Wednesday, 18 April 2018

Disclaimer Magazine

'Paul Scholes' foot' And Other Poems - three from a new cycle of poems I began writing in recent months around themes of digital identities and branding - occupied Disclaimer Magazine's 'Weekend Poetry' slot last weekend 14/15 April 2018.

Disclaimer is a magazine on politics, economics and the arts published in London. Edited by "a group of writers, journalists, artists and others who want to create something that looks and feels different to most of what’s out there," Disclaimer describes itself as "socially very liberal, economically less so" and wishes "to see markets working for the benefit of society, not to suit the interests of the few".

I was very happy to contribute to Disclaimer Magazine and join the list of exciting poets and artists it has sought to publish - especially in the context of this particular space that blends the arts with social, political and economic commentary.

Friday, 30 March 2018

European Poetry Festival 2018 - London & Manchester

I'll be taking part in three events - two in London and one in Manchester - as part of the UK's first ever European Poetry Festival (5-14 April 2018).

Curated by SJ Fowler, the European Poetry Festival is a pioneering showcase of live literature including collaboration and performance, and aims at beginning a tradition of showcasing the best of 21st century avant-garde and literary European poetry across the UK. This year the festival encompasses ten events in three cities in under two weeks, with the participation of over 50 poets from 23 countries and support from a host of European and UK institutes.

My reading dates and venues are as follows:


Thursday 5 April, 7pm
Opening Night at Writers Centre, Kingston (The Rose Theatre):

Solo reading in an event also featuring Jen Calleja, Frédéric Forte, Alessandro Burbank and Erik Lindner.

Plus readings from European poets local to the Kingston area or currently studying at Kingston University: Astra Papachristodoulou, Vilde Valerie Torset, Olga Kolesnikova, Synne Johnsson, Henriette Hjorthen Støren and Katerina Koulouri.


Saturday 7 April, 7.30pm
The European Camarade at Rich Mix, London:

Collaboration with Frédéric Forte in what is the grand event of the festival, featuring 16 pairs overall.

Full lineup:
Livia Franchini & Rike Scheffler
Christodoulos Makris & Frederic Forte
Kinga Toth & Simon Pomery
Erik Lindner & Harry Man
Max Hofler & SJ Fowler
Robert Prosser & Alessandro Burbank
Theodoros Chiotis & Sergej Timofejev
Tomas Pridal & Iris Colomb
Astra Papachristodoulou & Muanis Sinanovic
Damir Sodan & Martin Solotruk
Giedrė Kazlauskaitė & Simona Nastac
Aušra Kaziliūnaitė & Serena Braida
Jen Calleja & Daniel Falb
Hannah van Binsbergen & Nina Bajsic
Marius Burokas & Tatiana Faia
Daniela Chana & Ana Seferovic.


Friday 13 April, 7pm
The European Camarade in Manchester, International Anthony Burgess Foundation:

Collaboration with Endre Ruset in an event featuring 10 pairs overall.

Full lineup:
Rike Scheffler & Livia Franchini
Jon Stale Ritland & Harry Man
Iris Colomb & Serena Braida
Endre Ruset & Christodoulos Makris
SJ Fowler & Tom Jenks
Inga Pizane & Scott Thurston
Rimas Uzgiris & Robert Sheppard
Marius Burokas & James Byrne
Sarah Clare Conlon & David Gaffney
Silje Ree & Yvonne Litschel

Plus readings from Sandeep Parmar and others as part of a special launch reading of Robert Sheppard's The European Union of Imaginary Authors.


Entry to all events is free. Full details on all participating poets are available on the festival website.

Monday, 5 March 2018

Phonica: Eight


Phonica: Eight

Monday 26 March 2018
Boys School, Smock Alley Theatre
7.30pm
Admission: €8.00 / €6.00

with:
Alex Bonney
SJ Fowler
Diamanda LaBerge Dramm
Alice Lyons & Justyn Hunia
Benjamin Dwyer w/ Jonathan Creasy & Nick Roth
Joanna Walsh + community performers



Phonica is a series of events rooted in Word and Sound with an emphasis on multiformity and the experimental. Conceived, directed, programmed and hosted by Christodoulos Makris and Olesya ZdorovetskaPhonica aims to explore compositional and performative ideas and to encourage a melting pot of audiences and artists from across artforms.

Phonica: Eight will feature performances from a range of award-winning writers, musicians and artists based in Ireland and internationally, including a polyphonic stage adaptation of a digital novella (an Irish premiere), a poetic collaboration set in rural Poland, a three-way musical collaboration based on Samuel Beckett's 'Neither', and a song cycle for solo violin and voice, among more.






Featured Artists:

Alex Bonney is a trumpeter, electronic musician and recording/mix engineer and producer based in London. He was born in Reading in 1978 and grew up in the flight path of Concorde, instilling a deep attachment to subsonic frequencies. He leads the Alex Bonney Quartet, is a member of Splice, Leverton Fox, BABs, Golden Age of Steam, Sefiroth, plays in a duo with bassist Dave Kane, performs solo with electronics and in a variety of other improvising ensembles. When not performing Alex works with a variety of artists producing and engineering music for leading jazz, improvised and contemporary music record labels including ECM, HCR, Two Rivers, Whirlwind, Babel, Loop, Jellymould, Not Applicable and Edition. He also works as a music educator and photographer.

Steven J Fowler is a writer and artist. He has published multiple collections of poetry and artworks, including Subcritical Tests with Ailbhe Darcy (Gorse Editions, 2017). He has been commissioned by Tate Modern, BBC Radio 3, Tate Britain, the London Sinfonietta, Wellcome Collection and Liverpool Biennial. He has been sent to Peru, Bangladesh, Iraq, Argentina, Georgia and other destinations by the British Council and has read at festivals including Hay on Wye, Cervantino in Mexico, Berlin Literature Festival and Hay Xalapa. He was nominated for the White Review prize for Fiction in 2014. His plays have been produced at Rich Mix and Toynbee Studios, and he’s been translated into 27 languages. He is editor at 3am magazine and executive editor at The European Review of Poetry,  Books and Culture (Versopolis). He is lecturer in creative writing at Kingston University, teaches at Tate Modern, Poetry School and Photographer's Gallery, and is the director of Writers' Centre Kingston.

Diamanda La Berge Dramm has been playing the violin since the age of four. Growing up in Amsterdam among the leading figures of the Dutch classical, avant-garde and improvisation scene, her own concerts reflect all of these elements. At the age of thirteen, she premiered 'Raadsels' by Louis Andriessen in the Concertgebouw for the opening of the Holland Festival 2005, and has gone on to perform internationally as a soloist, chamber music player and band member. She has worked extensively with modern music luminaries such as Christian Wolff, Alvin Lucier, Gunther Schuller, Chaya Czernowin, Garth Knox and George Benjamin. Recent performances include a collaboration in Florence with Georg Friedrich Haas and concerts in Brussels and London with avant-garde rock legend John Cale. You can hear her on New World Records as a soloist on Burr van Nostrand’s Voyage in a White City, and on Tzadik Records with Anthony Coleman. She completed her Bachelor of Music at the New England Conservatory in Boston with James Buswell and Nicholas Kitchen, and previously studied with Lex Korff de Gidts (Conservatory of Amsterdam). At graduation she was awarded the John Cage Award for her contribution to new music. Diamanda received her Masters of Music from the Royal Conservatory of the Hague, studying with Vera Beths. She was awarded the Nicolai Prize for the most special exceptional recital. Current projects include the editing and premiering of a new series of violin studies by Garth Knox, and a duo with pianist Helena Basilova focusing on early 20th century Eastern European repertoire. As a founder of Splendor - a collective of 50 musicians, composers, and stage artists who transformed an old bathhouse in the heart of Amsterdam into a local cultural paradise - she plays and hosts concerts regularly. Diamanda plays on an Andreas Grütter bow (2015) and an Andranik Gaybaryan violin (2014), purchased with the generous support of the Prins Bernhard Cultuurfonds and the Stichting Eigen Muziekinstrumentenfonds.

Alice Lyons, a poet and cross-disciplinary artist, was born in Paterson, NJ and has lived in Roscommon and Sligo since 1998. Her third collection of poetry is The Breadbasket of Europe (Veer Books, London, 2016). Lyons’s poems have appeared in publications such as Tygodnik Powszcheny (Kraków) and Poetry (Chicago), as poetry films, public artworks and in gallery contexts. Among the honours she has received are a Radcliffe Fellowship in Poetry & New Media, Harvard University; the Patrick Kavanagh Award for Poetry; the inaugural Ireland Chair of Poetry Bursary from Nuala Ní Dhomhnaill; and an IFTA (Irish Film and Television Award) nomination for The Polish Language, a poetry film she co-directed with animator Orla Mc Hardy.

Born in 1975, Cracow, ​Justyn Hunia has ​been active as book translator specializing in the humanities​. He has ​translated, among others, Zygmunt Bauman and VS Naipaul,​ and is​ currently​ working on​ essays by Zadie Smith. F​or the last 10 years​ he​ been filming the life of ​his​ grandmother in a wooden cottage in a remote hilly and forested corner of ​Southeast ​Poland with an eye to making a documentary​.

Benjamin Dwyer has given concerts worldwide and has appeared as soloist with all the Irish orchestras, the Neubrandenburg Philharmonic Orchestra (Germany), the Santos Symphony Orchestra (Brazil), VOX21, the Vogler String Quartet (Germany) and the Callino String Quartet (UK). He is the guitarist in Barry Guy’s Blue Shroud Band, which headed the bill at the Krakow Autumn Jazz Festival in 2014 and 2016. Dwyer is a founder member of Coterminous—a multi-disciplinary ensemble of musicians, dancers and filmmakers. Recent CD recordings include Twelve Études (Gamelan Records, 2008), Irish Guitar Works (El Cortijo, 2012), Scenes from Crow (Diatribe Records, 2014) and Umbilical (Diatribe Records, 2017). The Alchemia Sessions Live from the Autumn Jazz Krakow 2014 (4-CD set) for Notwo Records and Barry Guy—The Blue Shroud on Intakt Records were both released in 2016. A new CD of contemporary Irish music will be released on Farpoint Records this year. Dwyer is an elected member of Aosdána and an Associate of the Royal Academy of Music, London (ARAM). He earned a PhD in Composition from Queen’s University (Belfast) and is currently Professor of Music at Middlesex University, London.

Jonathan C. Creasy is a Dublin-based poet, essayist, publisher and musician. Born and raised in Los Angeles, he studied under jazz greats Peter Erskine and Jeff Hamilton, and later under Charlie Haden at CalArts. Creasy has recorded at Interscope/Geffen Records and Capitol Studios in Hollywood. For the last decade he has lived and worked in Ireland, where he founded and runs New Dublin Press, an award-winning independent publisher. In 2016, Dalkey Archive Press published Creasy’s book of poems and essays The Black Mountain Letters, and he was Writer-in- Residence with the Lannan Foundation. He holds a PhD in English Literature from Trinity College Dublin.

Nick Roth is a saxophonist, composer, producer and educator. His work seeks the liberation of improvisation from composition, the poetic syntax of philosophical enquiry, and the function of music as translative epistemology. Engaging in conversation with mathematical biologists, astrophysicists, canopy ecologists and hydrologists, his compositions interrogate the inherence of meaning in musical form, whilst simultaneously subsumed by an insatiable appetite for literature, exploring the symbiotic resonance of language as sound and text. A curious predisposition and a steadfast refusal to accept the existence of boundaries between the real and the imaginary has led to collaborations with an array of international performers, composers, choreographers, visual artists, poets, sculptors, directors, festivals and ensembles. In 2017 he was artist-in-residence at the European Space Agency (ESTEC) and dlr LexIcon, and in 2015 at the California Academy of Sciences and the Irish Museum of Modern Art (IMMA). He is artistic director of the Yurodny Ensemble, a founding member of the Water Project, and a partner at Diatribe Records, Ireland’s leading independent record label for new music. His work is represented by the Contemporary Music Centre and the Association of Irish Composers.

Joanna Walsh is an award-winning UK-based writer. Her latest book is Worlds From The Word's End, published by And Other Stories. In 2018 Break.up will be published by Semiotext(e) and Tuskar Rock. Her writing has appeared in many journals and anthologies including Granta Magazine, gorse journal, The Dublin Review, The Stinging Fly and The Dalkey Archive's Best European Fiction. She was awarded the UK Arts Foundation 2017 Fellowship for Literature. She edits at online literary journals 3:AM Magazine and Catapult.co, writes literary and cultural criticism for an number of publications including The Times Literary Supplement and The Guardian, and runs @read_women.


Phonica acknowledges generous funding support from Dublin City Council, Poetry Ireland, and Arts Council England.





Thursday, 1 March 2018

Browsing History (zimZalla, 2018)

My poetry object Browsing History, a 16-postcard set in snug cellophane, is out today on zimZalla avant objects.
















zimZalla is a Manchester-based publishing project releasing literary objects. It is administered by Tom Jenks.

Browsing History documents my output as Digital Poet in Residence at the 2017 edition of StAnza, Scotland's International Poetry Festival taking place in St Andrews. Released on the first anniversary of the start of my residency, it represents object 046 on the zimZalla list.

For more on my residency project and the publication of Browsing History, read my article on the StAnza Festival website, also published today.

To view a free sample, and to order a copy, go to the object page on the zimZalla website.

Thursday, 22 February 2018

'Listen and Surprise' for Poetry Day Ireland 2018

My mass collaboration Twitter widget poem 'Chances Are' which has been running continuously since 8 August 2014 on 3:AM Magazine, and its translation into page poetry published in The Architecture of Chance, comprise one of the choices in the 'Listen and Surprise' competition project run by Fingal Libraries as part of Poetry Day Ireland 2018.

Conceived by Máighréad Medbh, 'Listen and Surprise' invites responses to one of eleven poems in any of four formats: image, video, sound, or text. The deadline for entries is 31 March 2018, and contributions will go live on a dedicated tumblr page on 26 April 2018.

Full project details.

Tuesday, 16 January 2018

European Review of Poetry, Books and Culture

My essay 'Shedding Poetry's National Baggage' was published in the European Review of Poetry, Books and Culture (Versopolis) last week.

The European Review of Poetry, Books and Culture is an online literary journal funded by the European Union, aiming to create an anglophone publication platform with a focus on continental Europe and the world beyond.

Commissioned by SJ Fowler, new Executive Editor of the Review, my essay takes the form of eight fragments cumulatively examining relationships between poetry and nation(alism) on various levels, and with references to personal experiences and to writers, poets & artists, current and historical, with an internationalist outlook.

The essay was originally conceived in late 2014 in response to an invitation towards a Europe-wide anthology, now seemingly abandoned, of pieces on trans-local writing. I began re-editing it in early 2017, and presented a version of it at the Language & Migration symposium in NUI Galway last September.

My thanks to Steven Fowler for publishing this more definitive version in the European Review of Poetry, Books and Culture.



presenting at NUI Galway (photo: Sarah Clancy)

Sunday, 17 December 2017

SAH Journal Vol 3 No 2

I have two new poems made of fragments from unauthored commentary on media articles relating to 1/ terrorism and 2/ refugees in the latest issue of SAH Journal.

Studies in Arts and Humanities (SAH) is an open-access magazine published both in print and online, based in the library at Dublin Business School. It is an interdisciplinary academic collaboration whose concern is with social, political and cultural practices in the context of mapping transformations in contemporary society. SAH’s contributors oppose forging disciplinary limits in an attempt to establish experimental spaces for critical dialogue.

Vol 3 No 2 of SAH Journal focuses on the theme of 'Minorities'. It also includes poetry from Nithy Kasa, Jennifer Matthews and Nita Mishra, as well as articles on endangered languages, Māori rights in New Zealand, the Roma and Irish Travelling communities, and more.

My thanks to Patrick Chapman for the invitation to contribute to the issue.

Thursday, 7 December 2017

gorse No. 9

‘Colour is the keyboard, the eyes are the hammers…’

gorse No. 9 is now out. Themed around 'colour', it includes essays from Clare Archibald, Niamh Campbell, Zoe Comyns, Shoshana Kessler, Darragh McCausland, Doireann Ní Ghríofa, Imogen Reid and Sydney Weinberg; fiction from Arnold Thomas Fanning, Uschi Gatward, David Hayden, Colm McDermott, Paula McGrath and Gavin Murphy; and work in Irish from Eilean Ni Chullieanain and Alan Titley.

In this issue I'm very pleased to be publishing poetry from Amanda Bell in the form of two haibun pieces comprising a mixture of 'new nature' writing, local history and memoir; four poems by Mike Saunders from a larger sequence considering the language of money; ‘Pass’, a new poem by Maurice Scully; Zoe Skoulding's ‘Prairial (from A Revolutionary Calendar)’ taken from her ongoing work on the French Republican Calendar; and two visual 'word terrain' poems by Nathan Walker.

Susan Tomaselli's editorial revolves around Yves Klein, with pivotal references to Nabokov's Speak, Memory and Anne Carson's Float among much else.

photo: @Maggie_Eire
The launch of issue 9 took place on Wednesday 29 November at Studio 6, Temple Bar Gallery + Studios, with readings from Claire Archibald, Niamh Campbell, Zoe Comyns and Paula McGrath. gorse No. 9 is available to buy directly from the website, or from selected stockists. Subscriptions are also available.

With publication of issue 9 the gorse (journal) project reaches its halfway point, as it is intended to last for 18 issues.

*

gorse No. 10 will be a special multimedia book-in-a-box edition comprising responses to 'the readymade' in literature from thirteen writers and artists based across Europe and North America. Devised, commissioned and edited by myself (I additionally contribute an 'editorial' piece) and encompassing a range of publishing media, the issue is currently in production with the aim of being completed before the end of the year that marks the centenary of Duchamp's 'Fountain'. More details, including contributors and how to order, soon.

Monday, 27 November 2017

At The Fruitmarket Gallery, Edinburgh, for Book Week Scotland

On Thursday 30 November I'll be taking part in 'You were also there' at The Fruitmarket Gallery in Edinburgh.

Part of the Book Week Scotland programme, and held in the context of Jacqueline Donachie's exhibition 'Right Here Among Them', this is an event with a pronounced social-political dimension, and also features Julie Morrissy as well as Scots author and NHS campaigner Rab Wilson and Edinburgh charity Upward Mobility’s band The UpMo Experience.

The event is free but ticketed (book via Eventbrite) and runs from 5.30pm till 8.00pm.

With thanks to Iain Morrison for the invitation.

Tuesday, 7 November 2017

Inflammatory Speech: an Irish Museum of Modern Art commission

In July, Nathan O'Donnell, Suzanne Walsh and I operating as a collaborative unit received one of three project commissions from the Irish Museum of Modern Art (IMMA) to create new work in response to the ROSC 50 exhibition.

After a four-month research and composition period, our resulting collaborative text and performance 'Inflammatory Speech' will be presented on Saturday 11 November at 2pm in The Johnston Suite at IMMA as part of an event showcasing the ROSC 50 artist research commissions.

Admission is free, but booking is required as places are limited:

"Audiences are invited to attend a seminar comprising of artists’ performance, lecture presentations, screening and a panel discussion. This includes research projects in response to the Rosc exhibitions: 'Prologue' by artist Amanda Coogan, 'Poverty of Vision' by Emma Haugh and a collaborative project titled ‘Inflammatory Speech’ by Christodoulos Makris, Nathan O’Donnell and Suzanne Walsh. Each artist has taken as their starting point the material relating to the Rosc exhibitions in the NIVAL archive, and are responding to themes relating to the ambition, memory and legacy of Rosc and also the critical and public engagement with the exhibitions. Other contributions will be presented by Brenda Moore-McCann, art historian, writer and appointed researcher of the IMMA/NIVAL: ROSC 50 - 1967 / 2017 project, and Valerie Connor, curator and educator, D.I.T."

About ROSC 50 and the Rosc exhibitions:

ROSC 50 is a collaborative research project between IMMA and NIVAL (The National Irish Visual Arts Library) to mark the 50th anniversary of the first Rosc exhibition in 1967. The Rosc exhibitions took place between 1967 and 1988 and had a significant impact on the development of contemporary art in Ireland. These pivotal, and often controversial, exhibitions were the first major series of large scale international art exhibitions in Ireland, at a time when Ireland did not have a National Museum of Contemporary Art. Rosc took place approximately every four years between 1967 and 1988, with IMMA being founded in 1991. From the Press Release:

"An important part of ROSC 50 is to uncover new research and new perspectives from both artists and audiences today, and to record these for future generations.  Audiences are being invited to submit their testimonials of their experiences of Rosc, which will in turn be folded back into the NIVAL archive, while artists Amanda Coogan, Emma Haugh and a collaborative project comprising Christodoulos Makris, Nathan O’Donnell and Suzanne Walsh have been selected from an invited call to undertake research projects in response to Rosc. Each will take as a starting point the material relating to Rosc in the NIVAL archive, and take into account of themes relating to the ambition, memory and legacy of Rosc and also the critical and public engagement with the exhibitions."

About 'Inflammatory Speech':

"Christodoulos Makris, Nathan O’Donnell and Suzanne Walsh are proposing, Inflammatory Speech: a research programme and subsequent performative event in response to Rosc. It is devised as a collaboration between three practitioners working at the intersections of contemporary art, poetry, and writing. Inverting Rosc’s subtitle – ‘the poetry of vision’ – they propose an alternative ‘vision of poetry.’ They will create a repository of material from the Rosc archive from which they will shape several original poetic texts for performance. This may take the form of a multivocal or polyphonic performance; a sort of choral call-and-response with poetic texts and music overlaid to create a meshwork of sound. In their submission the collaborators stated: “Responses to Rosc were (and are) marked by hostility, bafflement, defensiveness; languages of resistance but also of territorialism and the fear of the unknown, the troubling, the provocative … It is to this context, rather than the content, of Rosc that we wish to respond, creating work that explores and amplifies the exhibitions’ reception, rather than the exhibitions themselves per se."