Tags: Space poetry
Fivehundred places is a new poetry press established in Berlin by Jason Dodge in an attempt to introduce volumes of contemporary poetry to an art context. Fivehundred places and Motto Books will host a reading by Matthew Dickman on May 10th. (reading 8pm sharp)
Matthew Dickman’s first book, All-American Poem, was winner of the 2008 American Poetry Review/ Honickman First Book Prize in Poetry, published by American Poetry Review. He was also the winner of the 2009 Kate Tufts Discovery Award for that book, and the inaugural May Sarton Award from the American Academy of Arts & Sciences. His second full collection of poetry, Mayakovsky’s Revolver, was published by Norton, 2012.
Double Book Reception and Reading: Per Aage Brandt @ Motto Charlottenborg 01.05.2013
Danish linguist and poet Per Aage Brandt presents two new releases on May 1. at Motto Charlottenborg: His newly revised translation of Georges Bataille’s Den Indre Erfaring, published by Billedkunstskolernes forlag and his own latest collection of poems Elegi.Poesi, published by Tiderne Skifter.
The event is part of May 1. at Kunsthal Charlottenborg, which also includes two exhibition openings; in Toves Salon as well as in the exhibition series POST, performances and a panel discussion on Leigh Ledare’s work and current exhibition in the Kunsthal.
A Circular 2 is edited by Pedro Cid Proença and features David Antin on Real Estate; a trio of short loops on song and sound by David Morris; Richard Hollis on Flags, Stars and Signs; Pedro Neves Marques on 1972; Dieter Roth’s Trophies Rotated by James Langdon; Patrick Coyle fake fancying, feigning, forging; an extract of Fugue by Roger Laporte; Wayne Daly and Sean Lynch in conversation; Adrian Piper’s To Art (Reg. Intrans. V.) and another instalment of Will Holder’s Middle of Nowhere.
CONST Literary (P)review 2012. Editors: Maria Mårsell & Ida Therén
“CONST Literary (P)review began with a quick e-mail, sent from New York Public Library. ‘Why don’t we start a literary magazine, you and I?’ The reply came from a beer cafe in Copenhagen. ‘Let’s do it.’ The idea for CLP came in the shape of a question: Why are there no forums for interesting Swedish literature? Printing is cheaper than ever, historic amounts of books are sold every year, the writing schools are cramped. A brand new Swedish study tells us that the dream job for the regular Swede is to be a writer. At the same time there is no space for first-time authors, except the chosen few the publishers dare to give a shot each year. So where do all the good texts go? As literary-minded people we wanted to find out what’s going on with quality literature in Sweden. Is it doing ok – and if not, how can we get it to shape up and share it with the world?…”
CONST Literary (P)review är en litteraturtidskrift för utmanande skönlitteratur. CLP innehåller tidigare outgivna texter – noveller, poesi, work-in-progress – och erbjuder ett tvärsnitt av den, just nu, mest spännande skönlitteraturen skriven på svenska. Samtliga texter publiceras på svenska och engelska för att nå såväl nationell som internationell publik.
I det första numret, CLP 1/2012, publiceras nyskrivet material av bl.a Helena Granström, Viktor Johansson och Lidija Praizović.
Medverkar i CLP #1 gör/ with contributions by: Tone Brorsson, Olle Dyrander, Sara-Vide Ericson (konst), Tove Folkesson, Helena Granström, Viktor Johansson, Björn Kohlström (essä), Helena Lie, Daniél Lindström, Malte Persson, Lidija Praizović, Meriç Algün Ringborg (konst), Karolina Stenström
Language: Swedish / English
Size: 22.5 x 17 cm
D 15 €
Revolution: A Reader, Lisa Robertson and Matthew Stadler (eds.), published by Paraguay Press.
Revolution: A Reader collects texts from across many cultures and times and organizes them roughly along a chronology of living, from “beginning,” to “childhood,” “education,” “adulthood,” and “death.” The book brings the embodied fact of revolution into the lived present by engaging readers with language that takes us there, no matter where we are to begin with. We are all in revolution, now.
Reading can make this fact primary and conscious and shared. Heavily annotated throughout, the book is, quite literally, a conversation. The annotations, by Lisa Robertson and Matthew Stadler — composed simultaneously and in response to one another — stitch a web of argument that links the book into a single thing, a reader. The book also features a narrative bibliography of revolution by David Brazil.
D 28 €
Reading Tests. Jack Henrie Fisher & Popahna Brandes. Jan van Eyck Academie.
A note about the words in the book – where they come from and what has happened to them.
Many of them, the ones on the right-side and the ones at the end, are “suspicious” words from Google Books, words from book scans which can’t be machine-read. Google offers these unreadable words as reversed Turing Tests to human readers in their project to digitize all the books in their digital library. These images of words have been gathered for this book in thousands of refreshes at the threshold to a PDF download. A human writer, in turn, has read the words for some rhythm of sense. In these tests she has rearranged them accordingly.The texts to the left are, in the first section, edited from a medium-sized dictionary used for dictionary attack, the machine procedure whereby every word of a dictionary is fired at an empty internet password field.
The second section alternates verso and recto pages from Freud’s “Mistakes in Reading and Slips of the Pen”. These pages have been submitted and resubmitted to an optical character recognition which rotates, stretches, and darkens pixels in order to bring the image closer to what might be recognized as a letter. When a recognition takes place, the image becomes a text and can be highlighted, underlined, crossed out, edited – formal actions which turn out to hinder a reading conversion the next time around. This recursivity may proceed to the point of invention – that is, a new letter is found or drawn by the reading software.
Raymond Williams’ essay “Means of Communication as Means of Production” is captured in the third section, erringly, as text, with all the mistakes this process must make from a low-resolution scan. A typographer has underlined some pertinent points within it.
At the end of the book, the suspicious, unreadable words are given over and over again to optical character recognition, alongside an interfering element – usually a curved line, the current standard for hindering spam-intending machine readers. These images, as well as whatever reading marks can follow from a recognition, are cut and straightened and moved around in each subsequent reading, on their way to becoming texts, but never completely assuming sense.
D 12 €
Je n’ai rien à dire. Seulement à montrer. / Ich habe nichts zu sagen. Nur zu zeigen. / I have nothing to say. Only to show. Natalie Czech. Spector Books.
“Natalie Czech therefore accomplishes something completely unexpected, something rarely seen either in literature or the visual arts: her works are based on experimental designs that engender something new by subsequently amending found texts, while at the same time opening up known texts—by Apollinaire, O’Hara or Brinkmann—to new readings in a fascinating way, thus rediscovering these works in other contexts, through other media, as images, through the medium of photography, and hence allowing them to reemerge as new.” – Eckhard Schumacher
With texts by: Vanessa Joan Müller, Dorothea Zwirner und Eckhard Schumacher
D 26 €
Roswitha Hecke’s photo book Liebes Leben (Love Life) about the Zurich artist-muse and prostitute, Irene, also called “Lady Shiva,” was published for the first time in 1978. It became both a cult book and an international success. Reprinted many times and translated into several languages, it is finally available again. The new, revised volume put out by Edition Patrick Frey presents photos that have never before been published. It is through the director Werner Schroeter that Roswitha Hecke met Irene. Irene, a secret star of Zurich’s Bohème at that time, worked as a prostitute until her tragic accidental death. For three weeks Hecke photographed her daily routine in Zurich and accompanied her to Rome where Irene always celebrated her birthday. The result was a subtle and strong portrait of a woman, both beautiful and confident, with an unrivaled eroticism and proud elegance. The photos, a mix of choreographed and documentary work, capture an unusual immediacy and presence.
“Irene wanted to be pretty, to be a woman, to be free. She was direct and moody, like a child. She loved a flirt more than marriage. Tension more than harmony. Longing more than satisfaction. And distance more than contact. She lived her life according to this, come what may.” (Roswitha Hecke)
With a Text by Roswitha Hecke in German and English
Graphic Design: Tania Prill / Alberto Vieceli
Karl Holmqvist – Peep-Hole Sheet #08, A Trip to Tangier . Mousse Publishing
Working mainly with written, spoken, or performed texts, poet and artist Karl Holmqvist experiments here the potential of the ‘empty spread’ of Peep-Hole Sheet. Investigating thus the inner nature of the medium and its open, ambiguous and sometimes contradictory relations with the ‘caravan of signs moving across it’. His A Trip to Tangier is in fact not only a travel in time and space, conveying a strong sense of awareness and freedom, but is also an hypnotic wandering through the possibilities and limits of language. As for many of his publications and videos, Holmqvist opts here for the sharpness of black and white: “I have stuck with black-and-white because it ’s stylish and refers back to text, and to the idea that all of reality could be seen as a type of writing or an act of communication.”
Published by Mousse Publishing
Text in English and Italian
D 10 €
Available for Distribution