawrence Weiner, William Carlos
Williams et al., Helmut Lemke makes art useful to us, we can cross the bridges
he has made for us.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;">Lemke has made himself the disembodied microphone, the universal hearer/
signifier of the sounds in the forest that no-one is there to hear, the
teacher, the artist, the beekeeper. </span><span style="font-family: Arial;"><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-JTZae4yRmvHvkPVki2Y7Q9v4WRFnCmzWZK_k4Sp4rexWjH67yCA-mmF1IjkogvBbNjgdmyOGTKCZZbNAak2qceednH3ThkO6ede4zOkn4unrUoTS0b9PtDabYrDCYhRsVC159Q/s1600/20170218_135045.mp4" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-JTZae4yRmvHvkPVki2Y7Q9v4WRFnCmzWZK_k4Sp4rexWjH67yCA-mmF1IjkogvBbNjgdmyOGTKCZZbNAak2qceednH3ThkO6ede4zOkn4unrUoTS0b9PtDabYrDCYhRsVC159Q/s400/20170218_135045.mp4" width="223" /></a></div>
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<span lang="EN-US" style="font-family: Arial; mso-ansi-language: EN-US;"><br /></span></div>
Tony Trehyhttp://www.blogger.com/profile/02431283291805161686noreply@blogger.com0