Poetry, performance and speech by
Becky La M’eh’rr
& introduction and guidance from Holly Pester
A poet never before hosted in the UK, a travelling artist who may not be fully named, and a performer fresh from a 24hour journey. Join us in celebrating the comedy of their spoken words and their divine proximity.
Shiv Kotecha is a New York poet and the author of EXTRIGUE (Make Now Books 2015), OUTFITS (Troll Thread, 2012) and PAINT THE ROCK (Troll Thread, 2011). Other work can be found at Gauss PDF and elsewhere online. He completes tasks for Collective Task and is currently a Ph.D. Candidate at NYU. Instagram @heyguyhere
Emma Bennett is a performance artist and theorist of (stand-up)comedy, and researching for a PhD in Performance Studies at Queen Mary’s, University of London. She has presented her textual, video and performance work in a variety of contexts across the UK and Europe.
Becky La M’eh’rr is an artist and writer currently based in a small Canadian town. She has published and performed her texts and left piles of her books in Berlin, China, London, New York, Vancouver, Vienna, and probably a few other places that she’s forgotten either through deliberate effort or error.
Saturday 10 October 2015, 5 – 7pm
Reading with hands in pockets – an intercalation by Sophie Loss
Please join us for the launch of Reading with hands in pockets and the opening of new works by artist Sophie Loss on Saturday 10 October 2015.
Reading with hands in pockets is a set of books of one leaf, recto/verso – a synchronic moment on two sides, which have been tucked in amongst Bökship’s stock. These are accompanied by a video piece Posing for Lemoine, and a sound piece of two distinct tracks – one then/or the other. Also on display is a selection of other bookworks by Sophie Loss.
I am the guest you fear. I disrupt your system, I rearrange your shelves, I poke my ears into your stories, I disturb the dust, I meddle with your ideas, I leave inappropriate bookmarks amongst your books…
Sophie Loss’ work reflects her interest and excitement in ‘what if’ situations, occurrences in which one thing meets another, a superimposition that may lead to incongruity.
The bookworks and intercalations will be on display from Saturday 10 October until Friday 23 October 2015.
The cocktail ‘ Reading with hands in pockets’ will be served with a straw during the event.
Please join us on Friday 2nd of October for the Launch of; Schizm Magazine ‘Deluxe’ Issue Eight (Perfect bound issue with colour foldouts, 300 copies)
The theme of Schizm Magazine Eight is; Skeptical Uncertainties (False Truths & Honest Lies)
Contributors; Bob Ajar, Pedro Diego Alvarado, Aureliano Alvarado, Sam Basu, Manuela Barczewski, Iphgenia Baal, John Chilver, Paul Philipp Heinze, Thomas Helbig, Jaakko Juhani Karhunen, Paul Johnson, George Macbeth, Christoph Meier, Sascha Mikloweit, Mocellin Pellegrini, Pages, Tomas Rydin, Adam Rompel, Fiona Sarison, Barry Sykes, Eleanor Vonne Brown, & Markus Vater.
At the launch Iphgenia Baal will be reading from a series of short texts.
Launch of Transactions of the Duddo Field Club by William Cobbing / Friday 25th September 2015, 6.30- 8.30pm
Contributions by Louise Chignac, Beth Collar, Arnaud Desjardin and Jonathan P. Watts.
Design by Fraser Muggeridge Studio.
Transactions of the Duddo Field Club documents recent sculpture, video and performance by William Cobbing that were exhibited at Hatton Gallery in Newcastle, and mima in Middlesbrough. Retrograde images of ancient rock formations are the basis for oversized ceramic book covers of Albert Camus’ Myth of Sisyphus. Monolithic-looking sculptures derive their surface appearance from the anthropomorphic Duddo Five Stones in Northumberland, formed through pressing rocks into heavily grogged clay, a random selection of books then slotted into their surfaces; monuments to inaccessible knowledge and trivia. The book also features a collaborative performance Palimpsest with Beth Collar, a disjointed conversation in which words are scored in a wet clay surface, and are then distorted or erased through the act of continually reworking the surface. Language becomes a tactile experience.
These mystical voices closely resemble that of chanting as if the stones themselves were ‘speaking’ in some ritualistic manner. In fact the montage of fast cuts of the stones in close-up that constitutes the intro suggests something of the anthropomorphic, as if the stones themselves were people or characters in their own right that will come to play their relevant part in this drama between the natural and the supernatural.
Forever friends, Sylvanian Families, sickness and health, fapping away hunched over, biting the nails down — like down to the skin — biting the skin off — a claw from me would be like a stroke with a bundle of retractable erasers. Cheese Strings. Rough granite shits, sheep turds the same, then the standing stones, the rows, the circles, wispy dried grass inserted up the nostril. Abandonment. But in all of it, it was just me there. Self satisfied / fact finding /nonconscious. Beth Collar
A book can be lost and found. A book, used for what it is meant for, functioning in the proper way, is always contingent on the person holding it (reading it?) understanding what it is, the language it’s written in, the way pages make sense in a sequence (left to right, or the other way around), the way it sits with other related books. As a set of signs, from cover to cover, it requires acquired interpretive skills.
The extraordinary marks imbued in the stones is a kind of ur-writing ; they receive their secret inscriptions over geological durations, durations that dwarf the human. ‘There are impossible scribblings in nature,’ he writes, ‘written neither by men nor by devils’. And in these scribbles a viewer might decipher proto-images of anything invented by human visual culture, so that ‘already present in the archives of geology, available for operations then inconceivable, was the mode of what would later be an alphabet’.
Jonathan P. Watts
A special cocktail ‘Airport Lounge Manners’ will be served from the Push Bar to Open hatch bar.
She was walking in the forest repeating herself,
trying to redefine the communication through washing the floor.
But it appears, she mixed up the space
and all she did was to transgress.
While I was there desiring to reclaim,
something had slipped off,
slipped off and made the line blur,
involving and renegotiating the preciousness.
Mind the domestic She said with a high pitch voice
but all I could think about was trespassing into the other.
She was trying to relate,
relate with the body,
but again, she was slipping off while responding to the reproduction
but all she was doing was conflicting herself inside the belief system.
And all this time there was a third person
trying to talk about characterising the purpose
but I was way too distracted longing for the physical touch.
How can you favour the types of communication?
Do you really think there are boundaries of language?
The new artists’ billboard by Merike Estna is on display outside Matt’s Gallery from Friday 18 September and is accompanied in the Bökship by two books from her Pattern Books series along with several one-off artists’ books. The Pattern Books are a series of nine books each consisting 64 original paintings bound into books.
A special cocktail ‘When you drink me up, I’ll be gone forever’ will be served from the hatch bar beneath the billboard.