Publication as Practice II
A short course on concepts of artists’ publications
This talk series by artists, writers, designers and publishers covers a range of concepts and approaches to artist books and experimental publishing. Speakers include Simon Morris (Information as Material), James Langdon, Nicole Bachmann & Ruth Beale (Performance as Publishing), FormContent, Jaroslaw Kozlowski, Sophie Demay & Charlotte Cheetham. (Open Books)
Events take place on Wednesday evenings between September – December 2014. FREE.
Wednesday 17 September 2014, 7pm
# 1: Learn to Read Differently
Simon Morris (Information as Material)
Talk starts at 7.15pm
Simon Morris examines the relationship between reading and art. He proposes a new method of making art via conceptualist reading performances. This method grafts the aesthetic legacy of Conceptual Art on to various notions of writing (from literary composition to data management) in order to produce materially-specific poems as artworks that have in some way re-read a found object. This is an art of reading things differently. It starts from a premise proved by the impossibility of making purely conceptual art: that art is always aesthetical and conceptual. To that it couples an obsession with language as both material signifier and social activity. In doing so it establishes a mode of making art that asks: What could we write if reading could be a materially productive act of making art? How might a certain kind of reading-as-making problematise the understandings of authorship, production and reproduction ensconced in our cultural industries? Morris’ work celebrates reading differently as a praxis of exploring the elsewhere of what languages and their users can mean and do. Morris is committed to working collaboratively and against all-too-certain counter-productive divisions between contemporary art and contemporary literature. In his presentation, Morris will examine four of his experimental bookworks.
Simon Morris (b.1968) is a conceptual writer and teacher. He is a Reader in Fine Art at the University of Teesside in the UK. His work appears in the form of exhibitions, publications, installations, films, actions and texts which all revolve around the form of the book and often involve collaborations with people from the fields of art, creative technology, literature and psychoanalysis. In 2002, he founded the publishing imprint information as material. He is the author of numerous experimental books, including; Bibliomania (1998); The Royal Road to the Unconscious (2003); Re-Writing Freud (2005); Getting Inside Jack Kerouac’s Head (2010); and Pigeon Reader (2012). He is an occasional curator and a regular lecturer on contemporary art and also directed the documentary films sucking on words: Kenneth Goldsmith (2007) and making nothing happen: Pavel Büchler (2010).
Publication as Practice: http://bokship.org/pap.html
Wednesday 10 September, 7pm
‘I’ve never read her’ book club reading:
Faces in the Crowd by Valeria Luiselli
Published by Granta Books, 2012
For September 2014 we will be reading Faces in the Crowd by Valeria Luiselli.
Valeria Luiselli was born in Mexico City in 1983. Her novels and essays have been widely translated and work has been published in magazines and newspapers including the New York Times, Review, Granta, and Internazionale. Faces in the Crowd is her first novel.
Faces in the Crowd interweaves the stories of a young mother taking care of her children in Mexico City; a younger translator living in Harlem and occasionally sleeping in other people’s apartments; and, several decades before, the letters and thoughts of the poet Gilberto Owen living in Philadelphia and travelling up to New York City to see his children and ex-wife. Each strand is told in the first person, and the three voices entwine and blur. Owen sees a young woman in a red coat through the window of a subway car, which echoes another narrator’s red coat. It’s never entirely clear if the young translator is a younger version of the mother in New Mexico, or someone leading a parallel life. And increasingly, the paragraph-long sections can’t be easily attributed to one narrator or another. All three speakers merge into a nuanced chorus of wishes and regrets, visions and hopes.
Interesting articles and links we found include:
LA Review of Books on Luiselli’s writing
I’VE NEVER READ HER is a book club based in East London. We read short fiction & essays by women, every second Wednesday of the month. Bring a bottle (or not) and your thoughts. Everybody is welcome. We also host screenings and events around the texts that we read. http://iveneverreadher.wordpress.com/
Wednesday 8 October, 7pm
Sophia al Maria – The Girl Who Fell to Earth
Wednesday 12 November, 7pm
Hito Steyrl – In Defense of Poor Image
Wednesday 10 December, 7pm
Caryl Churchill – Cloud 9
Thursday 14 August 2014, 7 – 9pm
LAUNCH OF THE WHITE REVIEW NO. 11
We are happy to announce the launch of The White Review No. 11 at X Marks the Bökship, on Thursday 14 August. There will be readings and/or a performance – stay tuned for more details.
The White Review No. 11 features interviews with artist PHILIPPE PARRENO, novelist PIERRE GUYOTAT and poet ALICE OSWALD. We’re excited to be publishing new fiction by Argentinian author POLA OLOIXARAC, the extraordinary EVAN LAVENDER-SMITH, and RUBY COWLING, winner of The White Review Short Story Prize 2014. Essays are provided by McKENZIE WARK, on the science of climate change, ALEXANDER CHRISTIE-MILLER, on the falconers of the Black Sea, and BASIA LEWANDOWSKA CUMMINGS on a new style of cinema; the featured poets are SOPHIE COLLINS, ROB HALPERN and GËZIM HAJDARI (translated from Italian).
There is a focus in this issue on photography, film and (in the case of Parreno’s work) exposure to light, and we are pleased to welcome the artists SARAH JONES and VICTORIA JENKINS into its pages. NATASHA COX provides the cover. With the editors having retired from writing editorials, a foreword is this time provided by ADAM THIRLWELL.
Wednesday 6 August 2014, 7pm
‘I’ve never read her’ book club reading short fiction and essays by women.
Reading: The Making of Americans by Gertrude Stein
In describing English literature I have explained that the twentieth century was the century not of sentences as was the eighteenth not of phrases as was the nineteenth but of paragraphs. And as I explained paragraphs were inevitable because as the nineteenth century came to its ending, phrases were no longer full of any meaning and the time had come when a whole thing was all there was of anything. Series immediately before and after made everybody clearly understand this thing. And so it was natural that in writing The Making of Americans I had proceeded to enlarge my paragraphs so as to include everything. What else could I do. In fact inevitably I made my sentences and my paragraphs do the same thing, made them be one and the same thing. This was inevitably because the nineteenth century having lived by phrases really had lost the feeling of sentences, and before this in English literature paragraphs had never been an end in themselves and now in the beginning of the twentieth century a whole thing, being what was assembled from its parts was a whole thing and so it was a paragraph. You will see that in The Making of Americans I did this thing, I made a paragraph so much a whole thing that it included in itself as a whole thing a whole sentence. That makes something clear to you does it not.
The Making of Americans: Being a History of a Family’s Progress is a modernist novel by Gertrude Stein. The novel traces the genealogy, history, and psychological development of members of the fictional Hersland and Dehning families. Stein also includes frequentmetafictional meditations on the process of writing the text that periodically overtake the main narrative.
Stein wrote the bulk of the novel between 1903 and 1911, and evidence from her manuscripts suggests three major periods of revision during that time. The manuscript remained mostly hidden from public view until 1924 when, at the urging of Ernest Hemingway, Ford Madox Ford agreed to publish excerpts in the transatlantic review. In 1925, the Paris-based Contact Press published a limited run of the novel consisting of 500 copies. A much-abridged edition was published by Harcourt Brace in 1934, but the full version remained out of print until Something Else Press republished it in 1966. In 1995, a new, definitive edition was published by Dalkey Archive Press with a foreword by William Gass.
The Making of Americans is a 926 page novel. An extract from the start of the novel is attachedwhich we will be reading and discussing at the reading group. The Dalkey Archive Press edition is available to buy here: http://www.dalkeyarchive.com/product/the-making-of-americans/
Artist Lizzie Hughes is proposing a complete reading of Gertrude Stein’s The Making of Americans on Saturday 23 August 3 – 6pm in X Marks the Bökship at Matt’s Gallery. The near1,000 page novel will be divided into approximately twenty sections which will be read out loud, concurrently by volunteers.
I’VE NEVER READ HER is a literature project, based in East London. We read short fiction & essays by women, every second Wednesday of the month. Bring a bottle (or not), something to nibble and your thoughts. Everybody is welcome. We also host screenings and events around the texts that we read. http://iveneverreadher.wordpress.com/
X Marks the Bökship
^ Matt’s Gallery
42 – 44 Copperfield Road
London E3 4RR