From the moment I came into contact with Translation Games, through the unusually considered and energetic work of Ricarda Vidal and Jenny Chamarette, I knew it was the kind of project I wanted to be involved in. The kinship it has with what Im trying to do with the Enemies project goes beyond the similar contextual concerns into the very culture of the project, it's openness, it's direction, it's appreciation of complexity. translationgames.net
ALL IS CIRCULAR, LIKE THE SUN. AND ALL
BURNS US, EVENTUALLY.
I came into Translation Games at the beginning of it's second phase, as Ricarda and Jenny were expanding the scope of the program and working towards an event, which happened just a few days ago, at the Poetry Library, as part of their special edition series. The process involved 3 artists translating a selection of concrete poems from Antonio Claudio Carvalho's amazing POW series, into their own mediums. They had just a week to do so, and the results were unveiled at the event, with a general presentation of the project and its aims, as I sat in the dark, at the back of audience, live translating the translations and the general goings on.
THE NEEDLE THAT BOWS THE MUSCLES BEFORE IT PIERCES.
There was a Q&A after the works were presented too, where I got to share the stage with Ricarda, and with two of the artists involved, the film maker Anna Cady and the artist Sam Treadaway. Both their work really was a joy to witness, and being so familiar with the POW series, I felt I had an inside track to the roots of their process. Anna's ethereal filmwork highlighted the potential of realising certain paradoxes about death and expiry which cannot be attained in formal language, and Sam's transforming of Simon Barraclough's sun poetry into scent was breathtaking. Sam handed tiny discs to the audience, which were miniaturised renditions of the poem and were infused with the scent of leather, oranges, cedarwood...it was remarkable. You can, and should, read more about it on the translation games website.
So much came out of the discussion and the work, but perhaps pivotally for me, I was really forced to consider the lines between translating and collaborating, and how intention defines the difference between these ambiguous concepts when they are deployed as I deploy them, which is, hopefully, a test to traditional boundaries. The live writing was a pleasure, because the event was a pleasure, and I tried to inculcate a meta-dialogue (humorous, I hope) alongside actual expressionistic poetic response. The words, as I was spilling them out, appeared on a screen so the audience could read as the event unfolded. The entire live writing text has been published online and if you liked the excerpts here, you can read it allll http://translationgames.net/?page_id=295