A beautiful job has been done, the exhibition runs until October 31st and is really well worth a visit. Some wonderful and works and installations by some brilliant artists and thinkers. http://hubbubresearch.org/event/rest-discontents/
DATE & TIME 30 September – 30 October 12:00 pm – 6:00 pm
VENUE: The Mile End Art Pavilion Mile End Park, Clinton Road London, E3 4QY United Kingdom
Rest & its discontents, a new exhibition from Hubbub exploring the dynamics of rest, stress, sound, noise, work and mind-wandering. Rest & its discontents explores the dynamics of rest, stress, relaxation, sound, noise, work and mindwandering in an evolving laboratory of moving image, performance, drawing, poetry, data, sound, music and debate.
Rest & its discontents features a video installation of my Soundings project with Wellcome Library. A specially made highlight video, edited by Ed Prosser, shows my works with Maja Jantar, Emma Bennett, Tamarin Norwood and Sharon Gal.
DATE & TIME 30 September – 30 October : 12:00 pm – 6:00 pm
VENUE: The Mile End Art Pavilion, Mile End Park, Clinton Road, London, E3 4QY United Kingdom
A really open, generous, honest and fascinating morning, walking the length of Globe road in East London, from Mile End Road to Bethnal Green. I was so pleased to be leading the walking tour for the Globe Road Festival with Gareth Evans, Elaine Mitchener, Adam Bohman as the commissioned artists, each presenting extraordinary and varied works, from Adam's hand written scores of found language, to Gareth's lyrical poem, to Elaine's heartfelt conceptual poem, read just a stone's throw from her childhood home. The many people in tow, kindly sharing their morning with us, followed on into York Hall, for a small reading kindly arranged by Jonathan Mann, where Richard Scott and Stephen Watts also read. You can find out all the details and watch all the performances here http://www.theenemiesproject.com/globeroad
"A unique live walking tour performance experience, as part of the Globe Road Festival, the Enemies project presents a stroll down Globe Road itself, in the company of poets, sound artists and vanguardists. Stopping four times, at designated places on Globe Road, the artists will present a talk or performance completely original to the walk, in response to Globe Road. With their own lives entwined to the history and culture of this stretch of East London, this will be an original outdoor insight into the most interesting and often underground avant garde artists of contemporary London."
www.stevenjfowler.com/enthusiasm A collection that stands, more than any other before it, to represent something of the entirety, or unity, of what I want to do with poetry, to share my work in such an atmosphere of support seemed appropriate. I have spoken often of what being prolific in publishing poetry means to me, how to it became clear to me after the death of the great poet Anselm Hollo, when I read his life's work, book by book, and realising the synchronicities of my own life and his, how this taught me a poetry book is something much less and much more than I thought it was. It is not a step on a ladder. It is a potential portal to a chunk of my life. And so launching this book, in the beautiful X Marks the Bokship, in Matt's Gallery, in Mile End, surrounded by friends, recognising just how my relationship with Jess & Will of Test Centre is now a friendship, a considered one, I'm sure a lasting one and more than any book, was a resonant moment for me. Moreover, Eleanor of the Bokship, kindly hosting us, had blown the cover of the book up six feet by ten feet and hung it outside the gallery. A massive Memento Mori, fulfilling the purpose of the cover, why I requested it, in huge, bold, glaring clarity. An amazing sight, to walk down a Mile End street to see your book's skull looming in the distance.
Thanks to everyone who came to support me.
In uploading the videos of the 4th and magisterial final act of the Kakania project I waded through all the Kakania webpages to change the tense from future to past. Not too sad a labour as I have stated so often, especially in the light of such an amazing final act, how satisfying the project now seems, how complete.
You can read all my past tenses here www.theenemiesproject.com/kakania
The end, for now. But as Kakania ended with war, perhaps our hopes should be too high. This incarnation of the time certainly ended with a beautiful, graceful, varied and dynamic evening of works in the appropriately resplendent salon-like surroundings of the Austrian Cultural Forum. A night for me personally to appreciate just how extraordinary the project has been, and how much this is owed to the generosity of the artists and the almost unheard of support, trust and enthusiasm of the Austrian Cultural Forum itself. Theodora Danek and her colleagues have been remarkable, and this was a night where I able to thank them.
The final event was not to be a culmination, it was, as each event has been, it's own entity, curated with it's own rhythm and feel, relative to the venue and artists. Yet, there was a natural build towards it. It was built on language works, poets, both new to Kakania and those who have acted as a sort of creative spine to the project, read - Stephen Emmerson so beautifully engaging with Rilke (his son is called Rainer), Colin Herd so brilliantly evoking Kokoschka, George Szirtes born to write about Schnitzler. These poets were complimented with some radically different mediums, Josh Alexander with his abstract film on Paul Wittgenstein, which when screened in the dark of that room genuinely moved me, Fabian Faltin with a conceptual performance on Otto Wagner which was utterly unforgettable and witty and energetic, and finally Ben Morris, a sound art beast, on Ernst Krenek.
The point was to create a specific energy and experience throughout the evening that rested upon complimentary and responsive artforms, artworks and artists. And more than that to show how powerful the connection is in 21st century London to the iconoclasts of early 20th century Vienna. Each work spoke to the next, as together they were far more about the artists through the ghost voices of their Habsburg predecessors, than the details of the individual artworks themselves. It was like all of Kakania, unique, and warm hearted and brilliant.
Strange
it may be but Norwich is a poetry monsterland. The amount of good poets it has
produced, through uea, and its cushy environs, of my generation, is really
impressive / unnerving. A fine place for the last show (?) The town was Norfolk
festivalled – quaint, yokelfest, saw morris dancing. The arts / writers centre
is such a beautiful venue and lovely people throughout its tunnels, had some
lovely exchanges with those people, and ate their food. Everyone on the tour
seemed very balanced, calm, happy with what we’d done, still growing into those
ideas, still critical, but neither nostalgic or overwrought. No worn out
sentiment about the benemothian undertaking of EVP, which has been great and
for me personally a success for all the challenges it posed were new, and I
sucked in loads from those conflicts. Good to know...,
consistently, adapting each night – learning all the time from my tour peers,
the venues, the space, the techs, the producers, the work, the memorising, the
acting, maybe even the audience (though still in general I believe what I
always did – balls at them) Probably the end of this character too, a last dada
hurrah for the retch acorah shaman bear host spine birdkiller.
