From December 2012, I joined Jacket2 as a commentator. First article:
It is my pleasure to announce the launch of Gibber:
A transdisciplinary series developed by 2012 Queensland Poet-in-Residence a rawlings, Gibber (http://arawlings.is/gibber/) explores the language of ‘here’ and the language nurtured within the state’s bioregions.Gibber includes:
- “Gibberbird,” a twenty-page poetry suite
- “Land,” a digital poem
- “#gibberese,” archive of a collaborative online event with twenty-five writers in Australia, Canada, and USA
- “Vialence,” photographic documentation of site-specific performances that found my signifier vials in collaboration with multiple Queensland environments
- “Gibberland,” photographic documentation of Queensland place names juxtaposed with different environments
- “Signif,” animal-referent clichés juxtaposed with their signified
- Sound poems recorded in multiple Queensland environments: north, south, beside
- Photographic documentation of multiple environmental readings: bubble, sand, trace, bark, ground, flora, kite
- “Museum of Sound,” three essays reflecting on the ethics that informed the creation of Gibber
- “Museum of Land,” texts on having conversations with landscapes, plus a map of Gibber’s source
- “Asemic Writing,” a statement on ecosystems and their inhabitants as authors of asemic writing
Gibber is supported by the generosity of Arts Queensland, the State Library of Queensland, Judith Wright Centre of Contemporary Arts, and the Queensland Poetry Festival.
November 2012: “carnival (for artificial voices)” by Helen White
October 2012: Excerpt from The Persons by Peter Jaeger
September 2012: “who put on my shoes” by Rozalie Hirs
August 2012: “Ja, jeg smager månedens kunstnervin!” by Martin Glaz Serup
July 2012: “Homeric Hymn to Artemis” by Sophie Mayer
June 2012: “There he was, gone.” by J. R. Carpenter
May 2012: “How to Write During the Consumer Age” by Vincent Tholomé
April 2012: Excerpt from “Капуста (Kapusta),” a poem/play in progress by Erín Moure
March 2012: “From my moist” by Ragnhildur Jóhannsdóttir
sounds for soloists is a performance tour dedicated to a selection of acclaimed artists, who have invented their own language or instrument and perform solo. In collaboration with the Living Art Museum, the performance tour proudly presents performances by Anders Lauge Meldgaard, Ingi Garðar Erlendsson, Cia Rinne and a rawlings. The performance tour reaches The Living Art Museum (November 11 @ 20:00) as a vibrant site of performance and contemporary art in Reykjavík after visiting the Grimmuseum in Berlin, summer 2012, and in order to go on to the exhibition space Signal in Malmö.
Unique Instruments and Language-use: a presentation of the Soloists
The vacuum-cleaner-flute-organ. Berlin-based musician Anders Lauge Meldgaard (Denmark, 1983) is part of the successful experimental sound collective in Copenhagen, yoyooyoy, and performs internationally with his solo act Frisk Frugt (Fresh Fruit). Meldgaard will play his mesmerizing and cheerful mix of Danish Folk and Electro lo-fi on his homemade organ build of colorful plastic flutes and a vacuum cleaner. Frisk Frugt released two albums; Guldtrompeten (2006), and Dansktoppen møder Burkina Faso i det himmelblå rum hvor solen bor, suite (2010). Frisk Frugt operates in his own quirky musical universe, in which genres of traditional Danish folk song writing and poetry in an unpretentious way are spiced up with elements from experimental rock, improvisation, drone, noise, electronica, lo-fi, free jazz and African high-life guitar. When Frisk Frugt performs, he invites everyone into his optimist dinghy for a refreshing neopsychedelic cruise out on music’s diverse waves of vast opportunities.
The Tranophone. Ingi Garðar Erlendsson (Iceland, 1981) is a Reykjavik-based composer and the cofounder of the dynamic Icelandic sound collective S.L.Á.T.U.R (Society of artistically obtrusive composers around Reykjavík) Ingi will perform on the musical instrument Þránófónn #2:Requiem (e. Thranophone), a feedback instrument based on acoustic resonance in various (complex/simple) cavities, in this case the tuba. Ingi Garðar Erlendsson studied composition with Yannis Kyriakides and Gilius van Bergeijk at the Royal Conservatory in Den Haag, from 2007-2009. His works have been performed at various places and occasions worldwide. Ingi Garðar performs with groups such as Hestbak, Borko, Fengjastrútur, Benni Hemm Hemm, Skeylja, Valdimar, Kippi Kanínus, Stórsveit Nix Noltes and many more.
A multi-lingual voice. The internationally recognized artist and poet Cia Rinne (Sweden, 1973) is behind the tour title, sounds for soloists, which originally refers to one of her sound pieces. Rinne is herself of a multilingual background, and writes highly playful conceptual pieces evocative of Fluxus and Dada poetry. Due to the humoristic and liberating character of Rinnes’ poetry, which plays with the global influences on our use of language – is it important what language is spoken? Or if two languages are mixed up? – The topics touched upon in her texts and performances seem to occupy many artists today. Her works, both readings, writings and visuals, are liberated from the constraints of certain artistic genres; they operate freely on the borders of disciplines such as poetry reading, writing, performance and collage-making. Originally Cia Rinne has a MA in philosophy (Frankfurt, Athens, and Helsinki), lives and works in Berlin. She has performed widely in Europe and is an acclaimed reader in Comparative Literature circles Internationally. Recently she took part in exhibitions including the Terra infirma show at the ISCP New York 2010, the Turku Biennial 2011, and Kallio Kunsthalle in Helsinki, 2011. Rinne’s publications include zaroum (2001), The Roma Journeys (with Joakim Eskildsen, Steidl 2007), the online-work archives zaroum (2008), notes for soloists (OEI Editör, Stockholm 2009), and the sound work sounds for soloists (2011).
Sons sans sens [sounds without meaning]. As a dedicated experimenter with sound, text, and movement, a rawlings’ work extends the boundaries of what a poem may be through an interrogation of normative linguistic engagement. rawlings will perform excerpts from Meaning as Parasitic on Language, a multilingual (English, Icelandic, French) text accented by post-semantic “sons sans sens.” a rawlings, who lives in Reykjavik, is an interdisciplinary artist whose first book, Wide slumber for lepidopterists (Coach House Books, 2006). She has developed numerous projects, including Centre for Sleep and Dream Studies (with bluemouth inc.) and Órói (with Maja Jantar). rawlings was awarded the Chalmers Arts Fellowship (2009-10), enabling her to develop and present work in Belgium, Canada, and Iceland. In 2011, she was the artistic director of Reykjavík’s international poetry festival. Most recently, rawlings was the 2012 Queensland Poet-in-Residence; she spent three months in Australia developing an online project that combines ecopoetics, acoustic ecology, and counter-mapping.
Solvej Helweg Ovesen (Denmark, 1974) is a curator and writer educated at De Appel, Curatorial Training Program, Amsterdam, and MA in Cultural Studies (Copenhagen University). She lives and works in Berlin and Copenhagen. She recently curated “Never odd or even – a text spaced exhibition”, Grimmuseum, Berlin and Museum of Contemporary Art in Denmark, 2011-2012, as well as “The Eye is a Lonely Hunter – Images of Human Kind”, 4TH Fotofestival Mannheim Ludwigshafen Heidelberg, 2011. She is the author of the book on performativity in art and life, “The World as Stage” (nbk), Walther König, 2010. Current projects are “Sounds for Soloists”, Berlin-Reykavik-Malmø, 2012-2013, “Either-Or”, Copenhagen-Berlin, 2013, “How far away is the horizon?”, Holbæk-Copenhagen, 2013.
This past weekend, I wrote several reviews for The Reykjavík Grapevine on the music festival Iceland Airwaves. This was my fourth year reviewing Airwaves concerts, and I’ve always found the experience fascinating as a chance to practice non-conventional response to live music with a turnaround publishing time of less than 12 hours. Can’t hone, can’t craft in my usual hyper-retentive way when I’m exhausted and rushing to deadline. Can’t be precious, and this means the experience can prove mildly stressful but also exhilarating and (usually) full of love. I covered four nights of the festival this year, and you can read my reviews online here:
- Sigur Rós. Written as a fairy tale.
- Solaris (by Ben Frost and Daníel Bjarnason) and Daughter. Written through Tarot readings.
- Bedroom Community (featuring Daníel Bjarnason, Paul Corley, Valgeir Sigurðsson, Puzzle Muteson, Nico Muhly, Sam Amidon, and Ben Frost). A music-review video-diary weather-documentary.
- Metal night (featuring The Heavy Experience, Skálmöld, Sólstafir, HAM, and Mugison). Written as a summoning.
Thomas Day (Brisbane-based interdisciplinary artist) and I recently collaborated on a video/sound work called “glacierkull.” The film will debut twice in the coming week: @ With Baited Breath… an evening of experiential (November 2, Brisbane) and @ the Tokyo Sound Poetry Festival (November 7-8, Tokyo).