telefone sem fio Issue 3: Fall 2011
TELEPHONE Issue 3 a companion to the exhibition Telefone Sem Fio: Word-Things of Augusto de Campos Revisited in collaboration with EFA Project Space Nov. 4 - Dec. 17, 2011 323 West 39 St., 2nd Floor, Curated/Edited by Sharmila Cohen, Paul Legault & Michelle Levy Copyright Š 2011 The Elizabeth Foundation of the Arts & Telephone www.efanyc.org www.telephonejournal.org Cover Art: Nick Sumida Lead Consultant: Charles Perrone Assistant Editor: Lauren Hunter Assistant Curator: Lauren Bierly Issues printed and bound at Ugly Duckling Presse ISSN 2156-9606
CONTENTS Issue 3: Word-Things of Augusto de Campos Revisited augusto de campos [1] código | | tensão | | eis os amantes | | pulsar | | criptocardiograma | | cidade, city, cité | | Diálogo a Dois jen bervin [9] cidade, city, cité ray bianchi [11] Homenagem bibi calderaro [14] piece written with no name macgregor card [18] from MAHAGONNY deric carner [26] Lion of Sand/Potter of Gold | | Code (Código) nico pam dick & thessia machado [34] Dialogue of Pulses | | tense: out of tune | | oasis dress | | that is so lovers | | código/i say with brendan fernandes [42] Wandering Speech kenneth goldsmith [46] código | | código | | from Todo o código do Código rafael lain & angela detanico [49] Pulsar
rossana martinez [52] See the World in Orange and Blue tom moody [53] criptocardiograma Remix benjamin moreno ortiz [55] Augustocities trong gia nguyen [60] tensão | | eis os amantes | | Diálogo a Dois charles perrone [64] tension I-VII | | Tension Graphs | | Tensions steve savage & jean-sébastien baillat [74] Translating Augusto de Campos jennifer schmidt [84] Dialogue for Two | | Dialogue for Two dannielle tegeder [92] Inbetween the Lines: de Campos Library Project edwin torres [98] solocoptro andrea van der straeten [96] QUASI_without | | ohne augusto de campos [105] tension
The concrete poet does not turn away from words, he does not glance at them obliquely: he goes directly to their center, in order to live and vivify their facticity. —from "Concrete Poetry: A Manifesto" Augusto de Campos once said that he was ‘‘not interested in poetry whose end is merely expression but rather in poetry that wants to be a way of knowledge, of enlargement of man’s experience—poetry as an art form, as a form of freedom.’’ The product of our collaboration with Michelle Levy and the EFA Project Space represents these tenets. Collectively, our aim was to bring together a group of poets and artists to create the third issue of Telephone in conjunction with a translation-based gallery exhibition featuring the work of de Campos. As always, we told the translators that they were free to interpret the work in any way they see fit—this time, that also meant using any and multiple forms of media. We wanted to open the doors to all forms of art as translation, to enlarge the experience, to very literally take poetry as a form of art and freedom. As you will see, many of the contributors switched genres in a variety of ways—the work ranges from printed images to web content to sound to text to forms of movement and beyond. This provides the “readers” with a kaleidoscopic approach that is based in both the translator’s interpretation and form of representation. This is not shocking, considering the source material they were given. Augusto de Campos is one of the founding fathers of the Brazilian concrete poetry movement. Of course, his work is highly visual and spans a wide range of media, from text to sound to images to interactive online pieces. He very concisely defined
COHEN & LEGAULT
INTRODUCTION
COHEN & LEGAULT
3
concrete poetry as “tension of word-things in time-space.” Here, words are not only words, but physical beings, being launched off the page into a moment in time—it often seems that he intends to utilize all of the senses and facets of cognition. —Editors, Telephone
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W hen producing an exhibition, there are some that are planned or curated… and others, like this one, are just, well, born…and our primary role in their production is to help them along. W hen this project started I did not know who Augusto de Campos was. I did not know Telephone. I was seeking a non-obvious way to bring the poetry community into the visual art context. And by that I mean I was looking for a connection between the two through process rather than by having one discipline illustrate or describe the other. During a conversation on art and literature, an editor/poet pointed out to me that a translator is very much like a printmaker: intuition, creative decisionmaking and talent are integrally involved in re-creating an original expression to be consumed by a new audience, yet the significance of said intervention is often overlooked. He asked: what would a show about the literary translation process look like? I thought about that question for a long time. Then I started talking to people. Poets, translators, artists, curators—a long trail of exquisite brains* were picked along the way that led me to Telephone just a few months before they launched their first issue. Because the idea for this exhibition started with an enigma, Telephone’s suggestion to task both artists and poets to invent “translations” of the work of one poet (rather than select examples of inventive translation that already exist) seemed like the most obvious approach—one that would enable the enigma to unfold on its own. By choosing de Campos, the challenge became even greater because now the translators are not being asked simply to respond to language, but to
LEVY
ABOUT THE EXHIBITION
LEVY
5
language as object, sound, motion, color. And all of these sources, due to their current obscurity, were several steps removed from their original form already. The source works we selected represented key points across de Campos’s spectrum of styles: from verse to symbol to animation to sound. It would be interesting, we thought, to see which work the participants would gravitate to most. Would the artists more likely respond to the closest resembling verse? Would the poets more likely respond to the closest resembling symbols? W ho would feel liberated and who would feel trapped? In the end, this venture does not claim to answer the original question: what would a show about translation look like? Rather, it is an expression of what happens when we decide to abandon our purpose just a little in order to open up the doors wider and get lost in a puzzle that we find more interesting than any one solution. —Michelle Levy, Director, EFA Project Space
*This project would not have happened without: Susan Bernofsky, Macgregor Card, Sarah Demeuse, Edwin Frank, Angie Keefer, Anna Moschkovakis.
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ACKNOWLEDGMENTS
Jane Stephenson, Executive Director, The Elizabeth Foundation for the Arts who has enabled this project from start to finish Ruth and Marvin Sackner, Sackner Archive for Concrete and Visual Poetry, for general guidance and for lending original works by Augusto de Campos to the exhibition Charles Perrone, Lead Consultant to the project and translator Sarah Demeuse, independent curator and indispensable sounding board Anna Moschovakis, Ugly Duckling Presse, for her generous and noble act of solidarity Edwin Frank, Editor, NYR B Classics, who helped spark the initial seed Susan Bernofsky, author, scholar, translator, teacher, and matchmaker for EFA and Telephone Lauren Bierly, EFA Project Space Program, for all of her hard work behind-the-scenes Lauren Hunter, Telephone Books, for her endless support and editorial work All of the artists and poets for their bravery, boldness, and imagination We are forever grateful to Augusto de Campos for his extraordinary work on every level�from initial inspiration to final collaboration. This exhibit is dedicated to him.
1
DE CAMPOS
c贸digo
DE CAMPOS
2
tens達o
3
DE CAMPOS
eis os amantes
DE CAMPOS
4
pulsar
5
DE CAMPOS
criptocardiograma
DE CAMPOS
6
cidade, city, citĂŠ
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DE CAMPOS
DE CAMPOS
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Diálogo a Dois
A Angústia, Augusto, esse leão de areia —Décio Pignatari A Angústia, Augusto, esse leão de areia Que se abebera em tuas mãos de tuas mãos E que desdenha a fronte que lhe ofertas (Em tuas mãos de tuas mãos por tuas mãos) E há de chegar paciente ao nervo dos teus olhos, É o Morto que se fecha em tua pele? O Expulso do teu corpo no teu corpo? A Pedra que se rompe dos teus pulsos? A Areia areia apenas mais o vento? A Angústia, Pignatari, Oleiro de Ouro, Esse leão de areia digo este leão (Ah! O longo olhar sereno em que nos empenhamos, Que é como se eu me estrangulasse com os olhos) De sangue: Eu mesmo, além do espelho.
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silver paper and stencils; 26" x 20"
BERVIN
cidade, city, citĂŠ
BERVIN
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11
deikumItalianapartgibisúasilciquesağlayanarribenpedrateusonofrontal nervoteuspellepazienti corpotuaslleódetectedAngústiarüzgarImansede mansil manses areia ao area les de olarak 開除出身體在你的身體？ de Che Ve há paciente ofertas 沙從 沙所以風 súas Ve frontal leão de 翻譯葡萄牙語檢測 的痛苦，奧古斯都，獅子沙 arriben apenas que E mans) morto teu coas cosa aslan teus gibi dalle appena no bilek ulls, teus Ve mani Ve sorra translation L'angoixa, "els corpo? mãos che 他們嘲笑前， 它提供 areia” súas Augusto why do you form words into pictures? O E de mani Décio occhi, senin occhi, que angustia, ulls, súas beffe I La senin E se area mans) vento? 意大利 com var Morto Angústia, che angustia, en areia a O gibi E 他 們嘲笑前， 它提供 pietra do fronte si tuoi olarak) ha area seva chiude I Che vento? Italian ihraç? ha chegan corpo? 翻譯葡萄牙語檢測 的痛苦，奧古斯都，獅子沙 mans (在你 的手從你的手與手） com sulle en ofrece E i ollos, esse aslan de angustia, para loro dos león el com I A tuoi
BIANCHI
Homenagem
BIANCHI
12
pulsos? de ellerinizi súas Il Catalan esse que de mãos) de ellerinizi mans Angústia, saída o de o que nervi sorra les la nel de “A tue carrerons hastalar morto translation Acı, sono mans bilek se esse area appena Italian E de seva sabbia E Morto che bilek pedra bozuldu? che ellerinizi sabbia ao Acı, A Che Babylon e Babel- la lengue latino son equais 在你的手從你的手與手）mas no chines. há occhi, coas mans) el dalle göz a tue Il corpo fecha E ellerde ofertas 還有誰是病人 的神經來你的眼睛，seves corpo? areia que mãos les que sinir Taş Il corpo? em de grande porcionhá kum 翻譯葡萄牙語檢測 的痛苦，奧古斯都，獅子沙 Vücudunuzdaki Che kum? que chiude dalle con ön pell? nervio en vengono kum teus quebrada tue dalle O 開除 出身體在你的身體？ quebrada Il nines? Wet humid poet. la Vücudunuzdaki tue Cildinizdeki Augustus, tua ci becos el ao si La saída Espulso mãos de abebera to Vücudunuzdaki （在你的手從你的手與手） to olarak) rüzgar Augustus, vento? nella
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mans de pazienti vostra nervo E se saída - Augustus, che Expulso la mãos I 這 塊石頭是斷腕？ es seva gelen che súas ön da (Em 他們嘲笑前，它提供 mans tuas di tua de dei La La si Augustus, nella Ababa mans chegar Abeba de mans) aslan pietra carrerons les vostro esse pel? seva mans) göz sono detected sorra che ihraç? vücuttan nella a sağlayan proporciona a poet with a plan into warmth and wetness
BIANCHI
翻譯葡萄牙語檢測 的痛苦，奧古斯都，獅子沙 –
CALDERARO
14
piece written with no name
recycled paper, velum, recycled cardboard, plastic spiral; 10" x 14.5" x 1.5"
what: Sem Saida is not a printed poem, its colored words move around a black background in a seemingly random pattern, with monitor light as its support. W hat to call a piece about meaning and translation? Perhaps it should bear no name? Elusive yet static, in motion yet definite, meaning escapes, meaning remains. how: ▷ collect all attempts at specific translation and bind together in a notebook. ▷ collect and bind along all side thoughts about translation that occur while at this task. conclusions: 1. Translation is everywhere, all the time. 2. Translation is both an opaque and transparent operation. 3. Meaning does not come in direct ways, only by approximation. 4. Still—not surprisingly— no name for this experiment. Note: As with hieroglyphs, these notes will only reveal themselves partially, and in an indeterminate way. Elements from the surrounding environment will get in your way; please allow them to disturb you.
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CALDERARO
CALDERARO
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CALDERARO
CARD
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MAHAGONNY: a translation of tens達o
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CARD
CARD
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21
CARD
CARD
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CARD
CARD
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CARD
CARNER
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Lion of Sand/Potter of Gold
unique hand-finished inkjet prints and colored gels, set of 6; 9"x11"
"Lion of Sand/Potter of Gold" translates Augusto de Campos's "Diรกlogo a Dois" poem into a series of unique prints. The poem is a dialog between two poets who address one another as "the Lion of Sand" (Augusto) and "the Potter of Gold" (Pignatari). I began literally, by collecting commercial images of cement lions and gold jewelry. With this image bank, I generated a multi-page pdf document that centered one image per page and f lowed the text through four quadrants. Shown here are selections from this series, which have been further processed by wetting, folding and otherwise marring the clean print. W here the computer has shelled meaning through logic and chance, the hand reinserts a human investment in the resulting word pieces. Augusto de Campos was working at a time when it was transgressive to suggest the visual appearance of text could be as important as the conventional meaning of words. Today the commercial world is fully invested in typographic tactics of engagement. My "translation" takes this into consideration by deploying the kinks and marks of an anti-design aesthetic in order to render the elemental word-objects visible again.
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CARNER
CARNER
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CARNER
CARNER
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31
CARNER
CARNER
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wood stain and cutout on illustration board, 14" x18" / variable print
CARNER
Code (C贸digo)
DICK & MACHADO
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Dialogue of Pulses [score]
This sound piece uses the spaces between words as a score. The original and the google translation created distinct rhythmic patterns which were combined into a stereo track. The pauses were used as notes in MIDI percussion instruments.
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DICK & MACHADO
DICK & MACHADO
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tense: out of tune
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DICK & MACHADO
oasis dress
mistress undress
fortress dress
address distress
dress tress
stress actress
redress seamstress
tress songstress
DICK & MACHADO
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that is so lovers
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(“i say with” is my mistranslation of código as co-digo.) Forty ink drawings riffing on the original concrete poem were scanned and animated. The resulting video was input into a Max/MSP/Jitter patch which reads the image pixel line by pixel line, separating the color channels into red, green and blue. This information is then translated into a sound signal, which is retranslated into an image. The patch also functions as an instrument, in which speed of scanning for each channel is manipulated in real time, resulting in a non-automatic, nonrepeating, entirely new video.
DICK & MACHADO
código/i say with
DICK & MACHADO
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DICK & MACHADO
FERNANDES
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Wandering Speech
vinyl on floor; dimensions vary
I am interested in how language becomes codified, where it creates barriers that allow for understanding within specific groups and communities. In particular, I am investigating how language can be altered and forgotten through the process of migration. I have used Morse code as a non-textual method to inscribe meaning and abstraction in my work. For this project I have translated Augusto de Campos’ poem “SOS” into Morse Code, where I then laid the script onto the gallery f loor to make a nonsencial pattern that formed a trajectory that viewers can maneuver through. The written articulation is lost, but the body is forced to move within the gallery space using the pattern as another form of translation.
FERNANDES
... --- ...
..- -
.-- .. - .... ---. .. --. .... .... . ... ..- -. ... --- ...
- .... .- -
.-. --- .- --
.- ..-. - . .-.
.- .-.. --- -. .
.-- .
..-. --- .-.. .-.. --- .-- .. -. --. .-- .. - .... --- ..- -
-- --- - .... . .-. - ....
.- -
.-- .
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FERNANDES
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FERNANDES
GOLDSMITH
46
c贸digo
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GOLDSMITH
c贸digo
GOLDSMITH
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from Todo o código do Código
âPNG IHDRfÃ…Ug,ÓiCCPICC ProfilexÖTÅ“kAË›6n©–"Zk≤xê"IY ´hE‘6Ë bk€∂Eêd3I÷n6ÎÓ&µ•à ‰‚—*ï¬ EÌ° ˇÄzd/JÖZE(ï¬ Â´(b° -ÒÕnL∂•à ¿Œ~Ã›ï¬ 7Ô}ovfl r“4ıÄ<?>‰ «R¢il|Bj¸à é¢ A4%Uۈ N$AÉs˘{à ÿzÃ…[V√{Ëšw≤w≠ö“∂ö Ã‘Ë @‡GöŸ*∞Ô q Yà <fl°)«tfl„ÿÚà è9Nyx¡µ+=Æ’Y"|@5-Å’ M∠SÕ%†@ÉH8îıqR>ú◊ãî◊ inf∆»ΩO궪ÃÓ´b°úNˆêΩ ùÙ~Nâ‰¥ï¬ >¬!¬ ≠?F∠çûıå’?‚a·§ÊƒÜ=485Ù¯`∑©¯5¬ _ M' ¢TqŸ. Ã’Ã²Ã†Ë VÚJÇpê8 daÄsZHOâ—ŠLn¯ ∫á}&â— ŠÃ˜â€šwVQ·yègï¬ â€˜â€ºÃ”E⠄Ø0ö HPE<?>aò∞P@Ãœ<14≤r?#´ì{2u$jªtbD±A{6‹=∑ Q§›<Ë›("qîCµà ¸AË›*Ø…OÂy˘À\∞ÿV˜î≠õö∫Ú‡;≈Âôπ◊†»„sM^|ï ‘vìWGñ¨yzºöà ?à Wó1ÊÇ5èƒs∞˚Ò- _ ïÃó)å≈„UÛà KÑuZ17flül ;=‚.Å“.µ÷s≠âã7VõógË jH˚Ó™ºìÊU
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animation; B&W
We have created a new translation of de Campos's pivotal "Pulsar" animation. Titled "Amplitude," we have devised a number-based alphabet in which each letter is represented graphically by a number of elements given by its position in the alphabet. The poem is thus converted into a language of concentric circles, with one circle equivalent to A, two to B, and so on, with the exceptions being letters E and O which had been displayed as graphic objects in the original poem. In this case, E is presented by the artists in Roseta typeface as an asterisk with five points while O displayed as a full shape.
LAIN & DETANICO
Pulsar
LAIN & DETANICO
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LAIN & DETANICO
MARTINEZ
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See the World in Orange and Blue
Series of momentary performances: orange and blue woodless colored pencils, paint, hands, wall, sketchbook, paper
My performances are private explorations of subtle and momentary movements. For "See the World in Orange and Blue," I use both of my hands simultaneously to draw and paint on the wall, a sketchbook, and paper to create an instinctive dance of two complementary colors leading to the formation of a third color. The performance is informed by Augusto de Campos's work, "eis os amantes," 1953.
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Animated GIF
This piece is an interpretation of an interactive work on Augusto de Campos's website, titled criptocardiagrama. It was done in two stages. The first step was to make an animated GIF of the criptocardiograma icons by taking a screenshot of the grouping, cutting and pasting the elements in a crude sorting process, saving each stage of the sorting to make individual frames, and then animating those. The second phase was to make that GIF transparent and layer it over de Campos's website front page, allowing the colors and moving banner graphics underneath to show through, then to begin selectively transparentizing the background so that only certain colors and moving shapes remain. That process was intuitive and "painterly." Accidents in the transparentizing process created the silhouetted versions of the icons. The concept was to merge de Campos's content with its own normally invisible or disregarded means of display; nevertheless, only traces of the website remain in the finished GIF. The web version of this work consists of the GIF file embedded in an HTML page. In the physical space version the GIF is transcoded to DVD and loops on a CRT television screen.
MOODY
criptocardiograma Remix
MOODY
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translating transcreating the concrete to lines of code
with special thanks to Paula Abramo and Minerva Reynosa 1. Characterized by the Brazilian poet Augusto de Campos as the longest short poem, cidade, city, citĂŠ (1964) consists of a single 151-character word made by the fusion of 29 Latin root prefixes, the Portuguese suffix cidade, and a visual composition of 300 character-size rectangles, all printed in yellow over a black background. 2. Conceived as an exportable avant-garde poetry movement, the Noigandres group defined concrete poetry as a use of the word on its three communication dimensions: the lexical-semantic, the oral-acoustic, and the graphic-spatial. 3. As such, cidade, city, citĂŠ, could be seen as one of the pinnacles of this particular praxis. First, it's a poem that works in three different languages (Portuguese, English and French) just with the logical and rather explicit substitution of the final word particle. Second, it makes use of the notion of verbicovisualit y to its full spectrum. 4. On the lexical-semantic dimension, it's a complex composition made by the accumulation of prefixes that combined with the suffix city create a noun that personifies a condition of being; a linguistic operation that switches the focus from the recipient of that condition to the condition itself. Since the suffix has a meaning of its own in the selected languages [that of polis/urbs] the poem becomes a long polysemic description of the concept of city.
MORENO
Notes on Augustocities:
MORENO
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5. Even though the length and structure of the poem presents some difficulties for its vocalization, once it's mastered the poem reveals its harmonic complexity, vertiginous tempo, and de Campos's meticulous work with sound. The arrangement of the prefixes creates an exquisite rhythmic pattern filled with alliterations, consonances, and assonances that is not just the outcome of the alphabetical ordering of the prefixes, but the result of subtle adjustments to the compositional logic of the poem. In fact, the vocal performance of this piece has been subject to different versions made by de Campos himself. 6. On the visual dimension, the poem reminisces the nocturnal skyline of a modern city, product of an exceptional attention paid to typography, design and color. 7. For the Noigandres group, translation was seen as a central figure of the poetic practice. Against the traditional approach—that conceptualizes translation as the accurate rendering of meaning from one source language to another— they proposed the notion of transcreation, a critical exercise that switched the focus to the transposition of the material properties of language and the aesthetic information of the source text, setting the content free to be recreated. 8. Synthesis of Oswald de Andrade's textual Anthropophagi and the Poundian dictum to make it new, transcreation is a linguistic-historical actualization of the poetic forms that allows a critical recombination of the literary traditions. 9. As an exercise of creative translation, Augustocities seeks to reinterpret cidade, city, cité using the specific means of digital media: interactivity, hyperlinking, generative processes, videogaming, etc...
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11. Rather than the plain addition of motion and interactivity to cidade, city cité, Augustocities is an attempt to work within the formal structure of de Campos's poem. 12. If we think of Brazilian concrete poetry as a product of its historical context, we can trace an emblematic event that inf luenced it's development: the construction of Brasilia proposed by the leftist administration of president Juscelino Kubitschek. 13. The futurogical, barroquesque, constructivist capital, as Haroldo de Campos called Costa-Niemayer's project, had equivalent politic-aesthetic values to those of the Noigandres group. 14. It is easy to point out the inf luence of modernist architecture's principles in the visual execution of concrete poetry, yet, beyond those obvious statements, lays one of the main reasons for that interest in the graphic-spatial dimension of language: the passion for structure, form, and function that was shared by both disciplines. Therefore a cause rather than a consequence. 15. If Brasilia was projected as the egalitarian, consciously planned, highly structured, hyper functional architectural city of the future; the concrete poem was conceived as a poem capable of being the recipient of the exact same adjectives. 16. Is Brasilia the subject of Augusto de Campos's cidade, city, cité?
MORENO
10. Augustocities is formed by 29 digital pieces inspired on each one of the prefixes of cidade city cité, linked to a central interface: a user activated soundboard/ text shifter.
MORENO
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17. Dated 1963, Augusto de Campos's poem characterizes a rather ambivalent chaotic city; nevertheless, the poem’s harmonic structure (its materiality) could be seen as a response to Lúcio Costa's plan of a city where even traffic signals would be unnecessary. 18. Just a year after that, on March 31, 1964, a military coup d’état put an end to the progressive aspirations personified by Brasilia's urban design. By the end of the decade, the political repression in Brazil reached its highest levels. 19. For Haroldo de Campos this moment (characterized by the rise of late capitalism, authoritarianism and the crisis of ideologies) signed a cancelation of the principle of Hope that guided the evolution of the avant-garde movements, splitting poetry away from its utopian function and anchoring it in the present. 20. On the present day, Brasilia's bird-shaped Plano Piloto is surrounded by several improvised urbanizations that provide housing to 2.5 million inhabitants (500% more than what was originally planned), the city faces the same socioeconomic problems as most cities of the world, and traffic signals can be seen on the streets. 21. Following that logic, Augustocities transforms the planning, harmony and structure of cidade, city, cité into digital randomness, noise, and chaos. 22. Visit Augustocities: http://concretoons.net84.net/cidade
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MORENO
NGUYEN
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from six works
rice kernels, gold paint, mylar, ink; 4" x 3"
My initial idea called for transforming cidade into a musical roll sheet and making it both a visual and aural piece, or fashioning a pop-up book edifying crumpled sheets of paper, each a futilely scribbled translation. Midway though I decided I had to step back as far as possible while at the same time satisfying the call of the exhibition. Any attempt of an extreme departure from the original would not honor the purpose of translation, which illumines the text and original work, not the translator. I had to take myself out of the equation as best I could. I minimized myself by sticking to a "straight style" of translation I've employed in the past, writing texts word for word on grains of rice.
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NGUYEN
tens達o
NGUYEN
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eis os amantes
63
NGUYEN
Diรกlogo a Dois
PERRONE
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“tension I” (literal rendering, what the poem “says”)
with sound
sing, sing!
con- tains
ten- sions
as well
tum- bles
without sound
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PERRONE
â&#x20AC;&#x153;tension IIâ&#x20AC;? (a prepositionally-based proposal)
on sound
in tones
con tains
ten sions
re frain
out bound
sound off
PERRONE
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â&#x20AC;&#x153;tension IIIâ&#x20AC;? (moving from -full- to -null- )
full sound
the song
re tains
ten sing
re bound
ab stain
null sound
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PERRONE
â&#x20AC;&#x153;tension IVâ&#x20AC;? (at the lost-and-found desk)
found sound
sing song
con tains
ten sions
com pound
tone down
lost sound
PERRONE
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â&#x20AC;&#x153;tension Vâ&#x20AC;? (a s/well deal of sorts)
sound swells
songs gains
main tains
tense sions
as well
swing fells
sound wanes
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PERRONE
â&#x20AC;&#x153;tension VIâ&#x20AC;? (tone tune home gone in 4/4)
tone home
fine tune
main tain
taut ness
full well
will fall
tone gone
PERRONE
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â&#x20AC;&#x153;tension VIIâ&#x20AC;? (in 5/5, final release)
loose sound
sings songs
recon tains
reten sions
recom pound
wrong rings
bound sound
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PERRONE
Tension Graphs
PERRONE
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Tensions
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PERRONE
SAVAGE & BAILLAT
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SAVAGE & BAILLAT
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AUGUSTO (the M) (the E) (the A) (the D) (the O) (the E) AUGUSTO (the C) (the A) change it to a name (the E) (the P) change it to a name (the P) (the D) AUGUSTO (the S) change AUGUSTO translate the true name (the E) change the letter – la lettre – the A that is not an A (the S) (the D) in other words (the E) the true name (the S) (the A) the true name (the M) translate AUGUSTO translate the true name (the S) (the A) the true name (the M) translate AUGUSTO translate the A that is not an A (the S) translate AUGUSTO in other words (the C) (the A) translate your name (the M) translate (the A) the true name change the letters in your name in other words the A that is not an A (the S) (the M) AUGUSTO (the P) change it to a name (the P) translate (the D) translate in other words change it to a name translate (the M) change the letter – la lettre – (the E) (the A) in other words AUGUSTO (the P) (the M) name the word (the C) (the D) change the letters in your name in other words (the D) name the letter translate change AUGUSTO (the C) (the D) change the letters in your name (the E) (the A) change AUGUSTO the A that is not an A (the S) (the O) (the C) (the D) change the letters in your name in AUGUSTO AUGUSTO change the letters in your name translate (the C) change AUGUSTO translate (the E) (the C) (the D) and forget (the P) (the C) AUGUSTO translate (the D) (the C) change the letter – la lettre – the A that is not an A (the O) translate in other words (the M) translate (the E) (the O) (the O) change the letters in your throat in AUGUSTO (the C) name the letter (the E) (the D) (the E) (the D) name the word translate change AUGUSTO AUGUSTO (the S) AUGUSTO (the M) (the E) (the A) (the D) (the O) (the E) AUGUSTO translate (the E) (the P) change it to a name (the P) (the D) AUGUSTO (the S) change AUGUSTO translate the true name (the E) change the letter – la lettre – the A that is not an A (the S) (the D) in other words (the E) (the A) change AUGUSTO (the D) (the S) (the C) change AUGUSTO (the C) change AUGUSTO in AUGUSTO in other names (the O) (the C) AUGUSTO translate (the M) (the E) (the O) (the O) change the letters in your throat in AUGUSTO name your name (the S) AUGUSTO translate (the M) (the C) the A that is not an A translate (the S) (the A) (the M) and forget translate change AUGUSTO and forget change AUGUSTO (the C) (the S) (the E) (the P) (the D) the true name translate (the O) change the letter – la lettre – (the E)
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(the C) in other words translate the true name (the E) (the M) the true name AUGUSTO (the D) (the S) (the D) the true name (the E) (the M) the true name AUGUSTO (the D) (the S) (the D) change the letter – la lettre – (the E) (the D) (the S) in other words (the A) (the M) change the letters in your name AUGUSTO (the D) (the M) the true name translate your name in other words change the letter – la lettre – (the E) AUGUSTO (the S) change AUGUSTO and forget change AUGUSTO (the D) (the C) (the D) in other words and forget (the D) AUGUSTO (the O) translate (the M) in other words (the S) change AUGUSTO AUGUSTO change the letters in your ears (the A) (the C) translate your name in other words (the C) name the letter (the D) (the P) (the A) (the C) translate your name translate (the M) (the P) change the letter – la lettre – (the E) the A that is not an A (the A) (the C) translate your name in AUGUSTO (the S) translate your name (the D) (the A) (the P) (the D) translate (the A) (the C) translate à la lettre change AUGUSTO (the A) (the S) (the D) (the C) (the A) (the O) change the letter – la lettre – the A that is not an A (the D) in other words AUGUSTO (the D) translate the A that is not an A the A that is not an A name the word in AUGUSTO (the A) name the letter translate (the C) translate (the C) change the letters in your ears (the D) (the P) (the S) (the E) (the S) AUGUSTO translate (the M) (the C) the A that is not an A translate (the S) (the D) translate change AUGUSTO and forget change AUGUSTO (the C) (the S) (the E) (the P) (the D) the true name translate (the O) change the letter – la lettre – (the E) (the C) in other words translate (the M) (the P) (the C) (the E) (the A) (the P) (the A) (the P) in AUGUSTO in other names the A that is not an A (the A) (the S) (the D) AUGUSTO translate the A that is not an A the A that is not an A name the word in AUGUSTO name your name (the M) AUGUSTO (the A) (the D) (the C) change AUGUSTO (the A) (the M) (the E) (the D) the A that is not an A (the A) (the S) the A that is not an A (the S) (the C) (the M) forger (the P) translate the true name (the A) change the letter – la lettre – the letter touched forger (the C) in other words (the A) the true name forger (the D) the true name AUGUSTO translate (the M) translate the true name forger (the D) the true name AUGUSTO translate (the M) translate the letter touched forger translate (the M) in other words (the E) (the D) translate à la lettre AUGUSTO translate (the D) the true name
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(the O) in other words the letter touched forger AUGUSTO (the M) (the S) the A that is not an A (the S) translate (the C) translate in other words the A that is not an A translate AUGUSTO change the letter – la lettre – (the A) (the D) in other words (the M) (the S) AUGUSTO change it to a name (the E) (the C) (the O) in other words (the C) translate your name translate (the P) (the E) (the C) (the O) (the A) (the D) (the P) the letter touched forger change AUGUSTO (the E) (the C) (the O) in AUGUSTO (the M) (the O) translate (the E) (the P) translate (the A) (the E) (the C) name the word (the S) (the E) (the M) translate (the C) (the E) change the letter – la lettre – the letter touched change AUGUSTO translate in other words AUGUSTO translate (the A) change AUGUSTO change AUGUSTO change the letters in your ears in AUGUSTO (the E) translate your name (the A) (the C) (the A) (the C) change it to a name translate (the P) (the M) forger (the M) AUGUSTO (the A) (the D) (the C) change AUGUSTO (the A) (the M) translate (the A) (the S) the A that is not an A (the S) (the C) (the M) forger (the P) translate the true name (the A) change the letter – la lettre – the letter touched forger (the C) in other words (the A) (the D) (the P) (the C) forger (the E) (the P) (the E) (the P) in AUGUSTO in other names change AUGUSTO (the E) (the M) translate AUGUSTO (the A) change AUGUSTO change AUGUSTO change the letters in your ears in AUGUSTO name your name the true name AUGUSTO translate (the C) the A that is not an A (the A) translate the true name (the E) (the C) translate your name translate (the S) translate your name (the S) the A that is not an A the true name forger (the M) (the D) change the letters in your name translate (the O) the letter touched forger the A that is not an A in other words translate change the letters in your name forger (the C) change the letters in your name AUGUSTO (the D) the true name (the D) change the letters in your name forger (the C) change the letters in your name AUGUSTO (the D) the true name (the D) the letter touched forger (the D) the true name in other words (the E) (the C) the letter seen AUGUSTO (the D) (the C) change the letters in your name translate à la lettre in other words the letter touched forger AUGUSTO the true name (the S) translate your name (the S) (the D) the A that is not an A (the D) in other words translate your name (the D) AUGUSTO (the O) translate (the C) in other words the true name (the S) AUGUSTO
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(the P) (the E) the A that is not an A translate à la lettre in other words the A that is not an A change the letters in your ears (the D) (the M) (the E) the A that is not an A translate à la lettre translate (the C) (the M) the letter touched forger (the A) (the E) the A that is not an A translate à la lettre in AUGUSTO the true name translate à la lettre (the D) (the E) (the M) (the D) translate (the E) the A that is not an A name the word (the S) (the E) the true name (the D) the A that is not an A (the E) (the O) the letter touched (the A) (the D) in other words AUGUSTO (the D) translate (the A) (the A) change AUGUSTO in AUGUSTO (the E) change the letters in your ears translate the A that is not an A translate the A that is not an A (the P) (the D) (the M) the true name forger the true name AUGUSTO translate (the C) the A that is not an A (the A) translate the true name (the D) translate (the S) translate your name (the S) the A that is not an A the true name forger (the M) (the D) change the letters in your name translate (the O) the letter touched forger the A that is not an A in other words translate (the C) (the M) the A that is not an A forger (the E) (the M) (the E) (the M) in AUGUSTO in other names (the A) (the E) the true name (the D) AUGUSTO translate (the A) (the A) change AUGUSTO in AUGUSTO name your name (the C) AUGUSTO (the D) (the E) (the A) (the M) (the D) (the C) (the P) (the E) the true name (the D) translate your name the true name translate your name (the A) (the C) (the S) (the O) translate change the letters in your name (the D) change AUGUSTO translate à la lettre (the S) (the A) in other words (the D) change the letters in your name (the S) (the E) change the letters in your name AUGUSTO translate (the C) translate change the letters in your name (the S) (the E) change the letters in your name AUGUSTO translate (the C) translate translate à la lettre (the S) translate (the C) in other words (the P) (the E) and forget AUGUSTO translate (the E) change the letters in your name forger in other words translate à la lettre (the S) AUGUSTO (the C) translate your name the true name translate your name translate (the A) translate in other words the true name translate AUGUSTO change AUGUSTO (the D) (the E) in other words (the C) translate your name AUGUSTO the A that is not an A (the P) (the A) forger in other words (the A) change the letters in your ears translate (the O) (the P) (the A) forger (the D) (the E) (the O) translate à la lettre (the S) (the M) (the P) (the A) forger in AUGUSTO (the
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C) forger translate (the P) (the O) translate (the D) (the P) (the A) name the word translate your name (the P) (the C) translate (the A) (the P) change AUGUSTO translate à la lettre (the M) translate in other words AUGUSTO translate (the D) (the M) (the M) the letter seen in AUGUSTO (the P) change the letters in your ears (the D) (the A) (the D) (the A) the A that is not an A translate (the O) (the C) (the S) (the C) AUGUSTO (the D) (the E) (the A) (the M) (the D) (the C) translate (the D) translate your name the true name translate your name (the A) (the C) (the S) (the O) translate change the letters in your name (the D) change AUGUSTO translate à la lettre (the S) (the A) in other words (the D) (the E) (the O) (the A) (the S) (the P) (the O) (the P) (the O) in AUGUSTO in other names (the M) (the P) (the C) translate AUGUSTO (the D) (the M) (the M) the letter seen in AUGUSTO name your name forger (the S) translate (the A) (the M) the true name translate forger (the E) (the A) the letter touched translate change it to a name the letter touched change it to a name (the M) forger (the D) the A that is not an A (the C) (the P) translate and forget translate your name (the D) (the M) in other words translate (the P) (the D) (the A) (the P) (the S) (the C) forger (the C) (the P) (the D) (the A) (the P) (the S) (the C) forger (the C) translate your name (the D) (the C) forger in other words (the E) (the A) change the letters in your throat (the S) (the C) (the A) (the P) the letter seen in other words translate your name (the D) (the S) forger change it to a name the letter touched change it to a name (the C) (the M) (the C) in other words the letter touched (the C) (the S) and forget translate (the A) in other words forger change it to a name (the S) change the letter – la lettre – (the E) (the M) the letter seen in other words (the M) (the O) (the C) the A that is not an A (the E) (the M) the letter seen translate (the A) the A that is not an A translate your name (the D) the true name (the E) (the M) the letter seen in AUGUSTO forger the letter seen (the C) (the E) the A that is not an A (the C) translate (the E) (the M) name the word change it to a name (the E) forger (the C) (the M) (the E) and forget translate your name the true name (the C) in other words (the S) (the C) translate the true name the true name change AUGUSTO in AUGUSTO (the E) (the O) translate (the M) translate (the M) change the letter – la lettre – (the C) the A that is not an A forger (the D) forger (the S) translate (the A) (the M) the
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true name translate forger (the C) translate change it to a name the letter touched change it to a name (the M) forger (the D) the A that is not an A (the C) (the P) translate and forget translate your name (the D) (the M) in other words translate (the A) the A that is not an A (the M) (the D) (the E) the A that is not an A (the E) the A that is not an A in AUGUSTO in other names the true name (the E) forger (the C) (the S) translate the true name the true name change AUGUSTO in AUGUSTO name your name
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Dialogue for Two
Screenprints; 13.5" 18.25" / screenprinted graphics on muslin; 12" x 15"
For Telefone Sem Fio, I have created a series of 5 screenprinted posters titled "Dialogue for Two." The series refers to and draws from the poem "Dialogue for Two" by Augusto de Campos and Decio Pignatari. I was drawn to the poem's various descriptions of the senses and the way in which the words and descriptions "fold in on themselves." The screenprinted posters I have designed feature a quote from the poem, as well as original poetry that I have written in response. The composition of the words in each poster attempts to ref lect the structure of that which it describes. As a companion piece to the posters, I have made a "reversible" sewn bagâ&#x20AC;&#x201D;that features screenprinted graphics on muslin. The graphics are of vertical black lines, that change in thickness and position on the inside and outside of the bag as an inverted compositionâ&#x20AC;&#x201D;so that if the bag were to be activated through opening, inserting, folding, or turning it on itself, the graphics would be animated to reveal two parts of one conversation. A "Dialogue for Two."
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Inbetween the Lines: de Campos Library Project
The Campos Archive project is an intervention that consists of researching and finding Augusto de Campos’s works in books and anthologies throughout the NY Public Library System and leaving a cut drawing with each work. The series of drawings will consist of a sheet of black translucent paper layered over the poem in the book, at once altering the poem within the tradition of erasure poetry, with horizontal spaces cut to show the words behind the piece. The reader can then lift the drawing out, where it becomes a formal hard edged abstraction while still referencing de Campos’s piece. By focusing on the space in between the words, the finished piece draws attention to the visual importance, composition, and scale of the poem. After de Campos’s poems are researched and found, the book will be checked out or photocopied and fitted for a drawing. The series of artworks will be able to be found by the process of chance with the reader checking out the book from the library, or by the viewer consciously searching for the piece. A list of all the drawings and locations will be provided to the gallery at the beginning of the show where viewers can then retrieve their drawing. Currently, the New York Public Library consists of 87 libraries and 77 neighborhood branch libraries. This project will raise awareness of de Campos’s work by encouraging the viewer to access these often hidden works.
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(after de campos)
The poem is an homage to the mantras I read within de Campos’s lingual aesthetics...letting a word transmute into another as it rolls over its own repetition, creating a breath within a breath. I also wanted to walk in the minimal profundity of his graphic sensibility, while inserting a charge of my own...the piece “CODOGO” spoke to me in its graphic vertigo...I read “GOD” in the letterforms, a circular oneness, a vortex that traps while liberating...anyway, I went off on that tangent. Creating the G-O-D letterform as a logo...and then writing the poem itself based on that visual exploration. The maze of what’s amazing and what isn’t affirming my personal questions about belief systems such as religion and poetry:
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Text: amazing god a maze in god amazing god a maze in god amazing god a maze in god amazing god a maze in god a maze in god a maze in god of age is god of aging god a face of god evasive god a gaze at aging made enraged a gaiting sage effaced in cage a saving grace a save in race a saving grace a save in race a gaze at aging made enraged a gaiting sage effaced in cage in all a civil all a sin of all a sinner wall is in of all a leader walls to be of all we see a wall to be of all we lead of all we bleed of all we bleed of all we bleed of all we bleed
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HD video, 1.15 min. looped, B&W, silent
SOS by Augusto de Campos is translated from English into Sign Language. Paulina Sarbinowska, a native speaker in Sign Language is signing SOS using different rhythms and a variety of synonyms from both languages, Austrian as well as International Sign, thus shifting the boundaries between the act of speaking and an act of perfomance. Similar to the importance of breath for every speech act, Sign Languageâ&#x20AC;&#x2122;s gestures produce a gentle breeze especially when signed in an expressive wayďż˝a kind of breath too? Many thanks to Paulina Sarbinowska (Signing/Performing), Angelo Stagno (Lasercuts) Daniele Le Rose (Video: Camera + Editing), oegs barrierefrei Vienna (Videostudio)
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CONTRIBUTORS: Born in Sao Paulo in 1931, AUGUSTO DE CAMPOS is a poet, translator, essayist, literary critic and musician. In 1951 he published his first book of poems, O Rei Menos O Reino. In 1952, with his brother Haroldo de Campos and Decio Pignatari, he launched the literary magazine Noigandres—and with it the group responsible for starting the international movement of concrete poetry in Brazil. The poems in his second book Poetamenos (1955) were considered the first consistent examples of concrete poetry in Brazil. In 1956 he helped organize the First National Exhibition of Concrete Art & Poetry at the Museum of Modern Art in São Paulo. Most of his poems are collected in Viva Boo (1979), Despoesia (1994) and NO (2003). Other important works include Poemóbiles (1974) and Black Box (1975), poem-objects produced in collaboration with artist and designer Julio Plaza. *** Poet and visual artist JEN BERVIN's work brings together text and textile in a practice that encompasses poetry, archival research, artist books, and large-scale art works. Her books include The Dickinson Composites, The Desert (Granary Books), and Nets (Ugly Duckling Presse). JEAN-SÉBASTIEN BAILLAT is the co-founder of Baillat Cardell & fils, a graphic design studio based in Montreal, founded in 2008. Since then, BC&F has won numerous design awards (Print, Applied Arts, Coupe, Grafika &Lux.) and their expertise has since developed into an international spearhead of the graphic and motion design industry. RAY BIANCHI is a poet, novelist and translator. His books include Circular Descent (Blaze Vox, 2002), American Master (Moria Press, 2004), Immediate Empire (ie Press, 2008), and most recently O Sexo Vegetal/Vegetal Sex (UNO, 2010) a translation of Brazilian poet Sergio Mediero. He works in international publishing and lives in Oak Park, IL with his wife the artist Waltraud Haas. Originally from Argentina, BIBI CALDERARO is an interdisciplinary artist who has lived and
worked in Brooklyn, NY for the past fourteen years. Calderaro was a resident in the the Marie Walsh Sharpe Studio Program and ACA’s residency program. She is the recipient of numerous awards from the AIM Program, the Arts Recovery Fund, NYFA, among others. She is currently co-curating a show about John Cage's effects on contemporary art to be held at the Hunter College 41st St. Galleries in Spring 2012. MACGREGOR CARD teaches at Pratt Institute and programs Monday nights at The Poetry Project. His chapbook, The Archers, is recently out from Song Cave. His first book, Duties of an English Foreign Secretary, was published by Fence Books in 2009. With Andrew Maxwell, he served as editor of The Germ: A Journal of Poetic Research. DERIC CARNER is a graphic-based visual artist who lives and works in Brooklyn, NY. He has shown internationally at the Australian Centre for Contemporary Art (2011), Centre Pompidou (2010), Artists Space (2009), Geisai Miami (2008), Southern Exposure (2007), Witte de With Rotterdam (2006), CAC Vilnius (2005), and Kunstverein Malkasten Duesseldorf (2005). His work has been featured in publications by Revolver Books (Frankfurt, 2005-2006); ZYZZYVA (San Francisco, Fall 2008); SUM Magazine (Copenhagen, Spring 2008); and is included in the KIOSK archive at the Kunstbibliothek Berlin (2009). Carner recieved a MacDowell Fellowship in 2009. NICO PAM DICK /Mina Pam Dick/Gregoire Pam Dick/et al. is the author of Delinquent (Futurepoem 2009). Her work has appeared in BOMB, The Brooklyn Rail, Aufgabe #9, The Recluse, EOAGH, and Everyday Genius. She lives in New York City. BRENDAN FERNANDES is a Canadian visual artist based between Toronto and New York. He completed The Whitney Independent Study Program (2006-07) and earned his MFA from The University of Western Ontario, Canada. He has exhibited widely including: The Solomon R. Guggenheim Museum, NY; Art in General, NY; The Studio Museum in Harlem, NY; The Andy Warhol Museum, Pittsburgh; the Musée d’art contemporain de Montréal, Montréal; The Art Gallery of Hamilton, Hamilton; and The Third Guangzhou Triennial, China. He was shortlisted
for the 2010 Sobey Art Award and is represented by Diaz Contemporary, Toronto. KENNETH GOLDSMITH is the author of ten books of poetry, founding editor of the online archive UbuWeb (ubu.com), and the editor of I'll Be Your Mirror: The Selected Andy Warhol Interviews which was the basis for an opera, "Trans-Warhol," that premiered in Geneva in March of 2007. He teaches writing at The University of Pennsylvania, where he is a senior editor of PennSound, an online poetry archive. He held the The Anschutz Distinguished Fellow Professorship in American Studies at Princeton University for 2009-10. In 2011, he co-edited, Against Expression: An Anthology of Conceptual Writing and published, Uncreative Writing, a collection of essays. RAFAEL LAIN & ANGELA DETANICO are Brazilian artists living and working in Paris and São Paulo. Their work has been shown in different countries in venues such as CCS Bard Hessel Museum (USA), Jeu de Paume and Musée Zadkine (France), Museu de Arte da Pampulha (Brazil), Centro Galego de Arte Contemporánea (Spain), ICC ( Japan), Malba (Argentina), Camberwell College of Arts (England), Württembergischer Kunstverein (Germany) and Optica (Canada). In 2004 they received the Nam June Paik Award. In 2007, they represented Brazil at the 52nd Venice Biennale. THESSIA MACHADO's installations and video pieces have been exhibited in New York, London, Philadelphia, Paris, Amsterdam, Dublin, Berlin and Athens. She has been awarded residences at the MacDowell Colony, Yaddo, the Atlantic Center for the Arts, the Irish Museum of Modern Art and the Vermont Studio Center and she is recipient of fellowships from the New York Foundation for the Arts, the Experimental Television Center and the Bronx Museum. ROSSANA MARTINEZ is a visual artist born in Mayagüez, Puerto Rico, and currently based in Brooklyn, NY. She holds an MFA in Sculpture and Printmaking from Pratt Institute and works in sculpture, installation and performance art. Her projects have been exhibited nationally and internationally and has received awards from the Brooklyn Arts Council, Bronx Museum of the Arts, Lower Manhattan Cultural Council, and El Diario La Prensa. Her work has been reviewed in The New York Times, The Village Voice, The New York Sun. Martinez is a founder and director of
MINUS SPACE, a platform for reductive art on the international level, based in Brooklyn, NY. TOM MOODY is a visual artist and musician based in New York City. His low-tech art made with simple imaging programs, photocopiers, and consumer printers has been exhibited at artMovingProjects, Derek Eller, and Spencer Brownstone galleries in New York as well as other galleries and museums in the U.S. and Europe. His videos and animated GIFs have been shown at the New Museum, New York Underground Film Festival, Chicago Underground Film Festival, Dallas Film Festival, and other venues. His blog (tommoody.us) was recommended in the 2005 Art in America article “Art in the Blogosphere." He is a member of the internet surfing club Nasty Nets and posts work to the image-sharing site dump.fm. Born in Santiago de Querétaro, México, in 1980, BENJAMIN MORENO ORTIZ is the author of Tu haz de cuenta que me importa (short stories, 2005) and Signos de la Amnesia Voluntaria (novel, 2009). Additionally, he was a fellow of the 2010 FONCA Jóvenes Creadores grant for the multiplatform fiction work La Novela Cristera. His digital poetry project concretoons was exhibited at Centro Nacional de las Artes in 2010. He collaborates with poet Minerva Reinosa on BENERVA! (benerva.tumblr.com), a textual visual and technological experimentation project. TRONG GIA NGUYEN is an artist living and working in Brooklyn, New York. Recent solo shows include "Domestic God___" (Coleman Burke, New York), "Neo-Theo" (Galerie ZK, Berlin), and "Food for Thought" (Galerie Quynh, Ho Chi Minh City). Group shows include "Sequences" (2008, Iceland), "9th Havana Biennial" (2006, Cuba), and "Performa 05" (New York). Trong has received grants from Lower Manhattan Cultural Council, Bronx Museum of the Arts, Puffin Foundation, among others. STEVE SAVAGE has published two books of poetry: 2 x 2 (Le Quartanier, 2003) and mEat (2005). For at least the last ten years – mostly under the pseudo-pseudonym Dessavage –, he has put forth a body of work that can only be defined as contre-nature. His poems, critical writing, and translations, have been published in numerous journals in Quebec and abroad. The second issue of Telephone was based on a text he wrote with Renée Gagnon.
JENNIFER SCHMIDT is a multi-media artist living in Brooklyn, NY. Her work has recently been exhibited at International Print Center, Armory Center for the Arts, Rencontres Internationales, Boston Center for the Arts, among others. Recent artist residencies include: The Banff Centre, Frans Masereel Centre, and Vermont Studio Center. Schmidt is a 2007 fellow in Printmaking/Drawing/Artists' Books from the New York Foundation for the Arts, and is a 2008 grant recipient from the Puffin Foundation. DANNIELLE TEGEDER is a conceptual poet and visual artist living in Brooklyn. Tegeder has participated in artist residencies including Yaddo and Lower Manhattan Cultural Council's Governor's Island Residency. Her work has been shown at The New Museum of Contemporary Art, Jette Rudolph Galerie, Nina Menocal Gallery, and Suzanne Vielmetter Projects, among others. Reviews of her work have been published by The New York Times, Artforum, Art in America, and The Chicago Tribune. Her work has recently been included in the Museum of Modern Artâ&#x20AC;&#x2122;s Drawing Collection. Her writing, usually inspired by found text, has been published on Ubu Web's The Unpublishable series. She is currently an Assistant Professor at the City University of New York at Lehman College. EDWIN TORRES has performed his interstitial multi-disciplinary work widely and received poetry fellowships from The Foundation for Contemporary Performing Arts and NYFA, among others. His books include, In The Function of External Circumstances (Nightboat Books), The PoPedology of an Ambient Language (Atelos Books) and most recently Yes Thing No Thing (Roof Books). www.brainlingo.com ANDREA VAN DER STRAETEN is a visual artist based in Vienna, Austria.
EFA Project Space, a program of the Elizabeth Foundation for the Arts, was launched in September 2008 as a cross-disciplinary exhibition and event venue presenting exhibitions and programs in collaboration with a diverse range of organizations, curators and artists to provide a comprehensive and critical perspective on creative practices. A major aspect of the program's development is ongoing outreach to the myriad individuals and institutions effectively shaping culture today. The Elizabeth Foundation for the Arts (EFA) is a 501 (c) (3) public charity. Through its three core programs, EFA Studios, EFA Project Space and the Robert Blackburn Printmaking Workshop, EFA is dedicated to providing artists across all disciplines with space, tools and a cooperative forum for the development of individual practice. www.efanyc.org EFA Project Space is supported in part by public funds from the New York City Department of Cultural Affairs. Private funding for the program has been received from the Lily Auchincloss Foundation. Telephone, a publication of Telephone Books, is a biannual journal of experimental translation. Ugly Duckling Presse is a non-profit art & publishing organization whose mission is to produce artisanal and trade editions of new poetry, translation, experimental non-fiction, performance texts, and books by artists. With a volunteer editorial collective of artists and writers at its heart, UDP grew out of a 1990s zine into a Brooklyn-based small press that has published more than 200 titles to date, with an editorial office and letterpress workshop in the Old American Can Factory in Gowanus. UDP favors emerging, international, and “forgotten” writers, and its books, chapbooks, artist’s books, broadsides, and periodicals often contain handmade elements, calling attention to the labor and history of bookmaking.
Lily Auchincloss Foundation, Inc.
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