A list of image and document sources used by Allen Fisher in his talk:
A list of image and document sources used by Allen Fisher in his talk:
The University of Kent Paris School of Arts and Culture, l’Université Paris Est Marne-la-Vallée and the association double change welcome you to join us for a conference by Allen Fisher, ‘Decoherence Aesthetics’, from 18:30-19:30, followed by readings from Allen Fisher and Jean-Charles Depaule from 19:45.
This evening has been organised as part of the University of Kent Paris School of Arts and Culture’s Thursday lecture series, in conjunction with the group Poets & Critics and with the support of l’Institut Universitaire de France.
The University of Kent Paris School of Arts and Culture, l’Université Paris Est Marne-la-Vallée et l’association double change vous invitent,
le jeudi 15 mars 2018, à
une conférence d’Allen Fisher, « Decoherence Aesthetics », 18h30-19h30
suivie d’une lecture d’Allen Fisher et de Jean-Charles Depaule, à 19h45
4, rue de Chevreuse
Soirée organisée dans le cadre de la série de lectures et conférences de l’Université de Kent à Paris (University of Kent – Paris School of Arts and Culture Thursday Lecture Series), et des travaux du groupe Poets & Critics, avec le soutien de l’Institut Universitaire de France.
Born in London in 1944, Fisher is a poet, painter, publisher, teacher and performer. He has exhibited widely and has work in the Tate collection, King’s College Archive, Living Museum Iceland, and Hereford Museum. He participated as poet, performer and installation artist with the English Fluxus group in the 1970s. He started professional work as a painter in 1978. After twenty years in lead and plastics industries he started teaching art, art history and poetry at Goldsmiths’ College in the eighties. He started work at Herefordshire College of Art & Design in 1989 and in 1998 became Head of Art at Roehampton University. In 2002 he was appointed as Professor of Poetry & Art and in 2005 became Head of Contemporary Arts at Manchester Metropolitan University, where he is Emeritus Professor of Poetry and Art. Last year saw a reprint of his volume PLACE and the publication of the collected Gravity as a consequence of shape, from Reality Street and a collection of essays, Imperfect Fit, published by University of Alabama.
Jean-Charles Depaule was born in Toulon in 1945. After spending his childhood in Nîmes and Paris, he lived in Cairo and Marseille before settling in Paris again. An urban anthropologist as well as a poet, Jean Charles Depaule taught at the School of Architecture of Versailles before pursuing his research on the spaces of the Eastern Arab world and on the words of urban life at the Centre National de la Recherche Scientifique (CNRS). Besides his writing practices as scholar and poet, Depaule is also an artist who works with 2 or 3D images.
Jean-Charles Depaule has explored and practiced decasyllabic and irregular lines, quatrains, and sestina writing. He has also been working on translations, descriptions and portraits. He wrote several essays on what he calls the labor of poetry (on such topics as diverse as the new generation of French poets at the end of the 1990s, contemporary Arabic poetry, sound poetry, Charles Olson, Francis Ponge, Emmanuel Hocquard…)
A former member of the editorial board of the poetry journals Action poétique and If, he was also an editor of the art history and anthropology journal Gradhiva. A co-founder of Irrégulomadaire (a journal exploring the relationships between text and image), he is a regular contributor to CCP, Cahier Critique de Poésie.
S.C.S.I.P.R. (with Susanna Shannon, 13 works – images and texts), Ferry 16, Paris, 1987.
Les fruits du matin (images on paper), cipM, Marseille, January-March 2017, accompanied by a text (Cahier du Refuge 257).
Né à Londres en 1944, Allen Fisher est poète, peintre, éditeur, professeur et performer. Ses œuvres, exposées dans de nombreux musées et galeries, font désormais partie des collections de la Tate, de King’s College Archive, du Living Museum Iceland et du musée Hereford. Dans les années 70, il a fait partie du groupe britannique de Fluxus. En 1978, Allen Fisher a commencé sa carrière de peintre. Après avoir passé vingt ans à travailler dans l’industrie du plomb et du plastique, il a obtenu un poste d’enseignant en art, histoire de l’art et poésie à Goldsmiths’ College dans les années 80. En 1989, il a commencé à enseigner à Herefordshire College of Art & Design, avant de devenir directeur du département d’art de Roehampton University en 1998. En 2002, il y est devenu professeur de poésie et d’art, et en 2005, il s’est vu offrir le poste de directeur des arts contemporains à Manchester Metropolitan University, où il est désormais professeur émérite de poésie et d’art. En 2017, son livre PLACE a été réédité, ses poèmes choisis ont été publiés par Reality Street sous le titre Gravity as a consequence of shape et son livre d’essais Imperfect Fit a été publié par les presses de l’Université d’Alabama.
Né à Toulon en 1945. Enfance à Nîmes, puis à Paris, où il habite – il a aussi vécu au Caire et à Marseille. Poète et chercheur en anthropologie urbaine. Il a enseigné à l’école d’architecture de Versailles avant de poursuivre au CNRS ses travaux sur les espaces de l’Orient arabe et les mots de la ville. Il exerce donc deux métiers d’écrire. Il fait également des images en deux ou trois dimensions.
Il s’est intéressé, théoriquement et pratiquement, aux ressources du décasyllabe, du quatrain puis du mètre impair et à la composition de la sextine. à la traduction, à la description et au portrait. Il a consacré des études au travail de poésie (une nouvelle génération de poètes français à la fin des années 1990, la poésie arabe contemporaine, la poésie sonore, Charles Olson, Francis Ponge, Emmanuel Hocquard…).
Il a été membre de la rédaction d’Action poétique et d’If. Et de la revue d’histoire et d’anthropologie des arts Gradhiva. Cofondateur d’Irrégulomadaire (« les rapports de l’image et du texte sur tous supports »). Collabore au cahier critique de poésie, CCP.
A notamment publié
S.C.S.I.P.R. (avec Susanna Shannon, 13 planches – images et textes), Ferry 16, Paris, 1987.
Les fruits du matin (des images sur papier), cipM, Marseille, janvier-mars 2017, accompagnée d’un texte (Cahier du Refuge 257).
The next Poets and Critics Symposium will be devoted to the work of Carla Harryman.
Thursday 15 and Friday 16 February, 2018.
9:45am-5pm, room 830 (8th floor of the Olympe de Gouges Building).For detailed instructions and directions, click HERE.&
If you would like to attend the symposium and are not already in touch with us, please contact us and we will send you information, instructions about and directions to the symposium:
Thus far, we have focused on the writer’s own (creative and critical) work on the first day of the P&C symposiums and on broader issues of poetics and practice-based criticism on the second day. But there’s no specific preconceived program for the 2 days of the symposium: as the previous sessions of the program have shown, it seems important to let the conversation take its own course.
Please note that the morning session of the first day is devoted to preparing the conversation with Carla Harryman which will take place during the afternoon session and the second day. Carla Harryman will be joining the group at 2pm on Thursday 15 February.
As usual, we intend to address all aspects of our guest’s work as poet, prose writer, playwright, critic, and editor. Please feel free to make suggestions as to particular books that you would like to discuss during the symposium.
Our Monday afternoon session with Carla Harryman should end by 6 pm, which will leave ample time for everybody to get to the poetry reading.
Carla Harryman was born in Orange, California in 1952. She attended the University of California at Santa Barbara and San Francisco State University.
Known for her boundary breaking investigations of genre, non/narrative poetics, and text-based performance, she is the author of many books including the diptych W—/M—(2013), the Essay Press collection Adorno’s Noise (2008), Baby (2006), Gardener of Stars: A Novel (2001), and two volumes of selected writing: Animal Instincts: Prose, Plays, Essays published by This Press in 1989 and There Never Was a Rose Without a Thorn published by City Lights Books in 1995. An active collaborator, she is author of The Wide Road (with Lyn Hejinian, 2011) and one of ten co-authors of The Grand Piano, An Experiment in Collective Autobiography: San Francisco, 1975-1980 (2006-2010). Open Box, a CD of music and spoken text performances created with composer and musician Jon Raskin, was released on the Tzadik: Key Series label in 2012.
“I prefer to distribute narrative rather than deny it,” writes Harryman in her essay “Toy Boats,” first published in 1986. The tension between narrative and nonnarrative she engages in her writing led early on to her work in performance, which approached the complexity of the “language centered text” as a site of collective listening, interpretation, and ensemble collaboration. In participating in the development of the Poets Theater that emerged in the San Francisco Bay Area in the late 1970s, she also drew from performance art and ideas derived from structured improvisation within the music scene. The combination of these interests resulted in an on-going investigation of language and text in performance.
Her Poets Theater, interdisciplinary, and bi-lingual performances have been presented nationally and internationally. At the invitation of dOCUMENTA 13 (2012), she performed with improviser Magda Mayas her score Occupying Theodor W. Adorno’s “Music and New Music,” a Re-performance. The work rewrites Adorno’s 1959 lecture as a text for structured improvisation. This is one of many recent performances inspired by music, speaking voice, and text collaborations with Raskin, with whom she has performed frequently, including several versions of Mirror Play: in San Francisco, Detroit, and Wels, Austria. Their collaboration-in-progress Gardener of Stars, an Opera fuses Poets Theater idioms with their experimental approach to music-text improvisation.
Harryman has reflected on questions of narrative, non/narrative, and poetics in the edited volume Journal of Narrative Theory. Non/Narrative 41. No. 1 (Spring, 2011) and the co-edited volume Lust for Life: on the Writings of Kathy Acker (Verso, 2006). She has also written essays and given formal talks on the poetics of prose and performance as well as women’s experimental poetry. Among these are “Something Nation: Radical Spaces of Performance in Linton Kwesi Johnson and cris cheek” (Diasporic Avant-gardes, 2009); “Residues or Revolutions of the Language of Acker and Artaud” (Devouring Institutions, 2004); “Rules and Restraints in Women’s Experimental Writing,” (We Who Love to Be Astonished: Women Experimenters and Performance Writing, 2001), and “The Obituary of the Many,” a keynote lecture on The Obituary by Canadian novelist Gail Scott delivered at The Cryptic (Columbia University, New York, 2014). She has also written several essays on the subject of motherhood, childhood, language, and writing, including “Wild Mothers” (Moving Borders: Three Decades of Innovative Writing by Women, 1998): these works complement the more fully elaborated consideration of “the child” and “young person” in Vice (1986), Gardener of Stars, Baby, and Sue in Berlin.
Her writing has been translated for publication and/or performance in French, Spanish, German, and Czech, with smaller selections in Japanese, Danish, Serbian, Italian, Romanian, and Swedish. She is the recipient of an artist award from The Foundation of Contemporary Art, New York; an Emergency Grant for The Foundation of Contemporary Art in support of her performance Occupying Theodor W. Adorno’s Music and New Music, an Opera America Next Stage Grant (with Erling Wold) for text adaptation and dramaturgy of A Little Girl Dreams of Taking the Veil; an American Embassy in Romania grant for presentations in Romanian universities; awards from The Fund for Poetry; a Special Awards in the Arts (in poetry) from the Alexander Gerbode Foundation; and New Langton Arts/NEA Consortium Grant Playwright Commission for the writing and production of There Is Nothing Better Than a Theory.
In 1995, she moved with poet Barrett Watten and their son Asa from the San Francisco Bay Area to Detroit. She serves on the faculty of Eastern Michigan University, where she currently coordinates the creative writing program. She also serves on the faculty of the Milton Avery School of the Arts MFA Program at Bard College, New York.
Clip from dOCUMENTA 13 performance:
Cutting Corners (with Chess Smith on drums):
Open Box (Tzadik 2012) previews:
Notes on Poets Theater
Poem: after Jackson Mac Low
Essay: Artifact of Hope in pdf format:
“Carla Harryman’s Baby: Listening In, Around, Through, and Out” by Christine Hume
W—/M—. Ann Arbor, Calif.: Split Level Press, 2013
Adorno’s Noise. New York and Chicago: Essay Press, 2008
Open Box. New York: Belladonna, 2007
Tourjours L’epine Es Sous La Rose. Trans. Martin Richet. Paris, France: Ikko, 2006
Baby. New York: Adventures in Poetry, 2005
Gardener of Stars. Berkeley, Calif.: Atelos, 2001
Dim Blue and Why Yell. New York: Belladonna, 2000
The Words: After Carl Sandburg’s Rootabaga Stories and Jean-Paul Sartre. Berkeley, Calif.: O Books, 1999
There Never Was a Rose Without a Thorn. San Francisco: City Lights, 1995
Memory Play. Oakland, Calif.: O Books, 1994
In the Mode Of. Tenerife, Canary Is., Sp.: Zasterle Press, 1992
Animal Instincts: Prose, Plays Essays. Berkeley, Calif.: This Press, 1989
Vice. Hartford, Conn.: Potes and Poets Press, 1986
The Middle. San Francisco: Gaz Press, 1983
Property . Berkeley, Calif.: Tuumba Press, 1982
Under the Bridge. San Francisco: This Press, 1980
Percentage. Berkeley, Calif.: Tuumba Press, 1979
The Wide Road, Carla Harryman and Lyn Hejinian. New York, Belladonna, 2011
The Grand Piano, an Experiment in Collective Autobiography (San Francisco 1975-1980): Vols. 1-10. Rae Armantrout, Steve Benson, Carla Harryman, Lyn Hejinian, Tom Mandel, Ted Pearson, Bob Perleman, Kit Robinson, Ron Silliman, and Barrett Watten. Detroit, Mode A, 2006-10
Open Box. Carla Harryman and Jon Raskin. New York: Tzadik, Key Series, March, 2012
Journal of Narrative Theory. Non/Narrative 41. No. 1 (Spring, 2011)
With eds. Amy Scholder and Avital Ronell. Lust for Life: on the Writings of Kathy Acker. New York and London: Verso, 2006
POETS THEATER PLAYS PERFORMED (SELECTED):
Performing Objects Stationed in the Sub World
There Is Nothing Better Than a Theory
Fist of the Colossus (with Tom Mandel)
INTERMEDIA PERFORMANCE (SELECTED):
Gardener of Stars, an Opera
Occupying “Music and New Music” by Theodor W. Adorno, a Re-performance
Open Box by Carla Harryman and Jon Raskin
The Grand Piano
“The New Talkies:” Live Film Narration with Filmmaker Konrad Steiner