sold last copy of @paratextual #2//last copies in the world now at @iklectikartlab//submissions for #3 open until 31/10//end transmisison pic.twitter.com/Af5elw6pdQ— Angus Sin🎃clair (@Angus__Sinclair) October 19, 2016
VISPO/COLDFRONT
http://coldfrontmag.com/vispo-presents-cecilie-bjorgas-jordheim/
SOUND OF A CAGE: PROGRAM
Check out the program at Tou Scene October 6.-8. October.
(All text pasted in from https://soundofacage.wordpress.com/about/ and https://soundofacage.wordpress.com/performances-and-lectures/)
About
Sound of a Cage is curated by Liv Runesdatter. The triennale is build up around the legacy of John Cage and his fellows, and it combines presentations of art, music, design, performance, workshops, lectures and topical discussions. This third edition of Sound of a Cage set focus on sound poetry.
Performances and lectures
OCTOBER THE 6TH – THURSDAY THE 8TH
19.00: FESTIVAL OPENING
Opening of the festival, the exhibitions and the festival art and books store.
19.10: DADA MANIFESTO – performance
performance by Cecilie Bjørgås Jordheim
OCTOBER THE 6TH – THURSDAY THE 8TH
19.00: FESTIVAL OPENING
Opening of the festival, the exhibitions and the festival art and books store.
19.10: DADA MANIFESTO – performance
performance by Cecilie Bjørgås Jordheim
19.40-20.10: UPSWEEP-WHISTLE-BLOOP (First premiere!)
Jasmijn Visser / Stine Janvin Motland / Song Circus
Upsweep, Whistle and Bloop are the names of unidentified sounds detected on the American National Oceanic and Atmospheric Administration’s hydrophone arrays, recorded by the surveillance system SOSUS which has been active since 1961, and was an operation meaning to register the presence of Russian Submarines. After the cold war the operation was reduced, but the hydrophones were not removed, and still during the nineties they picked up a collection of sounds. It is unknown wether these sounds originate from manmade vehicles, such as submarines, or natural phenomena, such as whales or icebergs. Upsweep- Whistle-Bloop takes shape in the tradition of the Gesamtkunstwerk. Just as in the NOAA’s list, all disciplines create an ambiguous world where the organic and the mechanic are constantly at play.
Concept & compostion: Stine Janvin Motland Concept & visuals: Jasmijn Visser Performance & co-composers: Song Circus Costume design: Altinstark
Jasmijn Visser is a Dutch artist who lives in Utrecht and Berlin, and works on the intersection of drawing, writing, history and design. She studied Visual Art & Design (2006) as well as Fine Arts at the School of the Arts Utrecht (2007), and took part in the postgraduate program at De Ateliers (2011). Visser has exhibited at Galerie Aeroplastics, Brussels, Stedelijk Museum Amsterdam, Witte de With Rotterdam, MOMA Moscow, Krasnoyarsk Biennale Museum Centre Krasnoyarsk, Kunsthal Rotterdam, Centraal Museum Utrecht, Stedelijk Museum ?s Hertogenbosch, and Castrum Peregrini Amsterdam, a.o. She has won the Piet Bakker Prize (2006) and the Gasunie Kunstprijs (2011) and was nominated for the Prix de Rome (2009) and Sybren Hellinga Kunstpprijs (2006). Visser has resided in Borodino, Siberia (2011) as well as on the Falkland Islands (2013), doing historical research. She has realized monumental public art works for the city of Amsterdam, and the state courthouse of the city of Almelo (2013).
Stine Janvin Motland is a performer and composer based in Stavanger, Oslo and Berlin. With an instrumental and physical approach, she explores and pushes the limits of the natural acoustics of the voice, and what a singer can, and cannot be. Her work involves elements of conceptual and spontaneous composition, structured improvisation, performance, and sound poetry. Ongoing projects are the solo piece In Labour, Native Instrument with Felicity Mangan, and brigitte & paula band with Maria Ramvi and Camilla Vislie. In 2014 Stine released two solo albums; Ok, wow (+3db) and In Labour (Pica Disk). Alongside her own work, Stine is a performer of contemporary music, and works with composition, movement and voice in a number of interdisciplinary projects, such as the solo performance Prelude (Janvin Motland/Sickle/ Leguay). She is currently performing in the baby opera Korall Koral (Dieserud/Lindgren & Maja Ratkje), she is a member of the vocal chamber ensemble Song Circus and in the live band of Meshes of Voice (Susanna and Jenny Hval).
Song Circus is a Norwegian vocal chamber ensemble, led by Liv Runesdatter, who specialize in contemporary music and improvisation. The ensemble has given life to an unusual and fascinating vocabulary of sound combined with rare musical precision, and their concerts have been broadcasted by radio- and TV stations in Norway and Germany. Song Circus has achieved The Governmental Ensemble Work Grant 2012-2017 (NO). Their album Anatomy of Sound, presenting new classical music by Ruben Sverre Gjertsen (NO) and Ole-Henrik Moe (NO), was produced by multiple Grammy nominee surround sound producer Morten Lindberg i 2015, and was recently nominated Norwegian Grammy.
20.15: FILM SCREENING – John Cage interview
20.30-21.15: SONATAS & INTERLUDES & EMPTY WORDS
Else Olsen Storesund perform Sonatas and Interludes by John Cage, for prepared piano, together with Cages reading of his Empty Words (from Lectures of Nothing)
Else Olsen Storesund perform Sonatas and Interludes by John Cage, for prepared piano, together with Cages reading of his Empty Words (from Lectures of Nothing)
Else Olsen Storesund (b. Norway 1978) pianist and composer. Works with Open Form through the work of Christian Wolff, Cornelius Cardew, John Cage and others, in addition to new compositions. She is educated from the University of Stavanger, The State Academy of Music in Oslo, and with Christian Wolff in the US. Olsen Storesund holds a Phd in performance studies from the University in Bergen, The Grieg Academy – Institute for Music.
OCTOBER THE 7TH – FRIDAY
14.00-14.15: TBA performance
14.15–15.15: LECTURE – “Kurt Scwitters, the Caspar David Friedrich of the Dada Revolution” – Karin Hellandsjø
Karin Hellandsjø (b. 1944), art historian, PhD, from the University of Oslo. She worked as curator at the Henie Onstad Art Centre for almost two decades, during the 1970’s and 80’s, before joining the National Museum of Contemporary Art in Oslo as their chief curator and head of the museum department from 1988 till 2005. In March 2005 she came back to the Henie Onstad Art Centre as director.
Hellandsjø has since the start of her career been involved in national and international museum work and collaboration, and has curated many major national and international exhibitions throughout the years. She is also a notable scholar on modern art, a lecturer and an active writer.
She retired in 2011 and is now working as independent scholar and art consultant.
Hellandsjø is appointed Knight, 1st class, of the Royal Norwegian Order of St.Olav and Officier dans l’ordre des Arts et des Lettres, de la Republique Francaise
Hellandsjø has since the start of her career been involved in national and international museum work and collaboration, and has curated many major national and international exhibitions throughout the years. She is also a notable scholar on modern art, a lecturer and an active writer.
She retired in 2011 and is now working as independent scholar and art consultant.
Hellandsjø is appointed Knight, 1st class, of the Royal Norwegian Order of St.Olav and Officier dans l’ordre des Arts et des Lettres, de la Republique Francaise
15.30-16.30: LIVE LECTURE – “From Beat poetry to text sound composition” – Sindre Bjerga
Sindre Bjerga https://sindrebjerga.wordpress.com/ has been touring Europe, Russia, Ukraine, Japan, Argentina and South Korea for many years. His incredible long form isolationist and cavernous tape-drone meditation have been released on more than 200 records across the underground spectrum. He’s collaborated with artists, like Anla Courtis, Lasse Marhaug, Robert Horton, Culver, Posset and Adam Bohman. Lately he has been focusing more on collage work and the performative elements in his music, using tapes, re-wired toys, contact-mics, as well as snipptes from ordinary conversations and sounds from the everyday life in his concerts.
He’s also been running the Gold Soundz label since around 2000, having released about 120 records in all formats with artists from all over the underground spectrum.
Sindre Bjerga has also been giving workshops in electronic improvisation for adults and children, using basic components, such as contact-miked objects, focusing on the action and the act of improvising with others rather than the ability to actually play instruments.
Sindre Bjerga has also been giving workshops in electronic improvisation for adults and children, using basic components, such as contact-miked objects, focusing on the action and the act of improvising with others rather than the ability to actually play instruments.
16.45-17.15: FILM SCREENING – “Rules and Rebels – A Portrait” a short film by Athropologist Ronnie Smith https://www.researchcatalogue.net/view/147680/150003/0/0. Following Else Olsen Storesund in her search for sounds.
17.15-17.45: LECTURE / TALK- “Open Form – an expanded Interpreters role”, Else Olsen Storesund
17.45: DINNER
19.00-19.40: JAAP BLONK http://www.jaapblonk.com performing Kurt Scwitters “Ursonata” (see text) and sound poetry signed Raoul Hausmann and himself.
JAAP BLONK (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet. He went to university for mathematics and musicology but did not finish those studies. In the late 1970s he took up saxophone and started to compose music. A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds. From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well. He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He has performed around the world, on all continents. With the use of live electronics the scope and range of his concerts has acquired a considerable extension. Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Maja Ratkje, Mats Gustafsson, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. On several occasions he collaborated with visual computer artist Golan Levin.
Blonk’s work for radio and television includes several commissioned radio plays. He also makes larger-scale drawings of his scores, which are being exhibited. He has his own record label, Kontrans. Other Blonk recordings appeared on Staalplaat, Basta, VICTO, Ecstatic Peace, My Dance The Skull, Monotype, Plant Migration Records, Elegua Records and Scumbag Relations. His book/CD ‘Traces of Speech’ was published in 2012 by Hybriden- Verlag, Berlin. A comprehensive collection of his sound poetry came out as a book with 2 CDs in August, 2013, entitled “KLINKT”.
19.40-20.00: ANNE-JAMES CHATÔN
http://aj.chaton.free.fr https://www.youtube.com/watch?v=twPBjmFMH9g&index=2&list=RD42ogjIpgRic
http://aj.chaton.free.fr https://www.youtube.com/watch?v=twPBjmFMH9g&index=2&list=RD42ogjIpgRic
Anne-James Chaton is a French artist. He has developed a multipolar body of work, based on a close study of the textual materials which make up the everyday life of contemporary society.
This poor low intensity literature, known as «ephemera», and comprising a multitude of documents printed out by innumerable machines – bank slips, shopping receipts, promotional flyers, customer loyalty cards, business cards, bus, train and metro tickets, etc. – is the source of anne-james’ quests into sound, poetry and visual art. He has several books published by Al Dante and joined the German label Raster-Noton in 2011 with Evénements 09 and Décade published in 2012. He has given many performances in France and abroad. He has worked with the group of Dutch post-rock band The Ex and released two albums, The Journalist (2008), and Transfer (2013), with the English guitarist Andy Moor. He worked on the albums Unitxt (2008) and Univrs (2011) by German artist Carsten Nicolai aka Alva Noto. In 2013 he started a trio with Andy Moor and Thurston Moore, guitarist of Sonic Youth. His plastic and visual works, drawn from his writing materials, have been the subject of several solo and group exhibitions in France and abroad.
This poor low intensity literature, known as «ephemera», and comprising a multitude of documents printed out by innumerable machines – bank slips, shopping receipts, promotional flyers, customer loyalty cards, business cards, bus, train and metro tickets, etc. – is the source of anne-james’ quests into sound, poetry and visual art. He has several books published by Al Dante and joined the German label Raster-Noton in 2011 with Evénements 09 and Décade published in 2012. He has given many performances in France and abroad. He has worked with the group of Dutch post-rock band The Ex and released two albums, The Journalist (2008), and Transfer (2013), with the English guitarist Andy Moor. He worked on the albums Unitxt (2008) and Univrs (2011) by German artist Carsten Nicolai aka Alva Noto. In 2013 he started a trio with Andy Moor and Thurston Moore, guitarist of Sonic Youth. His plastic and visual works, drawn from his writing materials, have been the subject of several solo and group exhibitions in France and abroad.
In 2005, Anne-James Chaton received the grant encouragement from The Centre National du Livre in Paris and in 2006, he won the support of the Mission Stendhal from The Ministère des Affaires Etrangères (the french foreign ministry) for his literary project on the city of naples, italy. in 2008, he was awarded an Artistic Residency at the Villa Kujoyamo in Kyoto, Japan, by The French Ministry of Foreign and Cultural Affaires.
Since 2009, Anne-James Chaton has been a board member of the poetry commission at The Centre National du Livre (national center for books).
20.15-20.25: SOFA TALK IN THE CAFÉ
With Luke Hall, Dylan Nyoukis, Sindre Bjerga, Cecilie Bjørgås Jordheim and Jaap Blonk. Moderator: Liv Runesdatter.
With Luke Hall, Dylan Nyoukis, Sindre Bjerga, Cecilie Bjørgås Jordheim and Jaap Blonk. Moderator: Liv Runesdatter.
20.25: THE SOUND POETRY ENSEMBLE – FIRST PERFORMANCE OG A NEW SOUND POETRY PIECE
Performers: Storesund, Song Circus (Kaasbøll, Runesdatter, Stangborli Time), Hall, Nyoukis, Bjerga, Blonk, Chaton. The composition is organised as a board game with dice and cards. New sound poetry (mesostic) by Torild Wardenær (NO). http://www.torildwardenaer.no
21.00: FILM SCREENING – mesostic and visual poetry & preparert klaver
21.02: DYLAN NYOUKIS solo
DYLAN NYOUKIS “`music exists outside of as many genre boxes as anyone might care to stick it into. A restless hurricane of mangled-throat vocalisation, wobbly tape murk, and feral punk/noise, the sound is urgently alive and human with a volatile undercurrent of absurd/sinister humor.” As the head of pioneering DIY label Chocolate Monk, Dylan has been issuing a steady stream of sub-underground homemade strangeness since the early 1990s, including a slew of tapes and CDRs by his former band Prick Decay/ Decaer Pinga, Ceylon Mange (with guitarist Bill Nace) and now Blood Stereo (a duo with his wife, the artist Karen Constance).
https://www.youtube.com/watch?v=vFvV3WAb2WMhttps://www.theguardian.com/culture/2016/mar/15/dylan-nyoukis-interview
21.20: LUKE POOT solo
Sheffield based Strepsils abuser. Recent collaborations with the likes of Adam Bohman, Part Wild Horses Mane on Both Sides, Blue Yodel, Ben Knight, Acrid Lactations, Chastity Potatoe, and Phils’ gang of toughs. ‘I just listened to a bit that sounded like a pig pushing weights with a scotch egg in its gob.’ – Stuart Arnot.
“This is no Skatgobs acoustic jibber-jabber but full-on table electronics with extra-hot jaxx. The amplified whirr of a yellowing fan blade provides a backbone, quickly interlaced with pale blue squeak and some deep, deep groaning. The thing doesn’t so much build as multiply exponentially growing extra mouth holes and excretion glands, fresh gas huffing out at will, tears rolling down gelatinous cheeks, inducing migraines the consistency of crumby Lancashire. Poot puts out the misery like a wheelie bin on a Wednesday night with a thick slice of that Black Lace club classic ‘Superman’. Hitch a Ride!”
21.40-22.00: LUKE POOT AND DYLAN NYOUKIS duo
OCTOBER THE 8TH – SATURDAY
12-14.00: Sound of a Cage – Childrens (6-12 years old) academy and concert
Children between 6 and 12 years old are invited to listen and to create music together with pianist and composer Else Olsen Storesund.
What is an instrument? What is a composer? What is a composing performer? And what does it need to call a collection of sound a composition?
14.00-14.30: The children and Else Olsen Storesund perform a small concert
Preparations for SOUND OF A CAGE
The triennale is based upon the thoughts and philosophy by the composer, poet, anarchist and academic John Cage.
This year the focus is set on sound poetry, and includes performances and lectures, workshops, exhibitions and a book store.
Other participants are: Nina Elisabeth Børke, Jasmijn Visser, Stine Janvin Motland, Song Circus, Else Olsen Storesund, Karin Hellandsjø, Sindre Bjerga, Jaap Blonk, Luke Poot, Anne-James Chatôn, Dylan Nyoukis and Torild Wardenær.
5 years ago
July 22nd 2011, the day of the massacre in Oslo and at the island Utøya, I was travelling to Lofoten Islands to present a new version of my piece Fra Vestfjorden. Local musicians performed in a local café and gallery, Friisgården, at Ramberg.
The news started coming in about was going on at Utøya, but the performance was executed as scheduled.
The days that followed were so unreal and all-absorbing that I realised today that I have not posted this performance anywhere at all. I think it's time.
para·text Launch
This beautiful collection of works arrived in my mailbox a week ago.
May 17th the publication was launched at IKLECTIK art lab in London.
I want to thank Laura Elliot and Angus Sinclair of para·text for the invitation and for a very successful collaboration.
para·text issue 2 is now available for purchase from http://paratext.bigcartel.com/.
Index online at http://www.paratext.co.uk/
Derek Beaulieu's The Duchamp opening
My contribution for the second issue of para·text is a continuation of The Dada Manifesto sound pieces published November 2015.
Only this time I've put the original scroll, both the vertical and the horizontal version, of Hugo Ball's Dada Manifesto (1916), that I later recorded, back to it's starting format, the A4-page, and scanned it as it is.
On the paratext website here.
May 17th the publication was launched at IKLECTIK art lab in London.
I want to thank Laura Elliot and Angus Sinclair of para·text for the invitation and for a very successful collaboration.
para·text issue 2 is now available for purchase from http://paratext.bigcartel.com/.
Index online at http://www.paratext.co.uk/
Derek Beaulieu's The Duchamp opening
My contribution for the second issue of para·text is a continuation of The Dada Manifesto sound pieces published November 2015.
Only this time I've put the original scroll, both the vertical and the horizontal version, of Hugo Ball's Dada Manifesto (1916), that I later recorded, back to it's starting format, the A4-page, and scanned it as it is.
On the paratext website here.
AMAZING @paratextual launch last night! Massive thanks to all who came and read incl. @JuhaPVirtanen @tr0ublemayer pic.twitter.com/hEK0KDEsrd— Laura Elliott (@lauraYelliott) May 18, 2016
Philip Terry reading at our launch at @iklectikartlab pic.twitter.com/Royb82xbAz— para·text (@paratextual) May 17, 2016
AMAZING @paratextual launch last night! Massive thanks to all who came and read incl. Linda Kemp & @postpran pic.twitter.com/46BertxvDt— Laura Elliott (@lauraYelliott) May 18, 2016
Torpedo Seminar/Marking The Dispossessed
Torpedo arranged last week a seminar celebrating their 10th anniversary. How To Raise A Teenager was held at Kunstnernes Hus April 22.-23.
Corinne Gerber (Cologne/Montréal) from Passenger Books presented one of their resent publications Marking The Dispossessed by Danielle Aubert.
In this fascinating book Aubert has compiled hundreds of isolated reader's marks found in a collection of used copies of Ursula K. Le Guin's 1974 anarchist science fiction novel, The Dispossessed. Erasing the text, only leaving the marks behind. It also has the potential of being a score; it has been performed as polyphonic group readings, (where each reader is reading from a different copy), and as an instrumental interpretation of the markings, composed by Jason Treuting of So Percussion and Mobius Percussion. The various readers' marks has also been compiled into a book.
Order it here.
RAUME FÜR NOTIZEN
Documentation from the visual-, digital- and transmedial poetry festival Räume für notizen 2014 and 2016 in Vienna, has arrived!
I participated in 2014 exhibiting work at galerie wechselstrom, and a performance at Alte Schmiede together with Stine Janvin Motland and Maximilian Ölz.
Read more about it here.
(SHMF-019..)
January this LP appeared in my mailbox.
Late 2015 I was engaged in a collaborative project initiated by Kommissar Hjuler und Frau based in Flensburg, Germany. We were to respond to a CD track with german spoken words, parts reading, parts discussing George Mead's sociological theory of The Generalized Other, a concept used in the field of symbolic interactionism.
My response is a short piece for a music box, based upon the words Die Verallgemeinerte Anderen (The Generalized Other).
This was done by isolating the letters C, D, E, F, G, A, B in the text and using them in a notational system to indicate pitch. The melody was then played with a PRIRI-technique.
P-R-I-RI indicates the many ways a musical piece can be played. P stands for Prime (the original version of the melody), R is Retrograde (backwards), I is inversion (melody is flipped around the first note in the melody) and RI is Retrograde Inversion (being the flipped version played backwards).
All of which is easy and possible to do on a music box.
In this case the first 13 notes (D-E-E-A-G-E-E-E-E-A-D-E-E) are Prime, then starts retrograde, and so on.
The LP has an exclusive edition of 100.
The project explained by the initiators:
Kommissar Hjuler and Mama Baer run a project called (SHMF-019+…) for which any artists are allowed to create versions of the reading DIE ANTIZIPATION DES GENERALIZED OTHER. A tape, several CD-Rs and some LPs still have become released in this series on Der Schoene-Hjuler-Memorial-Fond.
The Generalized Other refers to George Herbert Mead's psychological explanation for the origin of social self-consciousness. Within Mead's theory, is the act of 'role-taking' in which individuals react to social gestures, and adjust to common attitudes. Through 'role-taking', people adapt to social exchanges based on gesture-response action sequences. Self-consciousness is then developed through these social actions and completed upon personal reflection. (..) It is a stumbling dialogue with reading parts and conversation parts and in the result we do by far not justice to the grandilocant or intellectual theme.
Mainly artists and musicians from experimental music scene have contributed, but not at least, this project is to create a mix of most different music styles, one of the stranges contributions was by the Afro-French Urban-Rap- and Dub-musician LO daam, who normally creates music far from any experimental scene, and the crazy version by the dark metal band HELLMOUTH from Rotterdam.
Dada Manifesto to para·text
Curated and created by Laura Elliot and Angus Sinclair in London, para·text is a poetry publishing experiment. para·text is published twice a year as a loose-leaf A5 printed edition with an online index.
My piece for music box Hugo Ball's Dada Manifesto (1916) is in the next @paratextual issue! https://t.co/HSJc7hy18v https://t.co/XwZPpUlbZu— cbjordheim (@cbjordheim) March 31, 2016
End of DADA WEEK
After a week of daily publishing sound works online, I'd like to thank you all for viewing, listening, likes, retweets, hearts, commments and e-mails.
Listen to all the Dada Manifesto soundpieces at my Soundcloud page:
https://soundcloud.com/cbjordheim/sets/dada-manifesto
DADA WEEK/SUNDAY: Dada Excites Everything by Tristan Tzara and others (1921)
"DADA EXCITES EVERYTHING
DADA knows everything. DADA spits everything out.
BUT.........
HAS DADA EVER SPOKEN TO YOU:
about Italy
about accordions
about women's pants
about the fatherland
about sardines
about Fiume
about Art (you exaggerate my friend)
about gentleness
about D'Annunzio
what a horror
about heroism
about moustaches
about lewdness
about sleeping with Verlaine
about the ideal (it's nice)
about Massachusetts
about the past
about odours
about salads
about genius, about genius, about genius
abouth the eight-hour day
about the Parma violets
NEVER NEVER NEVER
DADA doesn't speak. DADA has no fixed idea. DADA doesn't catch flies."
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
--
EARLIER THIS WEEK:
Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)
Nov. 24th:
First German Dada Manifesto by Richard Huelsenbeck (1918)
Nov. 25th:
What is Dadaism and what does it want in Germany?
by Richard Huelsenbeck and Raoul Hausmann (1919)
Nov 26th:
Dada Manifesto by Francis Picabia (1920)
Nov. 27th:
Dada Cannibalistic Manifesto by Francis Picabia (1920)
Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
--
AND:
The Whole Dada Manifesto (1918-1921) Playlist here.
DADA WEEK/SATURDAY: Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
"No more painters, no more writers, no more musicians, no more sculptors, no more religions, no more republicans, no more royalists, no more imperialists, no more anarchists, no more socialists, no more Bolsheviks, no more politicians, no more proletarians, no more democrats, no more bourgeois, no more aristocrats, no more armies, no more police, no more fatherlands, enough of all these imbeciles, no more anything, no more anything, nothing, nothing, nothing, nothing.---
We hope something new will come from this, being exactly what we no longer want, determinedly less putrid, less selfish, less materialistic, less obtuse, less immensely grotesque.
Long live concubines and the con-cubists. All members of the DADA movement are presidents."
Dada Parasol
So you don't like my manifesto?
You've come here bursting with hostility and you're going to start
whistling at me before you've even heard me out?
Great! Carry on, the wheels turns as it's turned since Adam, nothing
changes, except now we've only got two legs instead of four.
But you're really making me laught and I wish to repay you for your
lovely welcome by talking to you about Aart, poetry, etc. Etc. Hippicackuanna.
Have you ever seen a telegraph pole having a tough time trying to
grow beside roads between nettles and blown tyres?
But as soon as it's grown a bit taller than its neighbours it grows so
fast that you can never stop it . . . never!
Then it opens out right up there in the sky, lights up, swells out, is a
parasol, a taxi, an encyclopedia or a toothpick.
So you are happy now? OK . . . that's it . . . that's all I wanted to say
to you. That's poetreee for you . . . honest!
Poetry = toothpick, encyclopedia, taxi or parasol-shade, and if you're
not satisfied . . .
TO THE TOWER WITH YOU
CÉLINE ARNAULD
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
--
UPCOMING:
Nov. 29th:
Dada Excites Everything by Tristan Tzara and others (1921)
EARLIER THIS WEEK:
Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)
Nov. 24th:
First German Dada Manifesto by Richard Huelsenbeck (1918)
Nov. 25th:
What is Dadaism and what does it want in Germany?
by Richard Huelsenbeck and Raoul Hausmann (1919)
Nov 26th:
Dada Manifesto by Francis Picabia (1920)
Nov. 27th:
Dada Cannibalistic Manifesto by Francis Picabia (1920)
DADA WEEK/FRIDAY: Dada Cannibalistic Manifesto by Francis Picabia (1920)
"You are all accused; stand up. The orator will speak to you only if youare standing.Standing as for the Marseillaise,standing as for the Russian hymn,standing as for God save the king,standing as before the flag.Finally standing before DADA, which represents life and accuses you oflovingeverything out of snobbism from the moment that it becomesexpensive."
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
--
UPCOMING:
Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
Nov. 29th:
Dada Excites Everything by Tristan Tzara and others (1921)
EARLIER THIS WEEK:
Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)
Nov. 24th:
First German Dada Manifesto by Richard Huelsenbeck (1918)
Nov. 25th:
What is Dadaism and what does it want in Germany?
by Richard Huelsenbeck and Raoul Hausmann (1919)
Nov 26th:
Dada Manifesto by Francis Picabia (1920)
DADA WEEK/THURSDAY: Dada Manifesto by Francis Picabia (1920)
"Comedy, comedy, comedy, comedy, comedy, my dear friends.
Dealers don't like art, they know the mystery of the spirit...
Buy reproductions of signed works.
Don't be a snob, you are no less intelligent because your neighbour has the same as you
(..)
As for Dada, it means nothing, nothing, nothing. It makes the public say
'We understand nothing, nothing, nothing.'
The Dadaists are nothing, nothing, nothing and they will certainly succed in nothing, nothing, nothing."
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
--
UPCOMING:
Nov. 27th:
Dada Canibalistic Manifesto by Francis Picabia (1920)
Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
Nov. 29th:
Dada Excites Everything by Tristan Tzara and others (1921)
EARLIER THIS WEEK:
Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)
Nov. 24th:
First German Dada Manifesto by Richard Huelsenbeck (1918)
Nov. 25th:
What is Dadaism and what does it want in Germany?
by Richard Huelsenbeck and Raoul Hausmann (1919)
DADA WEEK/WEDNESDAY: What is Dadaism and what does it want in Germany? by Richard Huelsenbeck and Raoul Hausmann (1919)
"The Central Council demands:
a) Daily meals at public expense for all creative and intellectual men and women on the
Potsdamer Platz (Berlin)"
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
---
UPCOMING:
Nov 26th:
Dada Manifesto by Francis Picabia (1920)
Nov. 27th:
Dada Canibalistic Manifesto by Francis Picabia (1920)
Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
Nov. 29th:
Dada Excites Everything by Tristan Tzara and others (1921)
EARLIER THIS WEEK:
Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)
Nov. 24th:
First German Dada Manifesto by Richard Huelsenbeck (1918)
DADA WEEK/TUESDAY: First German Dada Manifesto by Richard Huelsenbeck (1918)
"The word Dada instantly signals the internationalism of the movement, which is bound to no frontiers, religions, or professions. Dada is the international expression of the times, the great rebellion of artistic movements, the artistic reflex of all these offensives, peace congresses, riots in the vegetable market, suppers at the Esplanade, etc., etc
(..)
Down with the aesthetic-ethical attitudes! Down with the bloodless abstraction of expressionism! Down with the world-bettering theories of empty-headed literati. Up with Dadaism in word and image, with all the Dada things that happen in the world! To be against this manifesto is to be a Dadaist!"
The Manifesto in text.
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
UPCOMING:
Nov. 25th:
What is Dadaism and what does it want in Germany?
by Richard Huelsenbeck and Raoul Hausmann (1919)
Nov 26th:
Dada Manifesto by Francis Picabia (1920)
Nov. 27th:
Dada Canibalistic Manifesto by Francis Picabia (1920)
Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
Nov. 29th:
Dada Excites Everything by Tristan Tzara and others (1921)
EARLIER THIS WEEK:
Nov. 23rd:
Dada Manifesto by Tristan Tzara (1918)
DADA WEEK/ MONDAY: Dada Manifesto by Tristan Tzara (1918)
"Is the aim of art to make money and cajole the nice nice bourgeois?"
The Manifesto in text.
--
November 23rd – 29th I'll publish 7 recent sound works based on dada manifestos from 1916 to 1921, played by a music box. The manifesto, the text, on one or several A4-pages, is cut into one long strip to fit a music box and then spliced with tape. Some manifestos has been scanned from top to bottom (vertically) and others from left to right (horizontally). The letters D and A in the text are then punctuated, so the absence of D and A (..DADA), is what you hear being played.
The first dada manifesto by Hugo Ball (1916) encourages poets to stop writing with words, but rather write the word itself, and Ball states that:
"I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it"
In this way this collection of Dada Manifestos acts in accordance with Ball's manifesto, using the word construct as the direct source.
Check out the composition from the very first Dada Manifesto by Hugo Ball (1916) here.
--
UPCOMING
Nov. 24th:
First German Dada Manifesto by Richard Huelsenbeck (1918)
Nov. 25th:
What is Dadaism and what does it want in Germany?
by Richard Huelsenbeck and Raoul Hausmann (1919)
Nov 26th:
Dada Manifesto by Francis Picabia (1920)
Nov. 27th:
Dada Canibalistic Manifesto by Francis Picabia (1920)
Nov 28th:
Twenty-three Manifestos of the Dada Movement by Tristan Tzara and others (1920)
Nov. 29th:
Dada Excites Everything by Tristan Tzara and others (1921)
NEW from IF P THEN Q
I’m proud to announce my participation in Manchester’s IF P THEN Q press book of essays "The Unbearable Contact with Poets" by Derek Beaulieu.
The book includes a review of my artistic practice in the field of concrete and conceptual poetry.
From the press:
The Unbearable Contact with Poets, derek beaulieu’s second selection of essays and reviews, is essential reading. A keen and shrewd essayist, he marks himself out as one of the key commentators on contemporary concrete and conceptual poetry. The selection includes a substantial review of concrete poetry by women, an exploration into concrete and conceptual poetic representations of the holocaust, alongside interviews with Tony Trehy, Natalie Simpson and Gregory Betts, as well as lots more.
Embracing new forms of publication, The Unbearable Contact with Poets is available as an unlimited, free PDF or as a purchasable perfect-bound copy.
(120 pp, £5.00, ISBN: 978-0-
For more information or to order a copy, please go to: http://ifpthenq.co.uk/
Enjoy!
TOTAL RECALL at The Bury Art Museum
In memory of: TOTAL RECALL 1 August — 3 October, 2015 at Bury Art Museum. Curated by derek beaulieu and Philip Davenport.
Image by Philip Davenport.
Artists and works include:
Penny Anderson - Our Beautiful Words Are /
Erica Baum - Total Recall /
derek beaulieu - KERN #1, KERN #2 /
Jaap Blonk - Water for Tony, Wind for Tony, Wood for Tony /
Leanne Bridgewater - Alphatrout /
Mike Chavez-Dawson - Linga-Yoni Complete /
Paula Claire - Memo /
Lucy Harvest Clarke - Forever Hold Your Peace, Our Allotment /
Emma Cocker - Close Reading C+D /
Liz Collini - eTheaceae /
Matt Dalby - The Shrill Thread /
Philip Davenport - the weather, in lipstick /
James Davies - I remember the Text Festival /
Rachel Defay-Liautard - anabol is [ ] /
Jayne Dyer - Speak to Me /
Stephen Emmerson - Paul Written, The Journal of Baal 7, 8 & 9 /
Steve Giasson - ANGLOMANIA (20 works for Tony Trehy) /
Marco Giovenale - asemic encyclopaedia page 1257060, asemic encyclopaedia page 13874257462, asemic encyclopaedia page 43074359987, ASEMIhalfCUBE, sorry for the asemic rebus /
Jesse Glass - Hell Money Permutation Series /
Robert Grenier - 16 from r h y m m s /
Alan Halsey - Notations for Two Dancers, North & West Target Language /
Peter Jaeger - All the Air in Proust /
Tom Jenks - tt /
Cecilie Bjørgås Jordheim - The Great Treatise /
Satu Kaikkonen - Letters from The Past 1 & 2, Memoryies Series /
Karri Kokko - On the Other Hand /
Márton Koppány - Butterfly for Gertrude, Concrete Poem for Tony Trehy /
Tony Lopez - Wagtails on Tarmac /
Darren Marsh - Constructing Tony Trehy /
Steve Miller - Untitled /
Kristin Mueller - Selection from buch 3b de 04–09, Selection from Книга 3b ru 01–03 2015 /
angela rawlings - Nutrition Facts /
Sarah Sanders I Used To (notebook page) /
Seekers of Lice - tropes of everyday life /
Ron Silliman - Untitled /
Carolyn Thompson - A Reminder /
Barrie Tullett - Memory Changes The Story Of An Experience, Our Memories Are Constructed 1–9 / Lawrence Weiner - DRAWN OVER ON WITHIN A RELATIONSHIP OF SOME SORT OF CONTINUITY. CAT# 441 (1977) THE WORK IS COURTESY OF THE ARTIST (LANGUAGE+MATERIALS REFERRED TO) /
Eric Zboya - Barney: A Portrait