You are currently browsing the tag archive for the ‘writing’ tag.
Andrew Graham-Dixon: Tell me why this is a drawing. Why is it a drawing and not a text?
Lawrence Weiner: Oh, using text for drawing is no problem. It tells you something. But drawing is explicit. Drawing is not implicit; there’s nothing hidden in a drawing. When you draw for people, you’re drawing something to tell them: it’s a message.
I’ve just spotted online the Jolly (Good) Show review I wrote for a-n. It opens: “People don’t like it when you get your shoes lost under the desk and you slope around the office in your tights. It’s not professional.”
It occurs to me this is the second review I’ve written involving tights. The other one is at Kultur Fabric: a fictional exhibition I invented by writing its review. And then there was that plan I had involving all the tights with holes in, which never amounted to anything. I do still have all the holey tights, in two large cardboard boxes.
Lots to think about following the Art/Writing Talks at Spike Island on Saturday.
I plan to write out a response in the coming weeks, but for the time being below is a slideshow recording of my own presentation, which considers the possibility of reciprocation between art and writing and between practice and everyday life.
This was the second of three Art/Writing Talks curated and chaired by Fiona Fullam, and also presenting were Daniel Jewesbury and Jesse Jones.
The first of the talks was at The Dock, Carrick-On-Shannon on 13 November, with speakers David Berridge, Declan Long and Tine Melzer: David Berridge writes more about the event here. The final event will be at The Goethe Institute, Dublin on 11 December, with speakers Maria Fusco and Maeve Connolly.
A free poetry reading at the Rich Mix Centre:
Icelandic and British poetry in collaboration
Iain Sinclair & Ragnhildur Jóhanns
Eiríkur Örn Norðdahl & Stewart Home
Scott Thurston & Bryndís Björgvinsdóttir
Jón Örn Loðmfjörð & Tom Jenks
“A truly unique evening of poetry will see the culmination of a rare and powerful collaboration between four of the most exciting new poetic talents emerging from the nation of Iceland and four of the UK’s most lauded and iconoclastic writers. The event will present some of the most intricate and daring sound / sculptural / visual and free verse poetry in Europe, the fruit of a project instigated by the 3am magazine Maintenant interview series.”
Art/Writing talks and panel discussion with Fiona Fullam (chair) with Daniel Jewesbury, Tamarin Norwood and Jesse Jones.
Saturday 27 November, 2pm
Associates Space, Spike Island, 133 Cumberland Road, Bristol BS1 6UX
From the Spike Island website:
Following on from the popular 2009 Spike Associates Art & Writing programmed by Sovay Berriman (Associate Artist) and Megan Wakefield (Researcher: PhD Spike Island/UWE) which featured Maria Fusco, Matt Price, David Trigg, Brian Catling, Becky Shaw and amongst others, Spike Island is pleased to host one of a series of three Art/Writing: Text and Context events curated by Dublin based artist and writer Fiona Fullam and funded by the Arts Council of Ireland.
This is the second in a series of three exploratory talks, panel discussions of invited speakers, curated by Fiona Fullam and funded by the Arts Council of Ireland. Art/Writing: Text and Context will consist of a short presentation by each speaker, discussion and a question and answers session and aims to bring together writers, art practitioners and theorists for a public exchange of ideas. Invited speakers for Spike Island on Saturday 27 November are Daniel Jewesbury, Tamarin Norwood and Jesse Jones. Read the rest of this entry »
On Friday 27 November four Icelandic poets and eight British poets will present new writing at the Icelandic Embassy London. The event has been organized by SJ Fowler in association with Maintenant and 3:AM Magazine.
Jón Örn Loðmfjörð
Eiríkur Örn Norðdahl
Icelandic Embassy, 2A Hans Street, London SW1X 0JE
Issue 1 is now online. With contributions by:
Daniel Gustav Cramer
Martijn in’t Veld
PRIVATE VIEW is a series of editions focused on private fruitions, concepts and forms.
This month in association with 3am magazine and Maintenant the Icelandic Embassy in London is hosting an evening of readings by four Icelandic poets – Bryndís Björgvinsdóttir, Ragnhildur Jóhanns, Jón Örn Loðmfjörð and Eiríkur Örn Norðdahl – with responses presented on the evening by eight British poets. As one of the British contributors I’ve been looking at the work of Ragnhildur Jóhanns, whose interview was posted yesterday at maintenant.co.uk > poetry. Here’s an image of one of her poems:
The disruption and reassembly of her cut-up books brings to mind the line drawings I first wrote about here and here and later compiled for AS LINE. These line drawings – lines drawn between things and pages – are attempts to write things down, or keep them, in a way that words cannot. Read the rest of this entry »
On the train yesterday I was reading the London Review of Books (having unrelatedly had a pot of tea with four words in its name at the LRB Cake Shop the very same day) (and cake).
One of the articles is Do Not Scribble, Amanda Vickery’s review of two new books on letter writing: The Pen and the People: English Letter-Writers 1660-1800 (Susan Whyman) and Becoming a Woman in the Age of Letters (Dena Goodman). Vickery writes:
“No lady’s desk was complete without a secret drawer in which to hide valuables and letters. A place of privacy is central to Goodman’s conception of the autonomy of the letter-writer. The secrétaire guarded a lady’s secrets and advertised her claim to thoughts of her own.” (LRB Nov 2010: Vol. 32 No. 21, p.36)
Advertising one’s secrecy is contradictory. (We can talk about gender or colonialism here if we like, or about artist statements.) Keeping things in a known secret place makes the secrecy a public practice, and only the detail of the secret remains private. If the compartment weren’t generally known about, it follows, then the secrets would only be half valid, the private mind being significant only in relation to the public perception of that mind. (The artist’s anguish.) There is still plenty of space for secrecy within the detail of a secret, but its nature changes somewhat when its form is prepared for in the carpentry of a desk.
Instead one might choose to keep a secret compartment with, secretly, no secrets in it at all, or to hide secret things in another truly secret compartment while leaving nothing of particular interest under lock and key in the known hiding place – or to just leave secrets lying around indifferently, disguised as everyday things.