2018.7.13-17 Festival Ecrivains en bord de mer, La Baule

2018.7 Ecrivains en bord de mer

In July 2018, the Literary festival of La Baule welcomes Tracie Morris, on the occasion of the 2017 publication of Hard Korè, poèmes / Per-Form: Poems of Mythos and Place, translated by Vincent Broqua and Abigail Lang, with an afterword by Marjorie Perloff, joca seria.

Poet and Translator Nicolas Pesquès will also talk about his translation of a selection of poems by Ann Lauterbach, published under the title Alice en terre vaine et autres poèmes (translated by Maïtreyi and Nicolas Pesquès, joca seria, 2018).  

The presence of the poets is made possible by a collaboration between the festival Ecrivains en bord de mer, the collective double change and the Poetry Foundation.

Details can be found at : http://ecrivainsenborddemer.fr/

20.6.18 “Translating performance / performing translation”: Jeff Hilson and Zoë Skoulding, 5-7 pm

Le séminaire “Traduire la performance  / Performer la traduction” (Labex arts h2h) invite Jeff Hilson et Zoë Skoulding le 20 juin 2018 de 17h à 19h à la Fondation des Etats-Unis, Salon Chicago (15 boulevard jourdan, 75014 Paris http://www.feusa.org/planning-your-visit/).

“Translating performance / performing translation” invites Jeff Hilson and Zoë Skoulding for a talk on June 20 (5pm to 7pm) at the Foundation des Etats-Unis, Salon Chicago (15 boulevard Jourdan, 75014 Paris http://www.feusa.org/planning-your-visit/):

Sound, Performance and Expanded Translation

This seminar emerges from the research network Poetry in Expanded Translation, based at Bangor University funded by the Arts and Humanities Research Councilhttp://expanded-translation.bangor.ac.uk/, which over the last eighteen months has been investigating links between translation, criticism and creative practice.

Translation is, as Rosmarie Waldrop has stated, ‘writing as an exploration of what happens between; between words, sentences, people, cultures’ (Sophie Collins, ed. Currently and Emotion: Translations, London Test Centre, 2016), and yet that space of the ‘between’, well known to anyone who translates, or thinks about translation as a practice, is often difficult to capture. If all too often the importance or even the presence of translation is masked by the problem of ‘the translator’s invisibility’ Lawrence Venuti puts it, this project has looked at how the cultural spaces traversed by translation might be made more visible, and the ways in which intercultural and interlingual elements might be foregrounded in broader areas of poetic practice, including those not typically considered as translation.

Considering translation as performance is central to these explorations.  In particular, the interface between sound and translation enables examination of the role of sonic features in the process of translation as well as the extent to which attention to the sound of poetry necessarily involves aspects of translation. Examples will be drawn from Zukofsy’s sonnet sequence “A” (considered as a rehearsal for his later homophonic translations of Catullus), Ebbe Borregaard’s Sketches for 13 Sonnets and David Melnick’s translation of the Iliad. The session will conclude with a presentation of interlingual collaborative poems produced at a meeting of the network in April 2017, and discussion of collaboration as a performative practice. How can improvisatory, sound-based approaches to translation inform poetic process and enable different ways of imagining the space between languages?

Jeff Hilson is a poet and critic whose publications include A Grasses Primer (Form Books, 2000), Stretchers (Reality Street, 2006), Bird Bird (Landfill 2009), and In The Assarts (Veer Books, 2010). He edited The Reality Street Book of Sonnets, published in 2008, and his most recent publication is Latanoprost Variations (Boiler House Press, 2017. He is Reader in Creative Writing at the University of Roehampton.

Zoë Skoulding is a poet, critic and translator whose books include poetry collections Remains of a Future City (Seren, 2008), The Museum of Disappearing Sounds (Seren, 2013), and as translator from French In Reality, selected poems by Jean Portante (Seren, 2013). Her most recent work is Teint, a sequence on the Bièvre written during a residency at Les Récollets in 2014 (Hafan Books, 2016). Her monograph Contemporary Women’s Poetry and Urban Space: Experimental Cities was published by Palgrave Macmillan in 2013. She is Reader in the School of English Literature at Bangor University.

“Translating performance / performing translation” is a 3-year project about new translation practices and translation aesthetics http://www.labex-arts-h2h.fr/traduire-la-performance-performer.html

avec le soutien / with the support of

Arts and humanities research council

Fondation des Etats-Unis

31.5.18 Seminar with Marjorie WELISH, followed by a reading with Marcel COHEN and Marjorie WELISH, atelier Michael Woolworth, Paris

Welish so whatThe research seminar “Textualités Numériques et Contemporaines” (Paris 8), the research project “Poets and Critics” (IUF/ Paris 8/ UPEM / Paris Diderot), Double Change and Michael Woolworth invite you to a seminar with Marjorie Welish (May 31 5:30-7:30) and a reading with Marcel Cohen and Marjorie Welish (May 31, 7:30) at Atelier Michael Woolworth:

« Thinking criticism: textuality, words and images”
A discussion and seminar with Marjorie Welish, from 5:30 pm to 7:30 pm

When on a Fulbright to the Edinburgh College of Art to lecture on the situated nature of art criticism, Marjorie Welish toured the Inverleith House, she said to its director Paul Nesbitt: ‘I could diagram this.’  What she meant and he understood did come about in some form. She proposed to create art to capture the changing function from 18th-century residence to 20th-century project space for art. PUSH BAR TO OPEN is the short video component of this project.
Our discussion will be based on a video of hers PUSH BAR TO OPEN, in which text and image are simultaneously questioned in relation to the history of an art space and an art exhibition. We will approach the topics of how to rethink criticism in relation to textuality. If everything has become textual how to think criticism and pedagogy? How do the word and image modalities affect textuality in our contemporary moment? And how do we talk about the assumption that signage activates space? In the same way, does language activate anything at all?
(contact : vincent.broqua@univ-paris8.fr)

The seminar will be followed by a reading with

Marcel Cohen
Marjorie Welish

Both events are open to the public. The seminar is conducted in English, the reading will be bilingual.

Atelier Michael Woolworth
2 rue de la Roquette
Passage du Cheval Blanc
Cour Février

75011 Paris France
M° Bastille

Biographies :
Artist /critic / poet  Marjorie Welish received her first solo show thanks to Laurie Anderson, then curator of the Whitney Museum Art Resources Center; she has exhibited most recently in New York, Paris, Vienna, and Cambridge, England. She received many grants and fellowships, including: Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, Guggenheim Foundation Fellowship, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland).  In 2006, she received a Fulbright Senior Specialist Fellowship to teach at the University of Frankfurt, where she also worked on a limited-edition constructed art book, Oaths? Questions?  in collaboration with James Siena, published by Granary Books in 2009 (in the collections of the Beinecke Library at Yale, Columbia University, Getty, and The Metropolitan Museum of Art); in 2010 with a Fulbright, she was at Edinburgh College of Art. In 2015 she was nominated for the award Anonymous Was a Woman. Writing on her work may be found in Of the Diagram: The Work of Marjorie Welish (Slought Foundation, 2003) compiles papers given at a conference on April 5, 2002, at the University of Pennsylvania: https://slought.org/resources/store#of_the_diagram_the_work_of_marjorie_welish   Welish’s book of art criticism is Signifying Art: Essays on Art after 1960 (Cambridge University Press, 1999). More information on Welish may be found at http://marjoriewelish.com/Home.html. Her poetry books include: Isle of the Signatories (2008), In the Futurity Lounge / Asylum for Indeterminacy (2012), and So What So That (2016).

Marcel Cohen
Often regarded as a prose writer by poets and as a poet by fiction writers, Marcel Cohen is the author of nine books of short texts with no mention of their genre. They were published by Éditions Gallimard. Over the last few years, Marcel Cohen published a trilogy: Faits, Lecture courante à l’usage des grands débutants (2002), Faits, II (2007), Faits, III, Suite et fin (2010), as a manifesto against any form of fiction.
In Sur la scène intérieure (2013), he gathered the rare recollections he has from his family, who was deported during the war. It was published by J.-B. Pontalis in his series « L’un et l’autre ». Le Grand-paon-de nuit, followed by Murs, and Métro gather extremely short texts published previously by Gallimard and other publishers.
In 2017, he published Détails (Gallimard) and Autoportrait en lecteur (Eric Pesty), which is entirely made of quotations.
His books were translated into eight languages and, among others, in the USA by Cid Corman (The Peacock Emperor Moth, Burning Deck), as well as by Jason Weiss (Mirrors, Green Integer), and by Brian Evenson and Joanna Howard (Walls, Black Square Editions). He was also translated by Raphael Rubinstein (In Search of Lost Ladino), published by Editions Ibis in Jerusalem in a biligual version.
Marcel Cohen also published a book of interviews with Edmond Jabès, translated by Pierre Joris as From the Desert to the Book (published by Station Hill Press in the USA).
In 2013-2014, he was awarded the Wepler-Fondation La Poste prize, the Jean Arp prize, the Roger Caillois Prize, the Bernheim prize awarded by the Fondation du Judaïsme Français, and the Eve Delacroix prize awarded by the Académie Française.

“Something I would like to hear from my voice”, a documentary on Jim Dine

“Something I would like to hear from my voice”,
a documentary on Jim Dine,
shot in Jim Dine’s Montrouge studio on 21 July and 12 December 2016.
shown at Centre Pompidou for “Jim Dine: Paris Reconnaissance”, 14 Feb. – 23 April 2018
Script, interview and translation Olivier Brossard
Filming and video editing Siméa Lupéron, Jayson Sansol, Elie Sechan
Campus Numérique, Université Paris Est Marne-la- Vallée, Institut Universitaire de France

« Les mots que j’aimerais m’entendre dire »,
un documentaire sur Jim Dine,
filmé à son atelier de Montrouge les 21 juillet et 12 décembre 2016.
diffusé au Centre Pompidou dans le cadre de “Jim Dine : Paris Reconnaissance”, 14 février – 23 avril 2018
Écriture, entretien et traduction Olivier Brossard
Vidéo et montage Siméa Lupéron, Jayson Sansol, Elie Sechan
Campus Numérique, Université Paris Est Marne-la- Vallée, Institut Universitaire de France

15 March 2018 Allen Fisher lecture on “Decoherence Aesthetics” / Poetry reading with Allen Fisher and Jean-Charles Depaule

978-0-8173-5872-3-frontcoverThe 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

Entrée libre

Reid Hall,
Grande salle
4, rue de Chevreuse
75006 Paris

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.

Allen Fisher

9781874400721Born 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.


Selected Bibliography

  • Définition en cours, Le Bleu du Ciel, 2013.
  • A travers le mur (with Jean-Luc Arnaud), Parenthèses, 2014.
  • D’une vie avec, Contre-pied, 2015.
  • L’impossibilité du vide, une anthologie littéraire des espaces de la ville, Parenthèses, 2016.
  • D’écriture : je réponds, 7 + 1 extraits, contrat maint, 2017.


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).


Allen Fisher

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.


Jean-Charles Depaule

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

  • Définition en cours, Le Bleu du Ciel, 2013.
  • A travers le mur (avec Jean-Luc Arnaud), Parenthèses, 2014.
  • D’une vie avec, Contre-pied, 2015.
  • L’impossibilité du vide, une anthologie littéraire des espaces de la ville, Parenthèses, 2016.
  • D’écriture : je réponds, 7 + 1 extraits, contrat maint, 2017.

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).


Poets and Critics Symposium 2018.1 : Carla Harryman, Thursday 15 and Friday 16 February

screenshot from http://carlaharryman.com/
screenshot from http://carlaharryman.com/

The next Poets and Critics Symposium will be devoted to the work of Carla Harryman.

Thursday 15 and Friday 16 February, 2018.

Université Paris 7 Denis Diderot, Bâtiment Olympe de Gouges
8 rue Albert Einstein, 75013 Paris

9:45am-5pm, room 830 (8th floor of the Olympe de Gouges Building).

Howimage doigt petit to get there?
For detailed instructions and directions, click HERE.

Poetry reading Carla Harryman and Juliette de Laroque

Thursday 15 February, 6:30 pm
Bétonsalon – Centre d’art et de recherche
9 Esplanade Pierre Vidal-Naquet, 75013 Paris

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 PianoAn 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.