A note on : Timelapse at Kielder Forest

TIME-LAPSE / Kielder Art & Architecture commission / 2020

I have been really happy to work with my friend and collaborator David Rickard, an extraordinary artist, over the last year or so, developing a new poem / text about time, to be installed in his Timelapse artwork, soon to be installed in Kielder Forest. More on his piece “Combining dendrochronology and Time Dilation Theory 'Time-lapse' will form a spatial and temporal way-finder within the forest, joining the collection of sculptures and buildings at Kielder by James Turrell, Tania Kovats, David Adjaye and many others”

The sculpture contains my text on its floor and ceiling, read above and below the people who walk within it and will be revealed to the public in 2020. http://www.david-rickard.net/ and more on Kielder http://www.visitkielder.com/

A note one : my one-hour solo performance in Vilnius

Why give me an hour? Why give anyone an hour? It’s weird how everytime I say yes to things like this I forget how exhausting they are. How much they wear you down, waiting, and thinking. Especially when I try to keep things, in the last few years, as open ended, spacially responsive and improvised as possible. I ended up creating a kind of narrative story of different things, trying, I suppose, to set up the concept I was trying to get people to get to know me, while then turning on that ‘authenticity’ with constant, menacing and non-menacing swings.

I first talked, then did an impromptu Q&A, then did some puppetry with a mole, then read poems I pretended were new but were Lithuanian poems put through google translate, then read cinema poems, then destroyed a book and gave it out, then showed a poetry film, then went outside and banged on the windows while they watched with my head, then played with a dog, then played some drums that happened to be there, then lay down, then read a collaborative poem with host Ausra Kaziliunaite, then did sound poems with the names of Lithuanian poets. I was knackered. / Some amazing pics below by Paulius Zizliauskas

_DSC6381-3smaller.jpg
_DSC6557.jpg
_DSC6411-2.jpg

A note : The Vilnius Camarade and collaborating with Zygimantas Kudirka

I was asked by the brilliant Ausra Kaziliunaite to curate a European Camarade during the Paviljonas Book Festival in Vilnius this past November 30th 2019.

It was mostly visiting poets and Lithuanian poets, and the latter, those of the contemporary Lithuanian scene, are amazing. It’s a cracking time for interesting poetry in the Baltic in general, but especially in Vilnius. And friends from Russia, Latvia, Romania came too.  

All the videos are here, worth checking out https://www.europeanpoetryfestival.com/vilnius

20191130_210754.jpg

I had the chance to collaborate with poet music monster Zygimantas Kurdika. I met him in London performing a few years back and his work is completely unique and brilliant. We improv’d hard and just had 36 questions for each other, trying to expose our psychologies to the people foolish enough to attend.

Published : four unfinished memmoirs brut poems on GANGAN

gangan-logo-2020-reversed.png

GANGAN is a powerhouse journal from Austria that has made it to 50 editions. This special edition, entitled the Future of Literature, has been edited by Max Hofler and features four of my poem brut visual poems, taken from my book ‘Unfinished Memmoirs of a Hypocrite’ published by Hesterglock Press.

https://www.gangan.at/50/sj-fowler/

The issue is extraordinary, Max has compiled work by some of Europe’s most interesting writers including for example check out Simona Nastac and Olga Stehlikova, or Max Höfler | Konstantin Ames | Thomas Antonic | .aufzeichnensysteme | Iris Colomb | Ann Cotten | Crauss. | Brigitta Falkner | Frédéric Forte | Natascha Gangl | Mara Genschel | D. Holland-Moritz | Zuzana Husárová | Maja Jantar | Benediktas Januševičius | Mark Kanak | Ilse Kilic |Barbi Marković | Robert Herbert McClean | Alexander Micheuz | Nick Montfort | Fiston Mwanza Mujila | Simona Nastac & Olga Stehlíková | Jörg Piringer | Tomáš Přidal | Robert Prosser | Stefanie Sargnagel | Bernhard Saupe | Clemens Schittko | Ulrich Schlotmann | Stefan Schmitzer | Martin Glaz Serup | Muanis Sinanović | Dieter Sperl | Ulf Stolterfoht | Kinga Tóth | Mathias Traxler |

A note on : Writers Centre Kingston - Memento Mori

https://www.writerscentrekingston.com/#/mementomori/

The Writers’ Centre Kingston program this year has been really so excellent. I made some curatorial changes, to bring the emphasis from visiting speakers to shorter readings with more locally based writers, and push the themes. It’s worked. Every event has been full and with a palpable sense of innovation, range and community. This was a remarkable one in the Museum of Futures, with 10 of us responding to the concept of the Memento Mori. All the videos are here.

My own piece was a slight repeat, from a performance I did once also for Kingston folk. I listed three times, from the top of my head, where I thought I had nearly died. I said to everyone at the end, they were all lies. In fact, that was the lie, said on the hoof because I wanted to sound cool. They are all true, I think.

Published : ENTHUSIASM -a film (with Noah Hutton)

Enormously generous of the brilliant Hotel Magazine to host, and premiere, my film made with Noah Hutton (Noah made the film, edited it, and I think conceived it. I wrote it, starred in it, and watched im work, to learn) https://partisanhotel.co.uk/Noah-Hutton-SJ-Fowler

A short film—a transatlantic cinematic collaboration produced as part of The Hub residency at Wellcome Trust—Enthusiasm draws on new techniques in analyzing internal monologues and self-consciousness used by contemporary neuroscientists. Utilising the possibilities of cinema to reveal the conflicts of inner and outer narrative, how our internal and external languages collide, the film features improvised and acted scenes alongside voiceover techniques, to juxtapose that which is said and that which is thought. The text featured below is the latter.

Misophonia, literally “hatred of sound,” is a rarely diagnosed disorder, commonly thought to be of neurological origin, in which negative emotions (anger, flight, hatred, disgust) are triggered by specific sounds. The sounds can be loud or soft. There are ex-votos, or acts of faith, all probably in intentional or symbolic order, with each scene occupying its hierarchical place, and what’s more, each subject, each human figure, rendered in a predetermined size and scale in accordance with some stray, subtle meaning. What is the meaning? That to correct ourselves we must be honest with ourselves. We must admit our desires in order to resist them. This might not seem possible at first. To admit to the harm we might want to do. Because everyone else seems so still. Of course, many are, frozen, fixed—never connected enough to gain motion or momentum. But so often, being too tired, or not methodological enough, we visitors hurry on, distracted, through the zoo. A touch of fingertips on an exposed forearm, a hand resting flat upon a back. Eyes, widely staring, invitational, being taken seriously. The underlying attraction to individuals who are brighter than us, more intelligent, but who are at the same time at a genetic disadvantage—utterly malleable through the lottery of genes. Once you’ve got them to touch you, your arm, your neck, your hair, then it tends to be chance has had its moment, and the endless search for control has found its mark. Can this kind of mechanism be as satisfying if it isn’t built on an assumption that everything is founded upon chance operation? Visions of perfect relations, spaces beyond words. A couple, you and the famous actress, neuroscientist, friend, lithograph, hologram. The last minute is her smiling, correcting the vocal fry register, and the whole abstinence movement of America. You can see, if you watch closely, the dying possibility of a deeper link.

The film being published / premiered / hosted by Hotel is the second of their very generous features on my collaborations to help share word of my selected collaborations NEMESES with Haverthorn press https://www.haverthorn.com/books/nemeses-selected-collaborations-of-sj-fowler-volume-2

A note : Beastings, released

a4099572763_16 (1).jpg

EP Beastings is out on Pretty Purgatory Records. 
order limited edition CD&Chapbook or cassette HERE
also on Spotify and wherever else music streams.

release show December 14 in Splendor with extra super special guests.

Go here please, have a listen https://prettypurgatory.bandcamp.com/album/beastings

You can now order digital, CD, Cassetter or CD & book of mine poems in them, of the album Diamanda Dramm has made of my text/poems.

You can now pre-order digital, CD, Cassetter or CD & book of mine poems in them, of the album Diamanda Dramm has made of my text/poems. CD with accompanying 29-page poetry chapbook featuring lyrics and expanded poems by SJ Fowler, published by Sampson Low LTD (London, England since 1793).
Includes digital pre-order of Beastings. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released.

A mention below from the All Around Sound website -

"Amazon", the second single from Dramm's forthcoming album Beastings, immediately hooked me with is juxtaposition of opposites - Dramm's vocals are light and airy against at first an effect not unlike a sliding trombone, and then a mounting cacophony of Dramm caresses Fowler's texts holding them firmly aloft above them to set the mood but also to leap out among the fray of otherworldly sounds Dramm is somehow able to weave from her violin. Fowler's texts are elusive, weaving paths of serpentine grace as Dramm's accompaniment blooms forth, both occasionally dealing glancing blows at they intersect at just the right moments. "To be inside a background noise of a thing I don't possess" Dramm sings, accented by a rumbling low end. / "Amazon" is an excellent piece of songcraft - multitudinous in sound and meaning, a luxurious unfurling reverie that's both delightful simple and awe-inspiringly complex. It's a testament to Dramm's compositional prowess that she's able to craft such a lush backdrop of infinitely rewarding instrumental flourishes that doesn't distract from the simplistic but elusive beauty of Fowler's text.

A note on : Performing with Phil Minton & Eley Williams at Conway Hall for Small Publishers Fair

A brilliant way for me, personally, to end a wonderful experience, as it always is, at the Small Publishers Fair, brilliantly run by Helen Mitchell. So many people in Conway Hall over these two days are friends or people who have actively supported my often quite distinctly uncommercial work. They do so generously and often against their interests, I think, so I see these fairs as an opportunity to thank them. I always try to visit every table, meet as many new people as possible, and say thanks to those I know, and buy books. This year I had the chance also to have the last launch of my selected collaborations, NEMESES, with haverthorn press, by collaborating with my friends and peers I admire, Eley Williams and Phil Minton, both of whom are in the book naturally. I felt quite content, liking them so much, and liking the fair, and conway hall, to have the chance to do this, and I also realised that what I felt was that it is something that I can transition from a literary reading with Eley rooted in her wit to a fully improv free music vocalisation sound poetry piece with Phil, quite comfortably. In fact, perhaps my work is the space between those two things, both powerfully and obviously literary and poetic to me, but on the surface, for the poor audience, clearly radically different.

A note on : Test Centre exhibition at Small Publishers Fair

{Enthusiasm}.jpg

Happy to be featured in this exhibition celebrating Test Centre http://smallpublishersfair.co.uk/test-centre-small-publishers-fair-exhibition-2019/ “The Small Publishers Fair exhibition 2019 features Test Centre publications and is curated by Jess Chandler.

Test Centre Publications, an independent publishing house and record label based in Hackney, London, was run by Jess Chandler and Will Shutes from 2011 to 2018. Test Centre’s varied output ranged from spoken-word vinyl LPs to debut poetry collections, experimental fiction, anthologies, interdisciplinary projects and an annual magazine of new writing, Test Centre. / This exhibition looks back at Test Centre’s publishing history, from early limited edition pamphlets, prints and vinyl LPs with Stewart Home, Chris Petit and Iain Sinclair, and the first issues of its magazine, following the growth of Test Centre’s output and reputation into an innovative and independent publisher of poetry, fiction and interdisciplinary and collaborative projects.  https://prototypepublishing.co.uk/2019/10/01/small-publishers-fair/

A note on : Poem Brut for the 12th time was great weird

The poem brut was as it always seems to be, teeming with new people and ideas in a space and place that felt communal and generous but where proper intense and weird work was shared with a seriousness and play in balance which i am proud i somewhat curated. See all the videos and they are worth seeing www.poembrut.com/richmix

and I launched my NEMESES book again but this time alone, or self-partnering, until a mole helped me.

A note on : Nemeses launch at York University

Generous of York University and JT Welsch to host a launch of Nemeses, my selected collaborations from Haverthorn press, https://www.haverthorn.com/books/nemeses-selected-collaborations-of-sj-fowler-volume-2 which was basically an hour long meta-performance with meself and Colin Herd, Prue Chamberlain Bussey, Harry Man, Tom Jenks and Nathan Walker. All these brilliant poets and artists are in the book, of course, but Harry Man was the anti-host, bewildering students with interruptions, and then the collaborations ranged from gift giving ceremonies to neverending introductions to sound poems to makeup application. It was weird and good. And we finished with a Q&A, which was actually lovely. We then all departed for dinner, after washing our faces. A lovely experience, as I always have when reading in York.

20191106_185050%280%29.jpg

A note on : performing with Joseph Turrent and Karen Sandhu for Nemeses launch

The second NEMESES launch, this time in Kingston upon Thames, performing collaborations with two contributors collaborators Karen Sandhu and Joseph Turrent. Two very contrasting performances, one about parasites and my live death, and the other about oranges, and perspective, and jars, and my live death.

A note on : Christodoulos Makris & others on NEMESES

http://yesbutisitpoetry.blogspot.com/2019/11/nemeses-by-sj-fowler-collaborators.html ….

Steven writes: "It is always in compiling Nemeses that I really realised how many collaborations I have undertaken in the five year period the book covers. It presents excerpts of full collections alongside works made specifically for Nemeses. It draws from full feature films, exhibitions, commissions, installations and poems made for performances around the world. The book is finished with an essay which details, in basic terms, how it was constructed and what my thinking has become around poetry and collaboration."

Our text for 'The New War Machine' is edited from transcriptions of two semi-improvised collaborative performances enacted as part of the Arts Council-supported Yes But Are We Enemies project and 10-day tour of Ireland and London that I produced and co-curated with Steven in 2014 - the performances in question happening in Galway Arts Centre on 21 September and Rich Mix Arts Centre, London, on 27 September of that year.

Additionally, I'm proud to have played some part in a producing, curatorial or editorial capacity in bringing about or supporting some of the other collaborations featured in Nemeses: 'Subcritical Tests' with Ailbhe Darcy began at Yes But Are We Enemies and culminated in a book-length project which then became the first Gorse Editions title we published, in 2017; 'It Is What Is Love / It Is What Is Hate' with Rike Scheffler is also forthcoming in gorse No. 11; 'Beastings' with Diamanda Dramm is the result of a collaboration that began after Steven and Diamanda met at Phonica: Eight in March 2018 (where they performed storming individual sets) and with a full album release forthcoming later this month; and 'The Irish Character Study' with Billy Ramsell was conceived & performed as part of Yes But Are We Enemies.

You can read Steven's introduction to Nemeses on the gorse website. The book is available to buy from HTVN press.

Published : Nemesia #7 on Wazogate with Patrick Savolainen

EIhLCmZX0AAtvqT.jpg

Very happy the 7th of my series of new european collaborative poems published by spanish online interface magicland has emerged. Written with the swiss poet Patrick Savolainen

https://www.wazogate.com/questions-of-neutrality/

Do you journey for work, or for leisure?
You think, inevitably, about how simple the world would be if you could separate the two.
And then it occurs to you
you no longer know what the latter means.
Leisure. It sounds menacing to you now.
A concept with faint smells of totalitarianism.
But what you don’t know is you’re thinking that because you are a soft blurt.
A moaner.
You have read too much and been pampered so hard that you no longer realise how easy your breakfast is.
What gradually burns your throat is a lozenge of love of others. To most.
Your weather is patient, your pressure is light.
Your frog plays fair with the whims of small farmers and other peasants.
Your barely know what work means, so how could you understand leisure?

Do you, A, journey inward
or B, keep pretending, as you munch your pills, this is all working out for you

A note on : Worm Wood with tereza stehlikova

20191103_143233.jpg

Into our fifth year of collaboration, Tereza Stehlikova and I will be screening our film WORM WOOD at the end of January 2020 at Whitechapel Gallery cinema. In light of that we are filming plenty now. http://www.stevenjfowler.com/wormwood

Began in 2015, Worm Wood has taken in publication, exhibition, event and the film, but really its about our collaboration and the levels on which that operates as something of a friendship expression / pedagogy / open method. We have just improvised our way, without end goal, without conclusion in mind or narrative, for years.

I suppose its about the industrial and reclusive landscapes of these areas of London, a place that is not obsessed with itself. And how they are changing as the massive new old oak development has come in and begins to grow and terraform a beautiful ugly place into something ugly ugly new plastic shiny glass and valuable.

Tereza wrote a typically elegant piece on our latest filming day also on our site https://cinestheticfeasts.com/2019/11/04/wormwood-car-giant/

“It’s a Sunday, a rainy afternoon in November. Rather than a Sunday roast, Steve and I opt for roaming the liminal landscapes of Willesden Junction, our old trusted friend. It’s unpretentious spirit offers us great sense of solitude, with no pressure to know what we want, be goal oriented, be professional. Here we are, free.

It’s a year 2019 already, and back in the Car Giant’s territories, Steve and I have been fortunate to discover the entrance into the otherworldly Giant’s Diner. What joy! Steve appears ecstatic as he rushes into the doorway!

I follow him eagerly up the glowing staircase, a ship about to be launched into space. Soon enough, having entered what could be a new Punchdrunk set, I expect alternative realities behind every door. The universe here is plastic, blue, resembling the anonymous non-places of ferries, airports and train stations. Where are we sailing off to?”

A note on : Norwegian boat tour reviewed by Maria Malinovskaya

Not so much a review as a travelogue, the quite astounding and idiosyncratic and powerful Russian poet, my friend, and one of those on the tour itself, Maria Malinovskaya, wrote a small piece on a recent project I curated. The Nordic Poetry Festival : Norway http://www.cirkolimp-tv.ru/articles/882/kamarade-v-norvegii

It’s so worth a read, if you read Russian, I bet. But also in English, via the translation software, for it makes its own poetry, does this bot. This is not what she wrote in Russian of course, but some tasty google translate morsels, about me, if I may be so indulgent to indulge:

“There, in his scarlet trousers, red shoes and a green jacket with two badges made in the USSR, Stephen Fowler met us, who arrived, of course, before everyone else. When I think about this person and especially when I see him, the clean and cold energy with which he does what he loves is surprising. He will never say compliments on duty, he will not smile simply because he needs to smile now, but at the same time he will find really important words for you as a participant in his festival. He doesn’t drink alcohol, in every new city he comes to, he tries first of all to run a cross - to feel people and a place, and if you forgot somewhere a package,………….

……. However, Stephen did not allow to celebrate the release of the book for a long time - ahead, despite the late time, there was perhaps the most exciting part of the festival, at least for me, was a boat trip from Aalesund to Bergen. “Don’t miss the boat for pictures”! - is heard on the documentary video made by Stephen, his voice when he, like chickens, drives us inside, and we resist and try to photograph the seven-decked ship outside. And even though it was already half past three in the night in small warm cabins, we all gathered in the hall, and the most daring, that is, Young and I, got out onto the open deck and swept along it, looking into the windows of the cabins. So, unexpectedly, behind one glass, we met none other than Stephen, who looked peacefully into the distance, talking on the phone,

The first half of the next day was to be held in rehearsals of the main event of the festival, but was held in solitary and joint contemplation of the fjords, lighthouses and rainbows from the ship. And, of course, in continuous photography. We had no idea that Stephen was filming a small documentary on his phone ( https://www.youtube.com/watch?v=ms8K87HEEMw ). But, perhaps, he did not suspect about this until the end of the festival. Sailing to Bergen, on the deck we talked about the success of the festival: Steven was pleased and worried. When there is a confrontation, it is clear where to move on, and when everything turns out, it is more difficult to force yourself to change something.

In Bergen, we had only an hour left before the performances. Someone especially stress-resistant managed to oversleep all this hour, someone rehearsed, someone procrastinated. I was rather the latter. Going to the window, I saw at the intersection of Stephen, who was running on the spot in anticipation of a green traffic light. It was raining, and people under umbrellas in coats and jackets looked curiously at the sweaty young man in a T-shirt, clearly breaking their slower daily rhythm. At this moment, despite the excitement, I realized that everything is fine and right, and will be so until the end……….

………..Needless to say, two documentary poets were again on the same flight, now Bergen - Amsterdam, only one after the transfer went to Dublin, and the other to Moscow. Three wonderful books flew with me - Christodulus Makris, Stephen Fowler and David Spittle. And also - one of Stephen’s two Soviet badges, removed from his jacket and pinned to mine. I think this is what will now accompany me on different poetic readings and remind me that they can be like that.”

A note on : Yellow Book Exhibition at Westminster Library

EIUDlqMXYAEu3eQ.jpg

Happy to be part of this group exhibition at Westminster Library just literally on Leicester sq amazingly, behind the National Gallery. It’s an amazing space and holds a grand collection, and thanks to curators Astra Papachristodoulou and Lisa Kiew, I am one of around ten poet-artists who have been asked to respond to the Yellow Book.

The Yellow Book https://en.wikipedia.org/wiki/The_Yellow_Book was a British quarterly literary periodical that was published in London from 1894 to 1897

My work is about Aubrey Beardsley writing about Salome whacking off a unicorn and Joris Karl Huysmans fake occult sexyness in one of my favourite of his books La Bas. It’s a poem brut piece, writing in indian ink with poundland yellow paint.

Very good to be along friends and peers like Imogen Reid, Karen Sandhu, Luke Thompson et al. Check it out, it runs

November 1st to 27th 2019
Westminster Reference Library
https://www.westminster.gov.uk/library-opening-hours-and-contact-details#westminster-reference-library
35 St. Martin's Street, London, WC2H 7HP

A note on : Pictures from NEMESES launch by Madeleine Rose

some beautiful pictures by Madeleine Rose https://madeleinerose.photography of my selected collaborations launch this past saturday night from a windswept gothic st john on bethnal green church in east london.

the weird theatre magic of the night has been well captured in madeleine’s images, and im particularly happy to have these portraits of me and my collaborators / friends, and the animals i gave them in thanks too

https://www.haverthorn.com/books/nemeses-selected-collaborations-of-sj-fowler-volume-2