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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.

For its contribution to INVITATION ONLY at SIDESHOW, VerySmallKitchen presents WHAT IS IMPORTANT IS KEEPING IT MOVING, a one day exhibition in response to a proposition within an artists book fair within an arts festival in Nottingham within unfolding networks of new, ongoing and potential collaborations and exchanges.

Featuring: Jonathan Jones/ The Sticky Pages Press, thwart; Pippa Koszerek, Top 100 and Spoiler(Glossary); C S Leigh, Syntax (London, New York and Tokyo versions); Achim Lengerer, SCRIPTINGS; Jill Magi, SMALL TALK SMALL BOOKS; Tamarin Norwood, Homologue and DO SOMETHING; Onomatopee, A Task for Poetry 1-3; seekers of lice, LOUSE FACTORY, QUOT and dumb show; Red Fox Press, C’est Mon Dada and Franticham’s Assembling Box.

For more information see the VerySmallKitchen site.

Sideshow Artists Book Fair
Today: Saturday 30 October 2010 – 1:00pm – 6:00pm

My most recent post for the blog is here. (See also this post.) The text of this post is copied in full below as it has something in common with the Pigeon Wing project I’m working on.

The person at 298b has only a very small window offering almost no view at all: just the top of a brick wall and a few inches of sky. This is inadequate. At times he feels like staring into the plotless scrolling of people and things you get through proper windows, but there’s nothing to see. The view’s blank.

So at times like these he’s started building the view himself. Read the rest of this entry »

I propose we each carry a purse containing threads with small clips fastened at each end. One end of each thread would be attached to the inside of the purse, and the other would be clipped in passing to objects and people we expect might be relevant later on. Over time we would each amass tens of thousands of these clipped threads, both issuing from our purses and clipped to our person and personal effects by others.

Provided the threads are sufficiently long and robust and numerous, instead of speaking we could physically tug at the things we wish to denote and finally abandon language once and for all.

Admittedly communication would proceed painstakingly. Read the rest of this entry »

Here’s a video of the conducting experiment I put together earlier this year as part of my project Musica Practica.

Conductor Anthony Weeden and I have since collaborated with Patrick Coyle for Getting To The Point, the closing event for SE8 gallery’s Mulberry Tree Press. More about that another day.

Homologue is changing. Five print publications are coming together in a series called TEXT AS.

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VerySmallKitchen‘s Art Writing Field Station returns tomorrow morning as part of the LECTURE HALL: FREE SCHOOL, a festival organized by Edward Dorrian/Five Years Gallery and The Ladies of the Press. More about the festival is here.

Tomorrow’s Field Station will include presentations by David Berridge, Marit Muenzberg, Tamarin Norwood, and Mary Paterson, along with live broadcast by Karen di Franco and the CONCRETE RADIO project.

More about tomorrow’s event is here, with three brief outlines below:

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David and John undertook a simultaneous reading of my Musica Practica text at Reading for Reading’s Sake in April this year. Images and an audio recording of the event are here.

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On Thursday afternoon I went to the South Bank to direct an outdoor performance by a solo orchestra conductor, a role expertly undertaken by conductor Anthony Weeden. My initial ‘direction’ (if that’s the right word) was that the conductor observe the people and things moving around him, and conduct them as though they were an orchestra.

It’s a proposition that’s impossible to literally put into practice, and so his real work was to watch, pre-empt, and very speedily react to whatever goes on around him, so that he appears to be conducting it all.
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Every few months Thane Salon happens. I was at November’s event and presented an early run-through of Genuine Smiles along with Some Things You and I Will Do, the short text I wrote in October last year. Both pieces are now on the Thane Salon website, along with work from others who contributed on the night.