Text Festival

The Language MomentFeaturing Eiríkur Örn Norðdahl, Maggie O’Sullivan, Phil Minton and Ben Gwilliam & Phil Davenport, Sarah Sander, and Sarah Boothroyd
@ The Green Room, Manchester

Friday 15 April 2011

In a pre-festival partnership event with the Green Room, Manchester, the Text Festival presents an evening of virtuoso vocal performance and groundbreaking sound art.

Eiríkur Örn Norðdahl is an Icelandic poet and author of three novels. He works with performance and sound-poetry, and regularly appears at poetry and music festivals, as well as dabbling in the dark arts of the concrete. In the recent years he has explored the possibilities inherent in the European and North-American avant-garde traditions, and focused on disassembling language into its visual, social and linguistic units. Nothing can prepare you for the power and dexterity of his performance, the sonically richness of his sound poems, and his amazing control of his material. His huge contortions twist his mouth to stun the audience.

Phil Minton is a dramatic baritone with a free-form style of "extended techniques" that are extremely unsettling. His vocals often include the sounds of retching, burping, screaming, and gasping, as well as childlike muttering, whining, crying and deep-throated drones; he also has an ability to distort his vocal cords to produce two notes at once. Phil Minton's voice occupies a category apart, as joyously accessible as it is radical.

For over thirty years, Maggie O’Sullivan has been one of the leading figures of British innovative poetry. An international performer and visual artist, she is committed to excavating language in all its multiple voices and tongues, known and unknown, in visceral gestures that collage and pulverization at the service of a rhythmic vortex.
Phil Davenport & Ben Gwilliam are artists engaged in collaborative practice across different artforms: Davenport the poet and Gwilliam the sound artist merge experimental language through the infrathin processing of the silence between sounds.

The event will also feature interventions by Sarah Sanders and Matt Dalby.
http://www.greenroomarts.org/

Every Day is a Good Day

There's been a buzz about the major retrospective John Cage, currently on display at Huddersfield Art Gallery - originated by the Hayward Gallery and the BALTIC, an excitement I also shared today when I got to see it. I say 'shared' because despite all its marvels, I found a flaw which has nagged away at me since I left.

You enter the exhibition to a film of Cage being interviewed and photos of him doing various things, and even if you don't hang around to watch the video the drift of the Zen contentment of his conversation seems to gently locate your consciousness as you pass into the exhibition proper. The individual works are mostly beautifully deep and subtle images, for obvious reasons, reminiscent of Japanese Zen painting, punctuated by the equally striking diagrammatic compositions. Seeing such a body of work is fascinating, wash-away calming and affirming. It's just great stuff.

Then there is the hang: inspired by Cage's use of chance-determined scores, according to the catalogue "the exhibition differs markedly from a traditional touring exhibition. The procedure that Cage often employed, using an I Ching-like computer programme, is used to determine the layout of the exhibition at the gallery, with the programme determining the position of each work through chance operations. This results in works being displayed at many different heights, and in groups that no curator would ordinarily choose; such chance encounters between quite different works gives a sense of them being part of an ongoing creative process, rather than merely being the result of one creative moment." And on first experiencing the spatisalisation of works as no curator would not ordinarily choose, it is very striking. Knowing that the works are juxtaposed by chance adds a new layer. But as I walked through the galleries a second time (as I was waiting to meet Phil Minton who was performing at the Gallery), something about it began to bother me. It's no more than a deep feeling but how to explain that there is something fundamental and subliminal not right? I began to wonder about the "I Ching-like" computer programme. I realise that I am not convinced by the computer programme - not that it isnt random or that someone cheated, but that its randomness is not Cagean. I know that Cage did use a I Ching computer programme to generate chance operations which he created with Ed Korbin but he also used the I Ching itself - as I have frequently in the past. And it is this familiarity with I Ching that makes me uneasy. I didn't investigate the mathematics of the hang but I can only call its effect 'mechanical', and for me it seemed to clash with the ethereal Cagean gestures in drawing and paint. I am left thinking that an installation using an actual I Ching ritual would have delivered a more organic chance driven curation.

Just on the comment "in groupings that no curator would ordinarily choose", I am also reminded of the Schalauger (Basel 2009) hang which delivered a similar aesthetic (other areas not pictured here had the Cagean sparseness).

So I found Cage's works beautiful but I was less convinced by the artifice of the mock-Cage installation concept - not because it was over-egged or contrived but because I could feel that it was machine generated rather than spiritually random.