Goldwater
Please click here to read: Clinton Craig Goldwater
Clinton Craig received his MFA from Western Kentucky University. This fall, he will attend the PhD program at University of Louisiana, Lafayette. His work has appeared in Tammy, Microtext 2 (Medusa’s Laugh Press), and Crow Hollow 19. He is from Flagstaff, Arizona.
Bury me
Bury me in warm memes. Send off the world as it nears its end with shimmering emoji. May the photoshop manicured selfies gird against mortality and the soil of the grave.
Bury me in erasure. Take the tiny porch light flicker of a soul, the algorithm of days, the data nexus of skin and memory. Hurl my eventual end past the dull glow of the cycloptic eye en-masse, the social media collective dulled and spasming with likes and video.
Bury me in the skin of old photos. The tensile way of body first entering cooler water in warm night star ashed or soon to rain. Tuck me away into Polaroids for whatever is to come. May film be bunker. May once exposure, that gently stolen bit of past sun warm as whatever is coming draws near.
A monster with an oversized tie teases world war with 140 characters in the bowels of night. He beckons economic collapse with each foolish childish utterance.
Cover me in the shelter of away, of past, of not here, of not now, please.
Moment
The old online photos were opened and drained for fluids. Waters and drinks came out in tiny portions to be stored. The people made a small sound no one knew film had captured but then it was gone. Some were even words said to whoever the photographer was. Suns burned again for a second and breezes rode out from long past afternoons. The phd student had figured out that a filmic moment was a stilled film be it a second. He also found a way to extract the essence of what was captured after scanning the photos and tying them to a scent and flavor database and algorithm.
The result was at once a beginning and cliff end. One bled of sensory breath images simply were themselves again but the warmth was enough to heat his tired hands before closing the lab door to go sleep.
What remains from the erasure of my short story 4532 oak drive
I wrote a short story, stopped its publication, and have been slowly spreading the short story across banal seemingly utilitarian websites I have created. The concept is can a narrative burst open across the net and still resonate…can the dull web be art? Here are the core websites I made
http://jjhight1.wixsite.com/website
http://jjhight1.wixsite.com/website-3
and a meta video of all that was lost when the initial story was erased:
Jeremy Hight is the author of two books with a third soon. His book “What Remains” (published by Free Dogma Press) is a short story collection composed by taking all tech and sci fi out of sci fi films and taking what remains into prose. His collaborative narrative work once edited live by earthquake data, “Carrizo Parkfield Diaries” is in the Whitney museum artport. He is currently working with Damon Loren Baker on prose that changes based on how it is read. He teaches Creative Writing and English Comp and lives with his soul mate Lisa and his amazing cat Samson.
My Dream of Your Runes
There is rune like a pictograph and rune like a large stone in grass, covered
in pictographs and
I have known both of them now: unrelated twins such as these
could cipher whole universes for me
(although I am dulled to the slight inclines
of asphalt and resting garbage that are
the outside. And I walk as if through a slough; life on earth can be heavy with drag.)
I have an image, lately, whipping in my mind like a pennant: a reminder of what I cannot cease to resist:
It is me and I am on my knees, and I have both arms wrapped around my head, as if expecting
a hail of matter from space,
sudden curtain of jagged rock and cosmic metal.
It is a sort of pictograph, it means,
My Dream of Your Runes.
(A rune can be bone fragment, shard of poem. Brought to rest on corporeal plane,
it means merely token–
some drudged up penny that speaks of simple love, not of darkness, Byzantine and futile.)
But here,
untouched by Iron Age, I could claw strata forever and only hit clay.
I could eat the clay, and call it bread.
There is more darkness around than I care to palpate
(“ It is me and I am on my knees, ”)
and luck is effectively fate’s opposite, especially if, like Gunnhild, you’re being drowned in a bog.
I place her image inside of my body, suspended in cytoplasm;
her bones don’t scrape me.
I see her as pictograph, made abstract by time. As body of text, of
My Dream of Your Runes,
strong, like a saga hero
with blue teeth and unfixed eyes
acknowledging, disregarding, continuing- with
wrathful freedom,
utter sweetness
Allison Hummel is a poet living on the Northeast side of Los Angeles. Previous works include two chapbooks, Beauty State (2013) and Vessels (2016.) She is always amenable to pen pals and collaborations.
Left of the Parthenon
“Left of the Parthenon,” (2015) is a 3D audiovisual installation that symbolically depicts the social and political environment
experienced by the Greeks resulting from the ongoing crisis and austerity. I BIENAL DEL SUR: PUEBLOS EN RESISTENCIA
1st Biennale of South: People in Resistance.
Η Άννα Λάσκαρη γεννήθηκε στην Αθήνα. Μετά από πολυετή διαμονή στη Νέα Υόρκη, επέστρεψε στην Αθήνα όπου ζει και εργάζεται από το 2007. Η Λάσκαρη πραγματοποίησε μεταπτυχιακές σπουδές στο Pratt Institute, Brooklyn, Νέα Υόρκη και παρακολούθησε μαθήματα Video art, Web design και Flash animation στο New School της Νέας Υόρκης. Η πρακτική της συνδυάζει γλυπτική, βίντεο, φωτογραφία, 3D animation, έργα για το διαδίκτιο και άλλες μορφές κοινωνικών δράσεων.
Η Λάσκαρη έχει παρουσιάσει το έργο της σε διεθνείς συναντήσεις συμπεριλαμβανομένων των: I Bienal del Sur: Pueblos en Resistencia, στο Καράκας, Βενεζουέλα (2016), CAPTURE ALL, TRANSMEDIALE/festival, στο Βερολίνο, Γερμανία (2015), 4η Μπιενάλε Σύγχρονης Τέχνης, Μακεδονικό Μουσείο Σύγχρονης Τέχνης, Θεσσαλονίκη, Ελλάδα (2013), The Garden of Eden, Palais de Tokyo, στο Παρίσι, Γαλλία (2012), Suspended Forces και PINK, στη γκαλερί a.antonopoulou art, Αθήνα, Ελλάδα (2013 and 2010).
Πρόσφατα δημόσια έργα περιλαμβάνουν: Athens Report, μια διαδραστική διαδικτυακή πλατφόρμα βασισμένη στο crowdsourcing (2014-2016), …do delay, μέρος της έκθεσης Treasure Island , παραγωγή pick nick projects, Δημοτικό Κέντρο Τεχνών Λευκωσίας, Λευκωσία, Κύπρος (2014), Neue Klarheit, vkunst Φρανκφούρτη, Γερμανία (2012), Εικαστικοί Διάλογοι, παραγωγή του Ίδρυματος Ωνάση, σταθμός μετρό Πλατεία Συντάγματος, Αθήνα, Ελλάδα (2010)
~
Anna Lascari was born in Athens, Greece. After years of residing in New York City, she moved to Athens and has been working there since 2007. She holds a Master’s in Fine Arts from the Pratt Institute in Brooklyn, New York and has study Video art, Web design and Flash animation at the New School in New York City. Lascari’s practice combines sculpture, drawing, video, photography, 3d animation, internet projects, and other forms of social actions.
Lascari has exhibited in international venues including I Bienal del Sur: Pueblos en Resistencia, Caracas, Venezuela (2016); CAPTURE ALL, TRANSMEDIALE/festival, Berlin, Germany (2015); 4th Thessaloniki Biennale of Contemporary Art, Macedonian Museum of Contemporary Art, Thessaloniki, Greece (2013); The Garden of Eden, Palais de Tokyo, Paris, France (2012); Suspended Forces and PINK, a.antonopoulou art, Athens, Greece (2013 and 2010).
Recent public projects include: Athens Report, an interactive Internet platform based on crowdsourcing (2014-2016); …do delay, part of the exhibition project Treasure Island, produced by pick nick projects, Nicosia Municipal Arts Centre, Nicosia, Cyprus (2014); Neue Klarheit, vkunst Frankfurt, Germany (2012); Visual Dialogues, commissioned by the Onasis Foundation, Syntagma Square metro station, Athens, Greece (2010)
Neurose
Presence allows of no third
person, a graphic capsule sui generis
ventures to rose-gold pathological states
done to patient.
Coffrets sans modernist
zigzags & waves still in ignorance pretty
ditsy pattern principle.
But he has something
oppressing him, some secret screams premium:
pastel dread tulle-crafted swaddles
sense organs.
Two-step pleated cortical layers
drawstring the tool, the physiology of ocean-time
cases the law.
Underlying distaste in swoon-
worthy shades, incompatible socially metallic
matchbox embellishment.
Clothe this theory
in other terms: refuse to be directed by his
will, art-over him out of his fears.
Confession
the sinner denounce fake synthetics (think
wallpaper florals in tobacco & forest) boho
philosophy ruffles statement a sacred.
If spiritually naked when dressed lacks
attributes definite, the midriff is the new
shoulder, hold on to this last analogy.
Absurde
Kicking off is a first to the maximum
end something impactful lemonade
lingerie evades
it withdraws pretty
to personally lust
more masculine shape
frills
super sleeves
bathing belles
& constant awareness revived, alert
find out the possible to live
without appeal. A hope's
fraction awakens solely appearances
run superlatives on textural focus
& all that links them together.
Star signs
fashion icons
& whisky ever evived
ever alert is
living on form to the maximum.
Resolutions
the perfect foundation for outfits, feminine
without inner freedom: we lack the power
to make use of that artifice.
The absurd depends before athleisure
burning & frigid, transparent & limited
not-form-fitting universe.
Intellectual malady & utility chic piece
weariness tinged with amazement.
Stage sets a standout stripe, nostalgia collapse
your Parisian zest nothing worth anything
but everything given new lightness for
blush crush comes voidly eloquent
hiatus, O, take the reins.
( ) Foi
Peppercorn pink & amber doctrine
the contemplation – luxury: prove belief
in risk.
Give off
glimmer unattainability
no reality (except plant-based action
life-affirming renewal designed to
energise micellar mauvaise foi.
Solidify intention, alleviate fear.
Features extract bleed, acids & enzymes
this self-deception needn't be a) flesh
coloured or b) drying.
Obligatory obedience
distilled slow, dose-double dewiness
inscribe intelligible heaven. Cupid's
bow the starting point: strobing (layer
omega & moringa) luminous multi-depth
valuerealm, defined & ratified as end-in-
itsherbet – stern optimism.
Disguise reveals anguish itself:
algae trend limits
fantasy/caprice, cell burn-out self-
surpass essence.
In fashioning self, fashion
man – invariable incline to evil. Progress ~
amelioration; man always same.
Stomach’s plein d’air
space above good-karma t-
shirts, boxy & business-like à priori frustration
foredoomed right down to the last cm.
Jazmine Linklater is a poet and writer based in Manchester. Poetry can be found in The Literateur; Zarf; Datableed; Paratext, and a recent essay at The Text Art Archive. Her debut pamphlet is forthcoming with Dock Road Press in summer 2017.
From Book of Shadows.
In your absence I watched escape artists
perform their feats of flight
When I needed escapism
Houdini was not enough
he was called THE HANDCUFF KING
because he got out of them
he said his middle name was Handcuff
he needed chains and straitjackets
to prove that he was free
the night you told me I was shy
I painted what I painted every other night that week
I was trying to make a point about beauty
and what this world does to it
my argument involved a grocery bag
and some graveyard dirt
plus things that were pink
it was a fine idea
but the grocery bag pieces
were too big
and the pink was too pink
dipping into oracles,
the next card I flipped over
was the sorcerer
shown here with a falcon
it means learning magic as a human
being human is lonely
nothing so lonely
as a borrowed city
seen via headlights
nothing so naked
as wearing your blue jeans
and slurping a dick into your mouth
I retraced my steps in a borrowed city
I retraced my steps in a borrowed city
(the drugs were nearly gone / he didn’t get me off)
not a lot of time to build up memories
but every street had a ghost
some of them had four
usually I am into ghosts
these were sadistic motherfuckers
(the drugs were nearly gone / he didn’t get me off)
haphazard city, I was a stranded motorist
in autumn leaves and dusky light
someone could not help me
but he gave me some Oreo’s
I remember kindness
like a red face remembers a slap
borrowed city
skyline made of glass and tall
into your elevators I went
emerging a bitter woman
with a paperback
Erin Lyndal Martin is a poet, visual artist, and music journalist. Her poems have recently appeared in decomP, Cosmonauts Avenue, Prelude, and Gigantic Sequins. She’s on Twitter at @erinlyndal.
Nigerian Prince!
Please click here to watch: Nigerian Prince!
Bruno Ministro (b. 1988, Portugal) is a poet working in the fields of electronic literature, visual poetry and performance. He is also a Ph.D student in the Doctoral Program in Materialities of Literature at University of Coimbra, Portugal. He was part of aranhiças & elefantes collective and he is currently artist-editor in Candonga Project. Some of his recent works can be seen/read/listen/played at hackingthetext.net.
John Morgan’s poems offer a visual engagement with real, imagined or received experience of landscape, place, identity and myth. His writing often responds in situ to the works of other writers and artists, as well as to the land itself and how it receives and ‘writes’ the identity of the person moving through it. His poems have appeared in a glimpse of, The Learned Pig and Reliquiae, but are mostly published on his own website, Visual [writ]/read/[/ing/]: http://users.aber.ac.uk/jpm/visual/words.html
Poem
Mirrored in a mountain river
beyond the browning underbrush,
a blue whistling thrush sets its song
to dusk’s complicated music.
• ● • ● • ● • ● • ● • ● • ● •
Her hand almost covers the sound
hole of the guitar as she plays.
Broken chords eclipse that circle
of distracted breath (not to scale).
• ● • ● • ● • ● • ● • ● • ● •
Today, the oracle foretold
the death of fire. The flames will be
eyeless in the gladdening smoke.
Both modes sew the murder of air.
• ● • ● • ● • ● • ● • ● • ● •
This poem has one character.
We’d need to go all the way back
to Spinoza—maybe further—
in order to find her true love.
• ● • ● • ● • ● • ● • ● • ● •
Groups are algebraic objects
determined by four axioms.
They are sometimes represented
with diagrams called Cayley graphs.
• ● • ● • ● • ● • ● • ● • ● •
For a long time she has wanted
a child. She second-guesses this
sometimes, like anything, but her
doubt is planar—an afterthought.
• ● • ● • ● • ● • ● • ● • ● •
Incised into a one-time pad,
an account of the genesis
of history. The key jangles
on its ring at the bailiff’s hip.
• ● • ● • ● • ● • ● • ● • ● •
The idol lies cold on her palm.
Its metaphorical logic
twists like a balloon animal,
with crossings at faith’s boundary.
• ● • ● • ● • ● • ● • ● • ● •
Astronomers are still puzzled
by Jupiter’s winds; no model
for the Jovian atmosphere
can explain all we see in it.
• ● • ● • ● • ● • ● • ● • ● •
Random walks through the multiverse
with the Mad Hatter can help some-
times, unless she’s just looking for
a quiet place to count her dreams.
• ● • ● • ● • ● • ● • ● • ● •
Definition: we say a group
is sofic if its Cayley graph
is subamenable. Sofic,
from the Hebrew word for finite.
• ● • ● • ● • ● • ● • ● • ● •
She sees the uncanny valley
from the citadel. It’s unclear
why symbolic authority
is twinned in this nuclear dream.
• ● • ● • ● • ● • ● • ● • ● •
Hellfire, plus a philosophy
of affirmation. (Furtive chance.)
Reactions, but not reactive:
the whole bright universe at once.
• ● • ● • ● • ● • ● • ● • ● •
Ineradicable, the swerve,
completely. She stares at the list
of calculations. Completely
ineradicable, she smiles.
• ● • ● • ● • ● • ● • ● • ● •
Schnittke did not have to explain
himself. He was not on trial.
Except when he was. When he was
on trial, he did not use words.
• ● • ● • ● • ● • ● • ● • ● •
She can’t see Jupiter from here.
She builds deep and shallow models
in her dreams, where uncertainty
gleams like wax fruit or red metal.
• ● • ● • ● • ● • ● • ● • ● •
All sofic groups are surjunctive.
This means the Garden of Eden
theorem applies: we can look
for twin states instead of gardens.
• ● • ● • ● • ● • ● • ● • ● •
Her copy of Tristram Shandy
has two folded pages: the black
page for poor Yorick, and the page
where Tristram is finally born.
• ● • ● • ● • ● • ● • ● • ● •
The theologian broke his arm.
He rested it on the surface
of the water while he waded
further out, toward the island.
• ● • ● • ● • ● • ● • ● • ● •
Does she really want to make him
kill the shadow man? Jupiter’s
core accretes from too far afield.
Her questions are becoming gray.
• ● • ● • ● • ● • ● • ● • ● •
Twins are states that map to the same
successor states. Gardens are states
that have no predecessor states.
Twins are much easier to find.
• ● • ● • ● • ● • ● • ● • ● •
She has overheard the March Hare
flinging snowglobes into the past.
The clock tower’s going berserk.
She feeds into it, listening.
• ● • ● • ● • ● • ● • ● • ● •
It doesn’t matter how the truth
is spelled. Field above the warren.
Low grasses. Creeping rootstalks of
turmeric. (Dissimilation.)
• ● • ● • ● • ● • ● • ● • ● •
She holds the seraph in her hand.
The firmament has never felt
this real. Like royalty, she slides
her arm into the filmy sky.
• ● • ● • ● • ● • ● • ● • ● •
Idealizations, then shock.
High Jupiter recalcitrant.
A blighted model theory
of hemlock, deathly recursive.
• ● • ● • ● • ● • ● • ● • ● •
The vacuum throat—malfunctioning—
throws her into ruins built of
marble. A shuffled voice crackles
into the dust of bleak sculpture.
• ● • ● • ● • ● • ● • ● • ● •
In the year 29 CE,
on November the 24th,
a total solar eclipse was
visible near Jerusalem.
• ● • ● • ● • ● • ● • ● • ● •
Her solar wind beckons the font
into new, unworded grandeur.
Without a preconceived grammar,
she is free to remake the voice.
• ● • ● • ● • ● • ● • ● • ● •
Sofia Gubaidulina.
I owe you more than everything.
Sofia Gubaidulina.
Born three years & one month too soon.
• ● • ● • ● • ● • ● • ● • ● •
Emerging from the noisy mud,
the revenant opens her eyes
and reads backwards: her blue hymnal
the softest palindrome in time.
• ● • ● • ● • ● • ● • ● • ● •
The Dormouse cries in his sleep too.
He hides his icons in the fog
of the teapot, hazy with dreams,
yearning like a warm theory.
• ● • ● • ● • ● • ● • ● • ● •
She drank in the immensity
of the heavens and vocalized
a rosebush. Little else took place
after that, except the birth of—
Tom Snarsky teaches mathematics at Malden High School in Malden, Massachusetts, USA. His poems have appeared or are forthcoming in Blackbox Manifold, Jerkpoet, Maudlin House, Eunoia Review, Third Point Press, and elsewhere. He tweets @TomSnarsky and posts work occasionally at http://quarrellary.wordpress.com. He lives in Braintree, Massachusetts.
Theadora Walsh is a digital poet and editor living in Oakland. Her work has been featured in After Image, UnPatient Press, Unbag, Kitsch Magazine, the Electronic Book Review, BabyCastles, and others.
Συναντηθήκαμε με τον Γιάννη Θεοδωρόπουλο με αφορμή την έκθεσή του «Ιερός Άνεμος» στην γκαλερί Έλικα (8 Φεβρουαρίου-18 Μαρτίου 2017) κι ενώ υπολόγιζα να κάνουμε μια συνέντευξη, τα λόγιά του με οδήγησαν στο ποίημα «Αυτή η μέθοδος χρειάζεται έναν χρόνο ξανά και ξανά». Ο Γιάννης μίλησε συνολικά για το έργο του και ανέφερε ορισμένες αναμνήσεις οι οποίες εντάχθηκαν στο κείμενό μου. Ο αφορισμός με κεφαλαία είναι της Jenny Holzer.
Πέρα από τα ντοκουμέντα της ίδιας της έκθεσης, το meta . data δημοσιεύει τρεις φωτογραφίες που τελικά δεν παρουσιάστηκαν στην έκθεση.
ΑΥΤΗ Η ΜΕΘΟΔΟΣ ΑΠΑΙΤΕΙ ΕΝΑΝ ΧΡΟΝΟ ΞΑΝΑ ΚΑΙ ΞΑΝΑ
Δήμητρα Ιωάννου
Τι κι αν το σπίτι είναι πεδίο μάχης; Τι κι αν στο σαλόνι απλώνεται η Σοβιετική Ένωση; Τι κι αν όλοι οι χώροι είναι κύκλωση, στρατηγική κίνηση, αναμονή, εκδίπλωση; Τι κι αν η ντουλάπα είναι κρησφύγετο και ο νεροχύτης απλά ο νεροχύτης;
Τι κι αν το σπίτι είναι σώμα; Τι κι αν το σώμα έχει χαρακώματα, όργανα αναπαραγωγής και όνειρα; Τι κι αν τα δωμάτια προσαρτώνται ένα-ένα στη μνήμη, τους ώμους, την αφή, το στομάχι; Τι κι αν οι προσαρτήσεις μοιάζουν με χειρουργικές επεμβάσεις; Τι κι αν το σώμα ανασκάφτεται συνέχεια για να επιβιώσει;
Προστάτευσέ με. Θα βρίσκομαι στο θερμοκήπιο όπου καλλιεργούνται οι επιθυμίες και το γκαζόν της δεκαετίας του 1970, όπου τα πεύκα είναι το παρελθόν, παρόν και μέλλον και οι ανησυχητικές ιστορίες καλύπτονται όπως το χώμα. Προστάτευσέ με. Θα έρθει η μέρα που το θερμοκήπιο θ’ αποκαλύψει το Χειμωνιάτικο Φως, το μετα-σοκ και τις ρέπλικες. Προστάτευσέ με. Το σπίτι είναι ένα Τυφλό Σημείο όπου ΑΚΟΜΑ ΚΑΙ Η ΟΙΚΟΓΕΝΕΙΑ ΣΟΥ ΜΠΟΡΕΙ ΝΑ ΣΕ ΠΡΟΔΩΣΕΙ.
Τι κι αν το σπίτι είναι παγίδα; Τι κι αν η παγίδα έχει τυφλωθεί από τη βία; Τι κι αν μου ζητάει να τη σώσω; Τι κι αν δεν έχω την ηλικία του θανάτου και της απελπισίας; Τι κι αν τ’ αρχέτυπα σκοτώνουν τα παιδιά τους;
Προστάτευσέ με. Θα κάθομαι στη μέση του πουθενά κοιτάζοντας τη Βόρειο Θάλασσα, στα ασπρόμαυρα πλακάκια του χολ ανάμεσα στα γκροτέσκα και ιερά ψάρια. Προστάτευσέ με. Θα έρθει η μέρα που θα μου ζητήσουν να φύγω αλλά δεν φαντάζομαι τον εαυτό μου πουθενά αλλού γιατί εδώ είναι που συμπληρώνονται τα Ενδιάμεσα Σημειωματάρια. Προστάτευσέ με. Υπάρχουν αλληγορίες στα θεμέλια, δευτερεύουσες εικόνες, συγγένειες στα θηράματα, συγγένειες χωρίς πρωτότυπα, θηράματα χωρίς χώρες.
ΑΠΟΨΕΙΣ ΤΗΣ ΕΚΘΕΣΗΣ «ΙΕΡΟΣ ΑΝΕΜΟΣ» ΚΑΙ 2 ΦΩΤΟΓΡΑΦΙΕΣ:
ΤΙΤΛΟΙ ΕΡΓΩΝ:
1. Άτιτλο, 2015
Untitled, 2015
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 80 x 105 cm
2. Παρνασσός, 2015
Parnassus, 2015
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper , 64 x 100 cm
3. Τα Ομοιοπαθητικά, 2015
Homeopathic Remedies, 2015
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 42 x 54 cm
4. Σκυριανό Καρεκλάκι σκεπασμένο με Ιερό Άνεμο, 2015
Skyrian Chair covered with Sacred Wind, 2015
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 48 x 68 cm
5. 501, 2015
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 82 x 105,5 cm
6. Xειμωνιάτικο Φως, 2016
Winter Light, 2016
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 59 x 105,5 cm
7. Tοπίο στο Σχινιά σκεπασμένο με Ιερό Άνεμo, 2016
Landscape in Schinias covered with Sacred Wind, 2016
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 46 x 65,5 cm
8. Ουράνια Γλυκήτητα, 2015
Heavenly Sweetness, 2015
εκτύπωση inkjet σε χαρτί fine art / inkjet print on fine art paper, 29 x 36,5 cm
3 ΦΩΤΟΓΡΑΦΙΕΣ ΠΟΥ ΔΕΝ ΠΑΡΟΥΣΙΑΣΤΗΚΑΝ ΣΤΗΝ ΕΚΘΕΣΗ «ΙΕΡΟΣ ΑΝΕΜΟΣ»
Tophet, Yiannis Theodoropoulos.
Ludwich, Yiannis Theodoropoulos.
Seol,Yiannis Theodoropoulos.
Instead of republishing a source text in the beginning of this issue, as we usually do, we republished some links to interviews, news, images and articles that reflect the political becoming of our times.
Contributors found their words-links in an Angela Davis interview, the discussion between Bjarke Skærlund Risager and David Harvey on the political nature of neoliberalism, the articles Political Vernaculars: Freedom and Love by Keguro Macharia, Sisters Uncut ‘Reclaim’ Empty Council Home And Transform It Into Community Centre and The art of war: Deleuze, Guattari, Debord and the Israeli defence force by Eyal Weizman which was added to the list by Joey Frances, and the video Refugee crisis: Sea Cemetery which pays tribute to the Syrians who drowned trying to reach Europe. The following image found on Twitter was also a source of inspiration:
The Politics Issue features works by the poets, and artists Maria Andreou, Vahni Capildeo, Anargyros Drolapas, Joey Frances, Antonis Katsouris, Iordanis Papadopoulos, Tom Snarsky.
Opportunities
words-links: “dominant political vernaculars,” “announce a conversation about politics,” “the plan was to saturate as many spaces as possible with that vernacular” from “Political Vernaculars: Freedom and Love.” & “I’ve always treated neoliberalism as a political project carried out by the corporate capitalist class as they felt intensely threatened,” “counterrevolutionary project” from “Neoliberalism is a political project.”
I was born in Limassol, Cyprus in 1989. I moved to Paris in 2007 where I studied Design and Applied Arts and then to London in 2010 to focus on a BA (Hons) in Fine Arts. My practice is of a multidisciplinary nature that evolved with the use of drawing, performance, print, time based media and language. www.mariaandreou.com, www.twitter.com/conceptualsens
SINCERE
From Etymology for British Voters
lit up with it:
sincere: sin wax
hot strips applied
rip out: without
wax or harvest:
sincere: counting
prived of zeroes:
since when since year
zero: limits
drip and take form:
face it: sincere:
pareidolia
scalding water-
fall: as if sinc-
is compounding
saxon before
this time rings break
for giving out:
he who gives out
must be in charge:
sincere: not these
romance roots: clean
unlike a lung
A NATIONAL LITERATURE
Poltergeist in the flat of the page,
s/he may be laughing & crying
as they write this.
You have no means of knowing.
Their oily fingers
burn like wicks; what they wear is white;
cloud conditions
appear sewn & sown; grey aircraft
could be stitching
your sampler house to the sky
you have no means
of knowing.
You have been sticking
postage stamps to trees;
would that go somewhere if you could
wait – your cult is
the messenger as message; you
hope to interest
the forest in a system of rebuke,
as they write this
in rooms where corners resemble
handbells; emulsion
came out of tins like mid-air milk,
staying hanging
till you notice between the lines
someone weeping,
weeping & being beaten;
there is always,
even between the lines that speak
of breaks & brakes,
always someone
else who was present in writing –
when you thought you
knew – who you thought you were reading –
no means – in the garden singing
word-link: “in” from Sisters Uncut.
Vahni Capildeo is a Trinidadian-British writer whose five books and two pamphlets include Measures of Expatriation (Carcanet, 2016) (shortlisted for the Forward Prizes Best Collection), Simple Complex Shapes (Shearsman, 2015) and Utter (Peepal Tree, 2013). She holds a DPhil in Old Norse and is interested in multilingualism, creative reworkings, and the boundaries between the human and the natural. Her collaborative work on performance and installation includes responses to Euripides’ Bacchae, ‘Radical Shakespeare’, and Martin Carter’s revolutionary writings from Guyana. The Harper-Wood Studentship (St John’s College, Cambridge) supported her travel for research during 2015-16.
aglimpseof.net 