A note on: closing the Worm Wood exhibition

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One final event marked the end of this culmination of two years of collaborating with the brilliant tereza stehlikova, and the end of the summer, one spent with many days and nights in the chapel and grounds of the east end of kensal green cemetery. There was a palpable sense of emotion during some of the performances, all of those many artists who have contributed to the programme seemed to connect their new works often to their experiences of grief and death, and again, some of the works were very intense in a beautiful way. Perhaps its because these events have been intimate, 20 to 30 people and in such an amazing space. tony white, thomas duggan, susie campbell, iris colomb and more, they were all very generous about the project and to share their time and works. tereza and i plan to continue to work together on Worm Wood, for the foreseeable future, especially now it is so tied into the coming old oak development and the disappearance of the parts of west london we set out to explore long before we know old oak existed.

checkk out stevenjfowler.com/wormwood

A note on : being one of Rich Mix Cultural Foundation associate artists!

So lucky to be part of this newly developed scheme with Rich Mix. I've been working with them for 7 years now and this wonderful endeavour will really boost my work I am sure.

"We’re delighted to introduce our six Associate Artists for 2017-18. These organisations and individuals are working closely with us to deliver creative programmes throughout 2017 and beyond, with public-facing events, new commissions and learning and engagement programmes with young and local people. They have been selected because they represent the breadth and depth of our artistic programme, working across the artistic disciplines and with diversity at the heart of what they all do. https://www.richmix.org.uk/news/introducing-our-associate-artists-2017-18

The Associate Artists are Arts Canteen, Baluji Shirivastav OBE and Inner Vision Orchestra, Dash Arts, Numbi and SJ Fowler. Sixth associate artist Tomorrow’s Warriors and Nu Civilisation Orchestra is joining Rich Mix as our first ever resident orchestra. 

Artistic Director Oliver Carruthers explains that"[they] are all artists we’ve had the privilege to work with over the years, and we think they deliver outstanding work. That’s why we wanted to change our relationship a little bit, so that we can offer more support to them with our building, resources and time."

Poet and playwrite SJ Fowler responded "without the generous, agile and mindful support of Rich Mix I simply would not have been able to evolve as an artist in the way I hope I have over the last seven years. To be an associate artist in 2017 is an immense opportunity, I'm proud to be associated with the place and staff, and what it stands for." 

We look forward to sharing the work we create with our Associate Artists over the year ahead. 

Find out more about our Associate Artists herehttps://www.richmix.org.uk/about-us/associate-artists

A note on: a new course at Tate Modern - Inventing Rauschenberg

INVENTING RAUSCHENBERG: THE ARTIST AS ENGINEER 20 FEBRUARY – 20 MARCH 2017 BOOK TICKETS

Over five weeks explore the pioneering art of Robert Rauschenberg with the like-minded artist and poet SJ Fowler - Through talks, discussions and practical writing exercises, participants will follow Robert Rauschenberg’s innovations fundamental to twentieth-century art, while surrounded by his work. Inspired equally by poetry, fiction, theatre, sonic art, visual art, installation and performance, Fowler will also draw from the people and places that inspired Rauschenberg’s remarkable and multidisciplinary practice. http://www.tate.org.uk/whats-on/tate-modern/course/robert-rauschenberg/inventing-rauschenberg-artist-engineer

Discover Rauschenberg’s use of material, his ground-breaking combines, his engagement with popular and global culture beyond the US, his exploration of collaboration at the Black Mountain College, his work in performance, and his telling use of technology. This course is a chance to trace this pioneering artist’s life and continued reinvention, and to explore in their own work the lessons we can draw from his extraordinary legacy.

Published: an artpoem in Oxford Poetry

Grand to have this art poem, on the left page, in the latest issue of Oxford Poetry. Thanks to Lavinia Singer and the editorial team at OP, which has been publishing since 1910. The work will be featured in my debut art book, published by Stranger Press in 2017, called I fear my best work behind me. This is what I wrote to contextualise the poem...

"The poem on the page is first a series of markings made upon a surface. Obvious, but it seems to me a great source of often profoundly underexplored potential for the poet. That is the continued realisation of this fact - of black on white, of colour, material, front, handwriting, of dead and living space, of a computer screen or piece of sliced tree - all that is happening aside from semantic content, and the relation of these things in changing, fluctuating, the semantic meaning and content the poet should worry over. 

This work draws from the influence post-war central European avant garde pioneers like Henri Michaux, Christian Dotremont and Constant Nieuwenhuys have had on my work, all of them poets in the purest sense, all too erroneously and conveniently labelled artists. It draws on asemic writing, experimental logograms and illustration but it also a poem in the clearest, anthropomorphic sense" 

And from the editorial ... "Encrusted in paper word impasto, this issue of Oxford Poetry celebrates the relationship between the verbal and the visual. Some poets respond ekphrastically to works of art (Richie McCaffery, Jeremy Valentine Freeman Ganem, Pascale Petit, Nancy Posey). Others paint worlds through bold metaphor and surreal imagery (John Burnside, Rebecca Perry, Mark Waldron, Astrid Alben, Martha Kapos) or evoke the subtleties of consciousness, memory and perception (Dominic Hand, Fiona Sampson, Denise Saul). Others step into the realm of visual poetry (SJ Fowler) to shape their words on the page (Chris Kerr, Elaine Feeney)." http://oxfordpoetry.co.uk/

A note on: Jerwood Open Forest with David Rickard - Part #1

Over the last few months I've had the opportunity and pleasure to work with the artist David Rickard, in quite an inspiring context. David, whose remarkable career as artist has been marked by a particularly complex and deft relationship to space, object, architecture and process, has been shortlisted for the Jerwood Open Forest scheme.

After being shortlisted for his idea David, very generously, began a conversation about how poetry might find a place in his idea. His proposal was to engage with Fielder Forest in Northumberland and create a trail throughout unmarked woods. The rail would be made of a reclaimed house or building, stripped and dissembled into the very rawest wood of a structure, bare planks, and on each of these planks, following a carefully selected route, would be inscribed one word. This trail would then be read as it is followed, neither a narrative, or a poem, or a story, but all of these. And then, vitally, the trail and its posts would rot, become once again the forest, and so my words would be edited by the very forest itself.

From the Jerwood Open Forest blog, David wrote: "Returnings: 29 Jul 2016 - So far my search for a forest has been headed simultaneously in two very different directions. Firstly, for a growing, photosynthesising cluster of trees, a forest in the current tense and secondly for a building with timber bones, a forest in the past sense. Eventually these two will come together, but for now they are poles apart. The living forest will be a plantation, established and grown for the eventual yield of its timber and Kielder Forest has been identified as the prime candidate – an expanse of 600 square kilometres of forest stretching across the northern half of Northumberland.

In parallel there have been conversations with demolition contractors, with names like Titan and Redhammer, and the hunt is on to establish how we can find a suitable building that will form the fabric of the installation. It will be a timber structure that has come to the end of its functional life and is ready for a return trip to its place of origin.

Carved into the surfaces of the beams and boards will be words.  One word on each piece, which together form an expansive poem with no beginning or ending; a meandering narrative that flows through the circuitous journey that the timber has taken. The voice of these words will be S J Fowler, a contemporary English poet that has agreed to collaborate on the creation of ‘Returnings’. Now there are fragments; a forest, a hunt for a building and words. There’s still a lot to do before these fragments combine to form a work."

A note on: The Singing Bridge at Somerset House

9 – 25 September 2016 at Somerset House
Free audioguide. Headsets collected from the New Wing
https://www.somersethouse.org.uk/visual-arts/singing-bridge 

The Singing Bridge by Claudia Molitor is an audioguide of newly commissioned compositions that leads the listener across Waterloo Bridge and its surrounding environment. The project explores the rich and largely unearthed social history of the bridge and its rebuilding during World War II by a predominantly female workforce. It includes new poems of mine commissioned specifically for the project, about the bridge's history and set to Claudia Molitor's music.
 
Free to pick up from Somerset House, the Singing Bridge is part of Totally Thames that runs from 1-30 September. For more information visit totallythames.org.

A note on: writing an introduction to Volodymyr Bilyk's Heartbeat, Footclick, Machine Gun Vocalises

A privilege to write the introduction to Volodymyr Bilyk's new work out with the brilliant M58 press edited by Jez Noond and Andrew Taylor, based in the UK. It's a hugely important work of avant-garde visual poetry emanating from real purpose and I've scanned (wonkily) my introduction in below. You can buy it here for £5 and I urge you to do so. http://www.m58.co.uk/post/141316776709/heartbeat-footclick-machine-gun-vocalises-by

A note on: Lexicon, performing at Marsden Woo - March 16th 2016

Such a beautiful experience, to curate a night of new poetry and performance responding to Alida Sayer's magnificent exhibition at Marsden Woo Gallery. We did it all on quite a tight timeframe, really through my friendship with Marsden Woo curator Siobhan Feeney and an immediate passion I felt for Alida's work. She is interrogating, in sculpture, what I am interested in digging into in poetry - language, its instability, its material qualities, its graphic glypic abstraction. So I asked Giovanna Coppola, Fabian Peake, Iris Colomb and Christian Patracchini to come and see the work and we all presented this on a really enthusiastic evening, on March 16th (2016), in the gallery. You can see all the performances www.theenemiesproject.com/lexicon

For my own performance, I have become increasingly interested in improvisation, in speech rhythms and crowd responses, and in breaking the 4th wall with readings and performances. In this case I spent quite a bit of time working out certain parameters, concepts, that I would adhere to, but deliberately, strictly, ignoring the 'content' I might produce. In this case, I pretended that I was performing only for to-be-edited youtube vignettes, like some televisual curator, highlighting Alida's exhibition. I hoped for it to be humorous but not flippant, and people seemed engaged anyway, so I was pleased I took the risk.

I would highly recommend visiting www.marsdenwoo.com and checking out www.alidasayer.com

A note on: The English PEN Modern Literature Festival - Full Line up announced

Rich Mix Venue One: April 2nd 2016 - 2pm / 3.30pm / 7.30pm. 35-47 Bethnal Green Road, London E1 6LA
Free entry but signing up for membership appreciated.
http://www.theenemiesproject.com/englishpen

A privilege to announce a major new project - 30 contemporary writers present new works, each celebrating a writer from around the world who is currently part of the English PEN Writer's at Risk programme. Each of the 30 English writers will present brand new poetry, text, reportage, performance and film on the day that celebrates and evidences the struggle of fellow writers around the world, in solidarity. The full line up of authors is below.

The one day mini-festival takes place at Rich Mix Arts Centre, just off Brick Lane, London, 2pm til 9.30pm, in 3 sessions throughout the day. All are free to attend but attendees are encouraged to join English PEN or donate to the charity if they are already members. 

2pm to 3.30pm
Harry Man on Maung Saung Kha
David Berridge on Dawit Isaak
Kirsten Irving on Nurmuhemmet Yasin
Jen Calleja on Gao Yu
SJ Fowler on Khadija Ismayilova
Dave Spittle on Ahmedur Rashid Chowdhury
Prudence Chamberlain on Patiwat Saraiyaem and Pornthip Munkhong
Robert Hampson on Dr Abduljalil Al-Singace
Adam Baron on Can Dündar and Erdem Gül

4pm to 5.30pm
Eley Williams on Tsering Woeser
Sam Winston on Zunar
Lucy Harvest Clarke on Liu Xia
Stephen Emmerson on Dina Meza
Alex MacDonald on Alaa Abd El Fattah
Drew Milne on Omar Hazek
Oli Hazzard on Enoh Meyomesse
Sarah Kelly on Nelson Aguilera
Caleb Klaces on Jorge Olivera Castillo

7.30pm to 9.30pm
Caroline Bergvall on Sanjuana Martínez Montemayor
Emily Critchley on Mahvash Sabet
Andrew McMillan on Ashraf Fayadh
Andra Simons on Amanuel Asrat
Allen Fisher on Mamadali Makhmudov
Nathan Walker on Mohammed al-‘Ajami
Michael Zand on U Zeya
Mark Waldron on Zhu Yufu
Mark Ravenhill on Mazen Darwish and Yara Bader
Emily Berry on Raif Badawi
Tom McCarthy on Liu Xiaobo

The festival is intended as a call to membership for writers, artists and readers in a time where we face perilous challenges to our freedom of expression and fundamental rights and hard fought liberties, both internationally and here in the UK. As the world changes so remarkably, and so rapidly, and on a global scale, it is vital the political will of our time and this generation of young, dynamic writers is directed purposefully to the work of English PEN, the writer's charity. The hope is this festival, away from creating at least 30 new members of PEN, begins involvements and connections which will have exponential resonance for decades to come.

Please join English PEN
You can join English PEN here http://www.englishpen.org/membership/join/ and if you are a writer, poet, artist, scholar, academic, reader or someone who is passionate about defending our fundamental freedom of expression in the UK and around the world, please take the time to do so and become a part of the future of this extraordinary organisation. 

If you are outside of England, please visit http://www.pen-international.org/ and join your national branch of PEN. You can find more about each writer's work responding to this project on their individual sites, for example Harry Man, and a blog on my website on the process of curating the festival

Thanks to Cat Lucas, Hannah Trevarthen and all the remarkable staff at English PEN. Follow the project on twitter using #penfestuk

A note on: Rich Mix associate artist

I'm very proud to be an Associate Artist with Rich Mix, a remarkable independent arts venue, institution and charity, based just off Brick Lane in East London, known for its mission to be the place where all of the communities of the world, living in London, come together to make and experience art. Rich Mix has generously supported my poetry, theatre, performance art, exhibitions and curatorial practises since 2010, hosting dozens of events.

I've a special page on my site which evidences every event and performance I've had at Rich Mix. There had been 35 up to January 2016 http://www.stevenjfowler.com/richmix

A note on: performance videos from Soundings I & III, with Emma Bennett and Maja Jantar

Two highlights of 2015, amazing performers and artists both Emma and Maja. So excited I get to do 7 more of these collaborations in 2016 with the help of the Hubbub group in residence at Wellcome Collection and Wellcome Library www.stevenfowler.com/soundings

A note on: upcoming in 2016

Thanks to everyone who has made 2015 so special, a few highlights, upcoming, for 2016

The final a World without Words event takes place January 9th at Apiary Studios featuring a host of neuroscientists and artists.

I'll be on BBC Radio 3's The Verb with a new commission responding to the Hearing the Voice project in January. 

Ovinir - The Enemies Project: Iceland, includes a big Camarade reading in Reykjavik where I'll be collaborating with Valgerður Þóroddsdóttir, supported by Reykjavik UNESCO city of literature. Then a reading in London, on January 30th, with over 30 poets, where I'll be presenting a new work with Ásta Fanney Sigurðardóttir

February sees a reading in Buenos Aires, hosted by El tercer lugar, curated by flavia pitella, thanks to the British Council.

The Soundings project will continue with 7 new collaborative performances including works with Tamarin Norwood (February), Sharon Gal (March), Patrick Coyle (April), Phil Minton (June), all responding to prompts from Wellcome Librarians.

I'll be attending the StAnza festival on the weekend of March 5th, speaking at an event on the body and poetry, responding to a film about bp nichol and leading a workshop / curating a Camarade collaborative event.

I'll be curating the English PEN Modern Literature Festival over one day on April 2nd, featuring 50 writers writing new works responding to some of PEN's writers at risk cases. Free to attend, but signing up for membership encouraged!

Very happy to be attending the Tbilisi International Festival of Literature in May 2016, thanks to the British Council, Writers Centre Norwich and the International Literature Fund, beginning a Georgian Enemies project: Mtrebi, which will return to the UK in July, where it'll visit the Ledbury Poetry Festival and the Rich Mix in London.

I'll be curating a Camarade for the Essex Book Festival on March Sunday 20th and I'll be curating further innovative Camarade events, including the University Camarade, on April 23rd, where students from five different creative writing departments (including my own at Kingston) create new collaborations across institutions.

Alongside both Croatian & British collaborators I'll be attending Vicenza's ArtBox reading series in May, curated by Marco Fazzini.

I'll be attending the Milosz Festival in Krakow in June, writing new collaborations with Polish poets / artists, thanks to UNESCO Krakow City of Literature, The British Council & co.

The Kakania project will return with readings in Berlin and London, from February to September 2016, all featuring new commissions of poets and artists responding to figures from Habsburg Vienna.

I'm happy to be part of the ambitious CROWD project, which crosses Europe next summer, travelling from Finland to Cyprus, over many months, with lots of interchanging poets on a bus. I'm doing Graz to Belgrade in June 2016.

Lots more publications, events and projects to be announced next year.

A note on: A Language Art - teaching at Tate Modern

An amazing experience, to continue my work with Tate Modern after a Talking Performance, to teach a six week course, each lesson in a different gallery, surrounded by the works being referred to. I had the privilege to share ideas, concepts, history and methodologies that cross both avant-garde writing and modern art, from Concrete poetry to Asemic writing, from Sound poetry to Collectives, from the Painted word to Poster art, to show how interlinked they are, how fundamental to both arts (even if one has embraced the theoretical, emotional, social and political developments of the latter 20th and early 21st century, and the other hasn't). The course was global and allowed me to explore further than ever before the profound reasons behind most of the innovation so definitional to the work I am most excited by. We even had a session in the Tate stores and I was able to bring out original artworks / poems by Henri Michaux, Christian Dotremont, Karel Appel, Cy Twombly, RB Kitaj, Jenny Holzer, Tom Phillips, Ian Hamilton Finlay and others who have influenced me so much. The course was attended by particularly generous and sophisticated artists, poets, book makers and people in advanced study, so it was a engaged, full of new works and ideas and really generously supported by an brilliant curatorial staff at Tate Modern, led by Joseph Kendra. Really a pleasure to do, I gained much from the weeks and a privilege to share those hours in Tate Modern with fellow artists. www.stevenjfowler.com/alanguageart

34 readings in 51 days

From May 8th, when Feinde: Austrian Enemies began, to June 27th, when the Mahu exhibition events program ended I was read, performed, collaborated or organised 34 readings in those 51 days. It was a patch of time I had cultivated as active, always wanting an ebb and flow between periods of relentlessness and calm, and yet I did rather blunder into it too. I've had the privilege of staying busy with creative stuff the last two or three years but this was probably the most intensive patch. I learned things through it that will change the way I approach almost everything, both good and bad, which is perhaps it's greatest result, but more than anything the extraordinary experiences I had with people are what stays with me. I met at least a 1000 new poets, artists or people interested in that. I am grateful, and what does truly stay with me after these few months, for the hospitality, energy and friendship of so many. 

From Feinde, working with Jorg Piringer who I admire so much, and making deep friendships with Esther Strauss, Max Hofler, Ann Cotten and the amazing Theodora Danek, and all the brilliant British poets who were involved, Jen Calleja, the Bohman brothers, Robert McClean, Emma Hammond, Cristine Brache, Prudence Chamberlain, Eley Williams ...

to Euro Lit Night Edinburgh and the beautiful hospitality of my friends Colin Herd, Ryan Van Winkle, Graeme Smith, nick-e melville, Iain Morrison and so many others .... to the Garden Museum and Jo Gibbons and co who are kind enough to have me in residence at their Landscape Architecture firm ... to the Five Years Gallery, spending lovely time with Fabian Peake, Giovanna Coppola, Phyllida Barlow, Clover Peake ... to Kettle's Yard, and an amazing night with Sarah Turner and Lyn Nead beneath Gauder-Brzeska's Wrestlers...

to Gelynion! one of the very best Enemies projects, so full of heartfelt support and exchange and friendship. To Nia Davies, Joe Dunthorne, Eurig Salisbury, Zoe Skoulding, Rhys Trimble, Annwn and the amazing array of poets who could not have given more to the readings in Newport, Cardiff, Swansea, Aberystwyth, Bangor ... to Hay-on-Wye, which I found to be completely welcoming and full of interesting people, to my friends Nell Leyshon, Daniel Hahn, Rosie Goldsmith and others who showed me around

to {Enthusiasm} and it's launch, and the incredible relationship I have been lucky to cultivate with two extraordinary people - Will Shutes and Jess Chandler, to whom I owe much, ... & to Eleanor Vonne Brown at X Marks the Bokship ... & to Kit Caless, Gary Budden, Tom Chivers and Iain Sinclair, for that special day at the Stoke Newington Literary Festival

to my friends in Berlin, to the generous hospitality of Chris Szalay, Daniela Seel, Cia Rinne, Alexander Filyuta, Alexander Gumz, Moritz Malsch, Katharina Deloglu, and all the people from around the world, from China to Sweden, who I met and began relationships with, many of which I am sure will bear fruit.

& finally to Mahu, and the near 400 people who crammed into that beautiful hidden space in St Pancras over 11 nights last month ... to all the guest curators who took their tasks so seriously, to all my friends who visited, and strangers alike, who offered kind words about the work on exhibition. my beautiful sister who travelled so far to see it - to Lotje Sodderland, Dave Spittle, James Davies, Michael Weller, Stephen Emmerson, & so so many more, and most of all to Cameron Maxwell and Amalie Russell, I could not have had a better experience in my home from home the Hardy Tree gallery

 

Reading at Five Years Gallery, up on the 6th floor

A lovely afternoon spent on the 6th floor of an office block just overlooking regents canal next to Broadway Market thanks to the invitation of Clover Peake and Giovanna Coppola, to read at the Five Years Gallery at their series Parole Parole, alongside some wonderful poets. This is exactly the kind of reading I love to be a part of – legitimate and genuine, original and careful, supportive and considered. I heard some poets new to me, and performed an exchange of my Estates of Westeros poems to the group, asking everyone to read with me. I was still fragile after being a bit unwell and the experience undoubtedly repaired me somewhat. Loads of beautiful pictures here http://www.fiveyears.org.uk/archive2/pages/206/Reading_Groups/Programme/24.html

Kakania at the Freud Museum - Jan 22nd

In just under two weeks time, on January Thursday 22nd, I’m delighted to say Kakania will once again feature contemporary artists and poets presenting original commissions on the life & work of a figure of Habsburg Vienna from one century ago. This time Kakania will be in the extraordinary setting of the Freud Museum, with the artists performing their works in the rooms of what was once the house of Sigmund Freud in north London. The audience will tour with the artists, going room to room, as each performance unfolds. 

Spaces are limited and the event is ticketed, so please do book using this link: http://www.freud.org.uk/events/75773/kakania/

 Directions to the Freud Museum can be found here: http://www.freud.org.uk/visit/

The lineup:
Emily Berry on Sigmund Freud
Esther Strauss on Anna Freud
Tom Jenks on Otto Gross
Jeff Hilson on Ludwig Wittgenstein

& Phil Minton on Carl Jung


I’m happy to announce the final details and lineups for the third and fourth Kakania events to take place in February and March. Please pop them in your diaries. 

Kakania III at the Horse Hospital - February thursday 19th
http://www.thehorsehospital.com/
Caroline Bergvall on Gustav Klimt
Martin Bakero on Arnold Schoenberg
Colin Herd on Oskar Kokoschka
Marcus Slease on Max Kurzweil
Damir Sodan on Gustav Mahler
Joerg Zemmler on Karl Kraus

Stephen Emmerson on Rainer Maria Rilke 

Kakania IV at the Austrian Cultural Forum – March Thursday 26th
http://www.acflondon.org/
George Szirtes on Arthur Schnitzler
Ben Morris on Ernst Krenek
Joshua Alexander on Paul Wittgenstein
Thomas Duggan on Ernst Mach
Fabian Faitlin on Otto Wagner
Stephen Emmerson on Rainer Maria Rilke
Jeff Hilson on Ludwig Wittgenstein
Emily Berry on Sigmund Freud
Colin Herd on Oskar Kokoschka


The Freud Museum event will also be the first time the two ambitious Kakania project publications will be available, with both books to have specific launches later in the program. Both have been designed by http://www.polimekanos.com as part of the Austrian Cultural Forum’s Occasions series. 

Oberwilding is a collaborative poetry collection, written by Colin Herd and I, with a poem marking each year of Oskar Kokoschka’s life - an avant garde exploration of the great painters century in collaborative, experimental poetics.

Kakania: an anthology is a groundbreaking collection of brand new works from 40 amazing artists and poets, that features poetry, portraiture, woodcuts, conceptual texts, photography, graphic design and a multitude of arts and artists. It contains work by: 

George Szirtes on Arthur Schnitzler, Martin Bakero on Arnold Schoenberg, Emily Berry on Sigmund Freud, Stephen Emmerson on Rainer Maria Rilke, Colin Herd on Oskar Kokoschka, Sharon Gal on Anton Webern, Jeff Hilson on Ludwig Wittgenstein, Tom Jenks on Otto Gross, Maja Jantar on Lou Andreas-Salome, David Kelly-Mancaux on Egon Schiele, Diane Silverthorne & Ariadne Radi Cor on Alma Mahler, Dylan Nyoukis on Raoul Hausman, Damir Sodan on Gustav Mahler, Marcus Slease on Max Kurzweil, Joerg Zemmler on Karl Kraus, Michael Zand on Hugo von Hofmannstahl, Jaime Robles on Ludwig Boltzmann, Alison Gibb on Bruno Walter, Pascal O'Loughlin on Wilhelm Reich, Vicky Sparrow on Margarethe Wittgenstein, Kim Campanello on Alban Berg, Jack Little on Peter Altenberg, Eley Williams on Broncia Koller-Pinell, Andy Jackson on Oscar Straus, JT Welsch on Hermann Broch, Fabian Peake on Franz Werfel, Aki Schilz on Hermann Bahr, Fabian Faltin on Otto Wagner, Iain Morrison on Alexander von Zemlinsky, Clare Saponia on Julius Wagner-Jauregg, Rhys Trimble on Felix Salten, myself on Robert Musil, Robert McClean on Max Reinhardt, Ryan Van Winkle on Ernst Weiss, Andrew Spragg on Koloman Moser, Peter Jaeger on Theodor Herzl, Nia Davies on Viktor Ullman and Esther Strauss on Anna Freud.


All Kakania events, including this next one at the Freud Museum, will also feature the beautiful books of Pushkin press, with a book table to peruse, accompanied by a Kakania flyer which offers a discount on buying their Habsburg era books online. http://pushkinpress.com/

www.kakania.co.uk / www.stevenjfowler.com

& with thanks to the Austrian Cultural Forum http://www.acflondon.org/

5x7 group show at the Hardy tree in December! my animal calligrams for sale


Very excited to be in the latest group show taking place at the Hardy Tree gallery, running for three weeks across December. The concept is that around 15 artists provide 15 artworks around postcard size, which are hung in the gallery and sold for 25 quid each.http://hardytreegallery.com/

My 15 artworks are all original calligrammatic representations of animals. Each one is essentially a drawing of an animal in handwriting. Ive played with Calligrams for awhile, pretty much directly following Apollinaire. I've deliberately made them somewhat illegibile, so the handwriting, in places, allows for multiple, interpretative readings of the poems. They are all poems, pre-existing poems, written for the calligram, which will never see the light of day in their non-calligrammatic form, but I want the search for the meaning to be primary in the readers experience. The reader can make their own poems as they have to fill in the gaps between what is legible to them and what is not. Each time the poems are read, they are anew.

& Erkembode is also in the group show, my frequent collaborator and continuous inspirator. His work includes originals from our collaboration, Jurassic Strip, about Jurassic Park in the middle east. All the poems and paintings in this collaboration have been published as an ebook to be viewed for free belooow. 

david kelly / vispo / 3am magazine

i acknowledge my longstanding relationship to him as a collaborator, but the work here is soooo good. so good. so amazing to host it at 3am, to have that facility, today, is a privilegio.

the poetic is so very much akin to the sensibility of his art, which itself would require an essay to understanding in the writing of - a true modern, a premodern contemporary, a KoKoschKA, A SCHIELE of London now, so exciting to see the visual lie with the text.

having forgotten where to sleep
that i am responsible for you

http://erkembode.com/

http://www.3ammagazine.com/3am/david-kell/