Kika Kyriakakou

from the collage series A Room of One’s Own



Kika Kyriakakou has been working as an Arts Project Manager, a Communications Director and an Arts Writer and Editor for almost 10 years (BA, Msc). She is an ICOM Member, the Collection and Exhibitions Manager of PCAI and the Artistic Director of the PCAI Residency, supervising all the arts and education related projects of the organization and undertaking its international expansion and promotion. She is also contributing as an Arts Editor with articles on new media, film and contemporary art in the Artnews newspaper (Greek edition). She has organized and curated various film festivals, screenings events and exhibitions related to moving image, contemporary art, sustainability and fashion partnering with ART21 NYC, Loop Discover and Kunstlerhaus Vienna amongst others. A self-taught photographer and videographer, she is particularly interested in urban imagery and gender history.

Η Κίκα Κυριακάκου έχει εργαστεί ως Arts Project Manager, Communications Director και Arts Writer and Editor για σχεδόν 10 χρόνια (ΒΑ, ΜSc). Είναι μέλος του ICOM, Collection & Exhibitions Manager του PCAI και Καλλιτεχνική Διευθύντρια του PCAI Residency, έχοντας αναλάβει την επίβλεψη όλων των καλλιτεχνικών και εκπαιδευτικών προγραμμάτων του οργανισμού, και τη διεθνή επέκταση και προώθησή του. Είναι επίσης, συντάκτρια στην εφημερίδα Τα Νέα της Τέχνης όπου αρθρογραφεί για τα νέα μέσα, το φιλμ και τη σύγχρονη τέχνη. Έχει οργανώσει και επιμεληθεί διάφορα φεστιβάλ ταινιών, προβολές και εκθέσεις που σχετίζονται με την κινούμενη εικόνα, τη σύγχρονη τέχνη, τη βιωσιμότητα και τη μόδα σε συνεργασία με το ART21 NYC, το Loop Discover και το Kunstlerhaus Vienna, μεταξύ άλλων. Ως αυτοδίδακτη φωτογράφο και βιντεογράφο την αποσχολούν ιδιαίτερα η αστική τοπιογραφία και η ιστορία των φύλων.

kikamod.tumblr.com

Hiromi Suzuki

Foreboders

 

hiromi suzuki is a poet, novelist and artist living in Tokyo, Japan. She is the author of Ms. cried, 77 poems by hiromi suzuki (Kisaragi Publishing, 2013), logbook (Hesterglock Press, 2018), INVISIBLE SCENERY (Low Frequency Press, 2018). Her works have been published internationally in poetry journals, literary journals and anthologies. Web site: http://hiromisuzukimicrojournal.tumblr.com Twitter : @HRMsuzuki

John Morgan

“Take the Witches’ Path out” is a kind of memento mori infused poem, that shares coincidental geometries and spatialisation – and its own dark obsessions (chromatically subverted) – with the third painting in Damian Hirst’s triptych “The Meek Shall Inherit the Earth” (2008), from his No Love Lost: Blue Paintings collection (2009). Hirst’s painting depicts a human skull and the skeleton of what appears to be a shark’s open jaws. Faint angular lines trace desire paths that draw the viewers’ gaze, suggesting pathways through which the swimmer may pass, to escape or to capture – all the while knowing that any such liberty is only fleeting.

“Take the Witches’ Path out” in itself is based on a three card tarot reading, in situ, to ascertain the fortunes of two prisoners who escaped from San Marino’s jail in August 2018. Its eccentric layout starts in the middle: the Centro Storico, San Marino’s old mountain-top city centre and location of its jail. The prison is a small collection of cells in a wing of the Capuchin Monastery, just outside the city walls. We witnessed the roadblocks, dawn paraglider and helicopter reconnaissance missions and the barking of police dogs through the night in their efforts to stop the prisoners crossing into Italy. Through scant news reports online we found out that these were the only two prisoners currently held in the jail.

The questions and tarot readings are set in Aubrey and the verse text is set in Sans Forgetica, a new Creative Commons font developed by RMIT in Australia, which has proved to aid memory when reading, through the now-you-see-it-now-you-don’t spaces placed in the characters. The font was chosen for “Take the Witches’ Path out” to follow the movements of the seemingly invisible prisoners and our own recurrent sightings of the same guards along Passo delle Streghe, the forested, cliff-top “Witches’ Path” between two of the three towers of central San Marino. Darker, more esoteric and mythopoeic practices are also referred to from The Dictionary of the Khazars (1989) by Milorad Pavić. All colours are extracted from photographs taken between the towers and the colours of the card readings are “quoted” from the ‘La Corte dei Tarocchi’ by Anna Maria D’Onofrio.

References
D’Onofrio, Anna Maria, ‘La Corte dei Tarocchi’ [Tarot cards] (Milano: Il Meneghello, 1999)
Hirst, Damien, No Love Lost: Blue Paintings (London: Other Criteria, 2009)
Hirst, Damien, ‘The Meek Shall Inherit the Earth’ [Oil on canvas] At: http://www.damienhirst.com/the-meek-shall-inherit-the-ear (Damienhirst.com, 2008)
Pavić, Milorad, The Dictionary of the Khazars (New York: Vintage International, 1989)
Sans Forgetica is available under Creative Commons CCBYNC licence from https://sansforgetica.rmit

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

Joshua Smith

Work by Joshua Smith can be found in Angry Old Man Magazine, The Gravity of the Thing, and the Grolier Poetry Bookshop.

Maria Gergoula, Ian Whitfield



A Critique of Water

Georgoula Whitfield | A Critique of Water

A Tunnel and_or a Bridge

Georgoula Whitfield | A Tunnel and_or a Bridge

Dignity Contained in Tents

Georgoula Whitfield | Dignity Contained in Tents

Habit & Form

Georgoula Whitfield | Habit & Form

Sync

Georgoula Whitfield | Sync



Maria Georgoula’s practice explores notions around apathy and the banal through sculptural works that merge soft form with objects extracted from diverse contexts such as garden and DIY centres in the UK, early surrealist writings and decorative traditions. For a number of years Georgoula has also run the Nauru Project, an online collaborative project on the smallest island nation in the world. Selected solo and group exhibitions include Tinos Quarry Platform, Tinos, Greece; Embassy Gallery, Edinburgh; Daily Lazy Projects, Athens; Eleftheria Tseliou Gallery, Athens; The Showroom, London; Bloc Projects, Sheffield; Rogue Artists’ Studios Project Space, Manchester; Open Eye Gallery, Liverpool; Circuits & Currents, Athens; New Court Gallery, Derbyshire; The Institute of Greek Contemporary Art, Athens and ReMap KM, Athens. Georgoula lectures at Nottingham Trent University and lives and works in the Midlands, UK and Athens, Greece.


Ian Whitfield lives and works in Derbyshire and studied Fine Art at Goldsmiths, English and European Literature and Art History at the University of Essex and Painting at the Royal College of Art. His work involves painting, drawing and writing. He has exhibited at the Drawing Room, Large Glass, Josh Lilley Gallery and the Blyth Gallery in London, Rogue Studios in Manchester, New Court Gallery in Derby, the Wirksworth Festival and in God and Sausages in Athens. His residencies include Cité Internationale des Arts in Paris and the RCA Mann Painting Travel Scholarship. His research topics have been Narrative Perception in Painting and The Uses of the Invisible. Other recent writing includes literary reviews for Art Review Magazine, a prose piece for a James Wright catalogue called The Garden Behind, a long poem Our Minds are Normal for the exhibition Gorilla Split by Maria Georgoula and a pamphlet of poems called The Architect (2017). He has been a visiting Lecturer at Derby University, Leeds College of Art and Design and Manchester Metropolitan University and is currently completing a collection of stories called Fake Blues.

John Morgan




John Morgan Dagesh


John Morgan LettersFromPlaces


“Dagesh” is a very inauthentic view of living with Alzheimer’s, as it’s impossible to know how a person is experiencing memory, time and communication. The dagesh–the dot within the three sided Hebrew character (בּ)–as an unpronounceable symbol in its own right, is said to be an initial punctuation mark, rather than a final one (from Attention: A Short History by Joshua Cohen, Notting Hill Editions, 2013). Here, it is a mark given before the end that suddenly impacts the ability to communicate in a sequence the person has always been familiar with. The brackets being the erasure of identity of self and others that is so heartbreaking to see. The colours are all from flowers in the gardens where my Mum is living.

“Letters from places that forgot to exist” is inspired by an old stamp album found on a bookshelf where my Mum is. It listed Heligoland as a British territory, which I knew nothing about. It was ceded back to Germany in 1890. The interesting fact is that Werner Heisenberg formulated the uncertainty principle there, which states that the more precisely the position of a particle is known, the less precisely its momentum is known. Again this is a play on the movement of words between lines and parentheses, with the extracted words now bigger than the space they came from, pulling the eyes and attention in different directions, to be repeated at the bottom of the page in what seems like the “right” (distorted, wave-like) sequence, but is not. But who could say what the right sequence is? There is no temporal or linear sequence in the memories of an Alzheimer’s person*, as past and present collapse in on each other in a blending of real and imaginary. The faded colours are all from stamps and faded, yellowed pages in the album, with the pink and dark green being the colours of Heligoland.

* “Alzheimer’s person”: I learned that wording from the nursing faculty at a research hospital in Bangkok where I taught writing for nursing science research to their MSc students in 1998-1999. They used the word “person” very deliberately for people with AIDS, to avoid any sense of making them the victim, or to encourage families and society to not lay the blame on them for their condition. We live in an age where we pity people with such conditions, but some of the reveries that Alzheimer’s people have are really quite remarkable.



John Morganis a visual intermedial poet, who spends many hours walking in the mountains of Wales and other places, such as Laos, where “Each Field an Instant Haiku” is set. Each walk writes the landscape, histories, mythologies and people of these places, or perhaps each of these writes the walk. His poems appear in a number of editions of a) glimpse) of) and also in Corbel Stone’s Reliquiae journal and online digital supplement (Vol. 4) and in the Learned Pig’s “Wolf Crossing” editorial. The majority of his landscape-based works are available at his own website, Visual [writ]/read/[/ing/]: http://users.aber.ac.uk/jpm/visual/words.html

Florence Sunnen




Florence Sunnen is a collagist and short story writer from Luxembourg City. She spent five years as a postgraduate at the University of Warwick, where she recently completed an MFA project. Her work draws from her multilingual upbringing, and searches for a middle ground between creative writing and philosophy. Currently, her favourite poet is Claudine Toutoungi. Florence’s work has appeared in Datableed and The Learned Pig. She lives in Coventry, UK.

DAVID FELIX

Phylum






Bell rung




Ampersand





David Felix is an English visual poet who lives in Denmark. For fifty years or so his writing has taken on a variety of forms, in collage, three dimensions, in galleries, festival performances and video and in over thirty publications worldwide, both print and online. Born into a family of artists, magicians and tailors he still maintains a professional working relationship with a life model, the materializing lady and a fitting assistant.

JOHN MORGAN

John Morgan Ararats Gaze



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

JOHN MORGAN



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

MARIA ANDREOU

Opportunities

MariaAndreouOpportunities

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

Iordanis Papadopoulos

On the march



IPapadopoulosOntheMarch


words-links: “the art of war” from “The art of war: Deleuze, Guattari, Debord and the Israeli defence force” by Eyal Weizman

On the March is based on Sun Tzu’s Art of War, an ancient Chinese military treatise dating from the 5th century BC.



Iordanis Papadopoulos’ (b.1976, Greece) recent poems can be found in the following online and printed literary magazines and books: Futures: Poetry of the Greek crisis (Penned in the margins ed., 2015, UK), FRMK (iss.2, GR), Boscombe Revolution (iss.1, UK), POIITIKI (iss.10, GR), aglimpseof (iss.11,12, GR), Literaturen Vestnik (BG), M58 (UK). Bras de Fer (2015, Gutenberg ed., Athens) is his second book of poetry. He is a member of the live art group “KangarooCourt”.

John Morgan Not Without

Words-links: membrane, geography, turbulence, dead

Word-link chosen by Ann Matthews for her poem Estuary: turbulent

Between Us (after Jack Pierson), 2014

by Antonis Katsouris

AntonisKatsourisAgain

AntonisKatsourisLust

λέξη-σύνδεσμος: φοίνικες

words-links: palm trees