Archivi categoria: liaisons

foto dal workshop del 7 luglio 2021, all’istituto svizzero di roma

*

see facebook.com/differx/posts/10158173011597212

+ slowforward.net/2021/07/07/stamattina-un-seminario-sulle-forme-della-scrittura-e-del-libro-contemporaneo-e-lasemic-writing/

_

la scrittura di ricerca non esiste, non è mai esistita / differx. 2021

(probabilmente è un trailer. il film completo durerebbe qualche settimana)

_

 

aggiornamenti costanti, differenze e ripetizioni su t.me/slowforward e mgiovenale.medium.com

Aggiornamenti sulle scritture di ricerca, segnalazioni di reading di prosa (e poesia), conferenze, recensioni, critica letteraria, traduzioni, immagini, video, audio, gif, politica, polemiche, mazzate al mainstream, osservatorio di poesia contemporanea, mostre di arte attuale e incontri, materiali verbovisivi, glitch, scrittura asemica, musica sperimentale, collage, cut-up, flarf, googlism, scrittura concettuale, installazioni verbali e visive, archivi della ricerca testuale, artistica e musicale dal Novecento a oggi.

Post pressoché quotidiani su t.me/slowforward (anche indipendenti da https://slowforward.net, e spesso legati a https://mgiovenale.medium.com).

Differenze, ripetizioni, ritornelli, brand new stuff e molto altro.

Poi non dite che non vi avevo avvertito, e che Hejinian vi suona nuova, Tarkos non lo conoscete, l’asemic writing è un gateau di semi e i non assertivi sono un progetto Marvel.

_

esagerare (mg pure su medium)

siccome non mi faccio mancare niente,
ho aperto un canale – diciamo un canaletto –
pure su Medium:

https://mgiovenale.medium.com/

“oei”, april 10 and 11: moving mountains & mounting transitions 

OEI_moving_mountainsMoving mountains & mounting transitions

2 days on “editorial thinking” with OEI at Index – The Swedish Contemporary Art Foundation

This event will be live-streamed via Index’ Twitch channel: www.twitch.tv/indexfoundation

Saturday April 10 and Sunday April 11, 14:00-17:00

On the occasion of the exhibition Editorial Thinking at Index, OEI magazine organizes a two-day event, inviting artists, editors, publishers, writers, and scholars to reflect on the notion of “editorial thinking” in relation to their different practices. Each day will comprise two sessions and will be live streamed via Twitch. The talks take in conversations around editing and publishing as artistic and literary practices, as well as focusing on new and latest publications by OEI.
Guests include Alice Centamore, Pierre Paulin, Michalis Pichler, Nils Olsson, Sezgin Boynik, Lytle Shaw, Axel Andersson.

Saturday 10 April, 14:00-17:00
Addressing “(im)proper places for other books”, Michalis Pichler will talk about historical and recent initiatives of artists who have tried to break out of the process of cultural confinement of their books. This talk will be followed by a short lecture by Nils Olsson on editorial practices taking its cue from Walter Benjamin’s “The author as producer”. Joining us from Paris, Pierre Paulin and Alice Centamore will focus on editing and publishing through the lenses of art, poetry, archives, and curating.

Sunday 11 April, 14:00-17:00
After an introduction to some of the complexities between fieldwork and editing by Jonas (J) Magnusson & Cecilia Grönberg, Lytle Shaw will talk about his new book New Grounds for Dutch Landscape (OEI editör), where he uses an experimental, site-specific method to demonstrate how 17th century painters Jan van Goyen, Jacob van Ruisdael, and Meindert Hobbema did not so much represent the newly made landscape of Holland as re-enact its reclamation and ongoing threats to its stability.
Axel Andersson presents his new book Negative Geology – A Cultural and Technical History of Early European Mountaineering (OEI editör), on mountaineering before Romanticism, which traces the interconnected developments in literature, visual arts, philosophy and technology contributing to the continent’s intense interest in mountains. Sezgin Boynik, the guest editor of the latest issue of OEI, #90–91: “Sickle of Syntax & Hammer of Tautology. Concrete and Visual Poetry in Yugoslavia, 1968–1983”, tackles the question of how to edit avantgarde archives while introducing this new OEI issue.

*** Continua a leggere

canale telegram di slowforward: materiali di ricerca (scritture, audio, arte)

è nato un canale Telegram per materiali e aggiornamenti legati alla ricerca artistica, musicale, testuale, video, che integra e amplia il lavoro che slowforward sta facendo da 18 anni.

chi è interessato alla sperimentazione recente (o, in certi casi, ‘storica’/storicizzata) può iscriversi e seguire il link https://t.me/slowforward

____________________________

“l’estrema fedeltà”. incontro con giuseppe garrera e le sue stanze delle meraviglie

indirizzo provvisorio del solo audio dell’incontro:
https://drive.google.com/open?id=1rzD3_4ARAbSD-wk3_c_itO5ETeaM9Z_x

*

Incontro con Giuseppe Garrera e le sue wunderkammern: percorsi letterari e artistici, collezionismo, trouvailles, materiali testuali, visivi, verbovisivi.

Versione LOW-RES del video.

Lunedì 17 giugno 2019, ore 17,45 – 20
UPTER, Palazzo Englefield, via Quattro novembre 157, Roma
Centro di poesia e scritture contemporanee

Lezione del musicologo, collezionista, storico e studioso di poesia,
letteratura e arti visive contemporanee Giuseppe Garrera, nel contesto
del Corso “*Verso* dove? – Orientarsi nella poesia contemporanea”, a
cura di Marco Giovenale e Valerio Massaroni.

*

https://www.facebook.com/events/2344130785632735/?active_tab=about
https://slowforward.net/2019/06/15/estrema-fedelta-giuseppe-garrera

*

Continua a leggere

unnoticed art festival 2014

  
(No One Knows) What Will Be Happening?
The Unnoticed Art Festival takes place during an ordinary weekend in May, in an ordinary Dutch city. 
The location of the festival will remain a secret, even to the performers, until the weekend itself.
The Unnoticed Art Festival involves a series of performances that are ‘hidden’ within every-day activities in public spaces. 

Artists from all over the world responded to an open-call for performance concepts that explore the balance between public/private spaces and expected/unexpected behavior.
The chosen concepts are written in the form of manuals or instructions. A group of 35 volunteer performers will execute these performances, without knowing before-hand the location, or setting, of their act. 
The performers have a double role: they are the participants, as well as the only audience that is aware that an art festival is taking place.
What Then? On the 31st of August, an event will take place in

the Pictura art space in the town of Dordrecht. During this event, we will hold a panel discussion on ‘Unnoticed Art’, and present some re-enactments of several festival performances. 

A book on ‘Unnoticed Art’ will be distributed on the day, containing all the performance concepts that were put into action, along with the experiences of each performer. The book will also include an essay on the subject of ‘Unnoticed Art’, written by Dutch artist and festival director, Frans van Lent.

Although there will be no recordings made of the Unnoticed Art Festival – we will be making a video recording of the panel discussion, and making this available on the festival website. 

      
Why is this festival significant?
This festival is significant because it serves as an experiment. 
By revealing as little information as possible, the festival functions as a spontaneous performance, an ‘unnoticed’ public intervention.
The meaning of the festival is encapsulated in the experiences of the performers, as they explore through their act(s) the blurring contours between performer-audience, and the precarious balance between public/private spaces and behaviors. 
How Can You Help? 
For this festival to take place, we plan on camping with a group of 35 volunteers and the organizers, close to the city where the festival will take place. We need funds to cover: transportation, camping and food costs for those two days.
Because the Unnoticed Art Festival requires a level of secrecy, and also due to its experimental nature, we want everyone involved to be completely immersed into the experience for these two days. By traveling, camping and eating together, all the performers will be able to reflect upon their role(s), and how it relates to everyone else’s. With your support, we can strengthen the reach and impact of this festival to its full potential. 
If you are intrigued and curious about art and performance mixing with everyday life in unexpected ways, please help us by making a donation and/or sharing our campaign. We appreciate all your help! 
*
Artists Involved:
Rafael Abreu Canedo (BRA), Sarah Boulton (UK), Derek Dadian-Smith (USA), Craig Damrauer (USA), Dino Dinco (USA), Mr. and Mrs Gray (NL), Linda Hesh (USA), Hiroomi Horiuchi (JPN), David Horvitz (USA), Daan den Houter (NL), Jeroen Jongeleen (NL), Ienke Kastelein (NL), Jonathan Keats (USA), Joke van Kerkwijk (NL), Kees Koomen (NL), Margreet Kramer (NL), Gavin Krastin (ZA), Steef van Lent (DE), Gretta Louw (AUS), Lilla Magyari (HU), Andrew McNiven (UK), Janet Meany (AUS), Tim Miller (UK), Marnik Neven (BE), Joyce Overheul (NL), Nico Parlevliet (NL), Malin Peter (SWE), Jess Rose (UK), Julie Rozman (USA), Roekoe M (NL), Joshua Schwebel (CAN), Jack Segbars (NL), Edwin Stolk (NL), Topp & Dubio (NL).

private sign

   

   

greg papagrigoriou

                

on the moon (1971)

   

This tiny sculpture is called Fallen Astronaut, and was placed on the lunar surface by the crew of Apollo 15 on August 1, 1971.
The figurine, which was crafted in the likeness of an astronaut-in-spacesuit, measures just more than three inches tall, but the “Smallest Memorial in the Universe,” as Walter Cronkite called it in a 1972 interview with its creator, Belgian sculptor Paul van Hoeydonck, gave rise to storm of controversy disproportionate to its physical size. Over at Slate, Corey S. Powell and Laurie Gwen Shapiro have the in-depth story of the scandals and conflicts that “obscured one of the most extraordinary achievements of the Space Age.”
It begins:
One crisp March morning in 1969, artist Paul van Hoeydonck was visiting his Manhattan gallery when he stumbled into the middle of a startling conversation. Louise Tolliver Deutschman, the gallery’s director, was making an energetic pitch to Dick Waddell, the owner. “Why don’t we put a sculpture of Paul’s on the moon,” she insisted. Before Waddell could reply, van Hoeydonck inserted himself into the exchange: “Are you completely nuts? How would we even do it?”
Deutschman stood her ground. “I don’t know,” she replied, “but I’ll figure out a way.”
She did.
At 12:18 a.m. Greenwich Mean Time on Aug. 2, 1971, Commander David Scott of Apollo 15 placed a 3 1/2-inch-tall aluminum sculpture onto the dusty surface of a small crater near his parked lunar rover. At that moment the moon transformed from an airless ball of rock into the largest exhibition space in the known universe. Scott regarded the moment as tribute to the heroic astronauts and cosmonauts who had given their lives in the space race. Van Hoeydonck was thrilled that his art was pointing the way to a human destiny beyond Earth and expected that he would soon be “bigger than Picasso.”
In reality, van Hoeydonck’s lunar sculpture, called Fallen Astronaut, inspired not celebration but scandal. Within three years, Waddell’s gallery had gone bankrupt. Scott was hounded by a congressional investigation and left NASA on shaky terms. Van Hoeydonck, accused of profiteering from the public space program, retreated to a modest career in his native Belgium. Now both in their 80s, Scott and van Hoeydonck still see themselves unfairly maligned in blogs and Wikipedia pages—to the extent that Fallen Astronaut is remembered at all.
And yet, the spirit of Fallen Astronaut is more relevant today than ever. Google is promoting a $30 million prize for private adventurers to send robots to the moon in the next few years; companies such as SpaceX and Virgin Galactic are creating a new for-profit infrastructure of human spaceflight; and David Scott is grooming Brown University undergrads to become the next generation of cosmic adventurers.
Governments come and go, public sentiment waxes and wanes, but the dream of reaching to the stars lives on. Fallen Astronaut does, too, hanging eternally 238,000 miles above our heads. Here, for the first time, we tell the full, tangled tale behind one of the smallest yet most extraordinary achievements of the Space Age.

imagine the green is red / david shringley. 1997

 

 

alla dispersione / emilio villa

   

Guarda che siamo di Eleusi. […] Qui il più severo e il più vero inventore sono io, che ho inventato la poesia distrutta, data in pasto sacrificale alla Dispersione, all’Annichilimento: sono il solo che ha buttato il meglio che ha fatto: quello che s’è consumato nella tasca di dietro dei calzoni scappando di qua e di là, quello scritto sui sassi buttati a Tevere, quello stampato da un tipografo che non c’è più, quello lasciato in una camera di via della croce. Solo così si poteva andare oltre la pagina bianca: con la pagina annientata.
Emilio Villa, da un appunto (“risalente alla fine degli anni Settanta o all’inizio degli Ottanta”, cfr. A.Tagliaferri, Il clandestino. Vita e opere di Emilio Villa, DeriveApprodi, Roma 2004, p. 183)
   

rendez vous / sara davidovics. 2013