London poems. Stefano Guglielmin


London poems

 

Sad is his face like the face of a poet

a poet without a song 

Virginia Woolf

 

°

 

The foxes are howling in the yard

while the barbarian shreds the tablecloth;

Mrs Dalloway finds her voice and says:

“Doesn’t life seem incredible?”

 

 

°°

 

There is no song, I know. But the body

sometimes talks on its own, likes mud

more than light and wiping out traces

makes it sick…

 

 

 

°°°

 

Poetry means, here, stand still on the carousel,

bring yourself peace as your ship goes down.

 

 

 

°°°°

 

She asks if I like laughing

if dying young is worse.

 

She repeats the sentences twice

so laughing and dying

become just verbs for me to learn

 

 

 

°°°°°

 

She says so many things in English;

sticking out her tongue, unraveling it:

her sex wouldn’t do any better.

 

 

 

°°°°°°

 

She lays down something that sounds

like the breathing of a sick heart;

she seems happy to have followers

in this enterprise.

 

 

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Sorgue. Stefano Guglielmin


2

faithful to your order precipitous

you rain

on the heads of the sleepless

but you see nothing

but little sores and enjoyment if you can

with the animal your love all crushed

in your belly

in danger like acrobatics or the sea that beats

sturdily because it is dying

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Response Time Artes Mundi 6 Turner House Gallery


Originally posted on SCRIPTOGRAPHY PRODUCTIONS:

We would like to invite you to come along on Thursday 11th December for a lunchtime performance at Turner House Gallery 1.05PM for the latest Response Time project.

What is Response Time?
Response Time is a performed response to art, space and environment working in art galleries and spaces that exhibit art. It began at the Gas Gallery in Aberystwyth and has since produced responses to Tim Shaw’s Black Smoke Rising at Aberystwyth Arts Centre and the Artes Mundi 6 at National Museum Wales.

Response Time challenges multi-disciplinary and cross art-form performance makers to respond to art in the form of live or digital performance in 48 hours. The focus on the project is providing young and emerging artists the opportunity to develop their performance skills and their practice alongside more experienced performance makers in a supportive and creative framework.

What will the performance be like?
Response Time is…

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Nanna’s Lied/Kurt Weill/Bertolt Brecht


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Noam Chomsky (2013) “What is Anarchism?”


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Dream song. John Berryman


Life, friends, is boring. We must not say so.
After all, the sky flashes, the great sea yearns,
we ourselves flash and yearn,
and moreover my mother told me as a boy
(repeatingly) ‘Ever to confess you’re bored
means you have no
Inner Resources.’ I conclude now I have no
inner resources, because I am heavy bored.
Peoples bore me,
literature bores me, especially great literature,
Henry bores me, with his plights & gripes
as bad as achilles,
who loves people and valiant art, which bores me.
And the tranquil hills, & gin, look like a drag
and somehow a dog
has taken itself & its tail considerably away
into mountains or sea or sky, leaving
behind: me, wag.
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Martin Creed – A bowdlerisation of all objects and 1001 activities? Stefan Szczelkun


 

Martin Creed represents a new relaxed freedom and inclusion in art. We can now all include our childhood drawings in our art shows (but only in certain controlled environments.)
The naive is separated from its messy base and put on pedestals. Everyday materials and artless productions are ‘good’… they are ‘OK’ we can feel alright about them now. But look carefully and many everyday challenges are excised. Even his golden clenched fist is a childhood piece presented in a closed vitrine.
Base functions from making raspberries to sick & shit, and having an erection, do have their feeling qualities. The middle classes can now get used to their aesthetic dimensions. Creed’s exhibition will train them to be children again. A mother at the door of the Sick&Shit projections complained to me how her three year old son loves it so. She wants to leave but he won’t let her.
Pretence: there is not any longer a need for class separation in aesthetics. Anything we do has some aesthetic quality, lets all finally admit it.
BUT Creed’s ordinary does not include any ordinary things that might lead to liberation or revolt. There is no grief or crying. No post traumatic stress disorders. No displaced peoples. No homelessness. etc. List all the things that are missing rather than the plethora that’s included. And the missing things all share one characteristic – they all challenge capitalism in its current bullish and blissfully omnipotent mood.
It is about making the mundane aesthetically normalised for the middle classes. A bowdlerisation of all objects and activity. A disarming exhibition because I relate too closely to much of it. I did that stuff too. I made that poor joke but without the panache and confidence that Creed brings to it.
Creed is like a court jester, he plays in the margins of what is possible and possibly naughty. He’s naughty and knowing but does so in the pockets of the super rich. They can invest heavily in his silly and obvious ideas but that doesn’t mean you and I can now go to the Arts Council for tens of thousands to build a room full of balloons or a high prestige show of all your old paintings because that has all be ticked off. Sorry mate, you’re too late. Its been done.
I know there is one thing he missed – spitting. Maybe I can do a very well supported spitting piece straight away. If you don’t have too many aspirations you can still quietly hawk phlegm into the gutter. Middle class people would prefer to choke than be caught spitting. Spitting can be my ticket to fame and good fortune. Arts Council are you listening? This is my application for dosh. This is how we do it nowadays, informally on the social media.
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