tirsdag, marts 31, 2015
torsdag, marts 26, 2015
Fria seminariet i litterär kritik (validering)
Vi sände vårvintern 2015 ut en enkät till ett representativt urval personer som på olika vis deltagit vid FSL:s seminarieverksamhet och bad om att få nyttja dem som referens vid kontakter med framtida samarbetspartner, myndigheter, institutioner och anslagsgivare.
- - - se de over 50 udtalelser her - - -
onsdag, marts 25, 2015
tirsdag, marts 24, 2015
mandag, marts 23, 2015
CFP: CONCEPTUAL WRITING (PLURAL AND GLOBAL) AND OTHER CULTURAL PRODUCTIONS.
This is a Call for Writing: Conceptual Writing (plural and global)
and Other Cultural Productions (500 to 800 words) for Jacket 2.
A couple of weeks ago, many responses to Katie L. Price’s valuable recent compilation of viewpoints on Jacket2, “What is the relationship between Conceptual Art and Conceptual Writing?” began circulating online and on Facebook. These led to discussions that were eye opening and inspiring, and they prompted me to do more thinking (and feeling) about the place of my own practice in this world, and about my own civic roles as a scholar and editor. I promised myself that I would move beyond gesturing towards more inclusive conversations and actually do something. I decided that I would change the nature of the question in order to seek alternative answers that represented a broader and more diverse array of practitioners across mediums and geographies.
So, after discussion with the editors, Julia Bloch and Jessica Lowenthal over at Jacket2, I have decided to further a discussion prompted by a question that travels in another direction, gathering up other sub-questions as it does: "What is the relationship between what-could-be-considered Conceptual Writing (plural and global) and other cultural productions?”
The goals here are:
1) To pluralize and expand the field of influences for contemporary conceptual or conceptual-like writing
2) To create records of aesthetic and political genealogies that resonate as true and lived for practitioners
3) To articulate the critique of dominant and hegemonic genealogies or histories associated with contemporary conceptual and conceptual-like writing
I am contacting you in the hopes that you’d like to contribute a short response (500 to 800 words) to this call for writing. This is a very limited word count, admittedly, but my aim is to collect as many view points as possible and to feature these as quickly as possible. Please consider this the initial step in the longer and continuous journey of telling and claiming history.
Aspects/Foci:
- Theories of the avant-garde and alternative temporalities
- Alternative and non-western concepts of innovation
- Low-innovation and anti-aesthetic innovation
- Connections between conceptual writing and other underrepresented aesthetic mediums: dance, music, textiles, decorative arts, folk craft, outsider practices,
- Connections between conceptual writing and other non-represented cultural practices: religious ritual, non-religious ritual, domestic spheres, social activism, psychoanalytic and non-psychoanalitic therapy
- Race and ethnic identity, indigeneity, and non-identity politics, and the question of intersectional difference
- Biographical narratives, familial identity, and subjective impressions of influence
- Genealogies of affect; trajectories of emotional aspects of praxis
- Sexuality, bodily practice, desire and subjectivity
- Low-art, pop, mass products, non-art
- National identities and transnational relationships/non-relationships, and the politics of migrancy, itinerancy, vagrancy
- Postcolonial implications and settler/non-settler politics
- Anthropology, social work, ethnography
- All other aspects that you sense are not represented in already existing accounts
Responses that are particularly welcome and in short supply:
Responses which focus on close readings of single texts (however ‘closeness' may be defined)
Responses which focus on unread, underrepresented practitioners in minorized relation to institutions (through race, class, sexuality, politics, gender, and intersections of these)
Responses which speak of your own practice and life
Responses which do comparative readings of a poetic text and a text outside the field of poetry
Responses which link private life to public practice
Immediate action: Please write back to express interest as soon as possible. Please also let me know if you can’t invest at this moment. Please circulate this to others who may be invested in this discussion.
Other actions: Compose
Due date: March 20, 2015.
Submission: Please email your response of 500 to 800 words in a document to me. Please follow, to your best ability, the style guide provided by Jacket2. The guidelines are flexible particularly around citations, but Jacket2 asks that all sources be cited. J2 is unable to run epigraphs or section titles because of design limits. If you would like to include images or multimedia links to already existing online content, please do so.
Divya Victor, divyavictor@gmail.com
A couple of weeks ago, many responses to Katie L. Price’s valuable recent compilation of viewpoints on Jacket2, “What is the relationship between Conceptual Art and Conceptual Writing?” began circulating online and on Facebook. These led to discussions that were eye opening and inspiring, and they prompted me to do more thinking (and feeling) about the place of my own practice in this world, and about my own civic roles as a scholar and editor. I promised myself that I would move beyond gesturing towards more inclusive conversations and actually do something. I decided that I would change the nature of the question in order to seek alternative answers that represented a broader and more diverse array of practitioners across mediums and geographies.
So, after discussion with the editors, Julia Bloch and Jessica Lowenthal over at Jacket2, I have decided to further a discussion prompted by a question that travels in another direction, gathering up other sub-questions as it does: "What is the relationship between what-could-be-considered Conceptual Writing (plural and global) and other cultural productions?”
The goals here are:
1) To pluralize and expand the field of influences for contemporary conceptual or conceptual-like writing
2) To create records of aesthetic and political genealogies that resonate as true and lived for practitioners
3) To articulate the critique of dominant and hegemonic genealogies or histories associated with contemporary conceptual and conceptual-like writing
I am contacting you in the hopes that you’d like to contribute a short response (500 to 800 words) to this call for writing. This is a very limited word count, admittedly, but my aim is to collect as many view points as possible and to feature these as quickly as possible. Please consider this the initial step in the longer and continuous journey of telling and claiming history.
Aspects/Foci:
- Theories of the avant-garde and alternative temporalities
- Alternative and non-western concepts of innovation
- Low-innovation and anti-aesthetic innovation
- Connections between conceptual writing and other underrepresented aesthetic mediums: dance, music, textiles, decorative arts, folk craft, outsider practices,
- Connections between conceptual writing and other non-represented cultural practices: religious ritual, non-religious ritual, domestic spheres, social activism, psychoanalytic and non-psychoanalitic therapy
- Race and ethnic identity, indigeneity, and non-identity politics, and the question of intersectional difference
- Biographical narratives, familial identity, and subjective impressions of influence
- Genealogies of affect; trajectories of emotional aspects of praxis
- Sexuality, bodily practice, desire and subjectivity
- Low-art, pop, mass products, non-art
- National identities and transnational relationships/non-relationships, and the politics of migrancy, itinerancy, vagrancy
- Postcolonial implications and settler/non-settler politics
- Anthropology, social work, ethnography
- All other aspects that you sense are not represented in already existing accounts
Responses that are particularly welcome and in short supply:
Responses which focus on close readings of single texts (however ‘closeness' may be defined)
Responses which focus on unread, underrepresented practitioners in minorized relation to institutions (through race, class, sexuality, politics, gender, and intersections of these)
Responses which speak of your own practice and life
Responses which do comparative readings of a poetic text and a text outside the field of poetry
Responses which link private life to public practice
Immediate action: Please write back to express interest as soon as possible. Please also let me know if you can’t invest at this moment. Please circulate this to others who may be invested in this discussion.
Other actions: Compose
Due date: March 20, 2015.
Submission: Please email your response of 500 to 800 words in a document to me. Please follow, to your best ability, the style guide provided by Jacket2. The guidelines are flexible particularly around citations, but Jacket2 asks that all sources be cited. J2 is unable to run epigraphs or section titles because of design limits. If you would like to include images or multimedia links to already existing online content, please do so.
Divya Victor, divyavictor@gmail.com
søndag, marts 22, 2015
lørdag, marts 21, 2015
...escu
- - - tillykke til med Der Leipziger Buchpreis zur Europäischen Verständigung - - -
- - essay her - -
torsdag, marts 19, 2015
Den gode kritik
Stiftelsen Fritt Ord utlyser ti årlige stipender à 200 000 kroner til kritikere som skriver for dagsaviser eller ukeaviser, eller leverer kritikk til TV/radio. Den nye stipendordningen er samlet på seks millioner kroner over tre år.
Stipendene kan tildeles kritikere som arbeider innenfor hvilke som helst av kunstens og kulturens felter. Stipendene skal resultere i konkret og løpende kritikkproduksjon gjennom hele året, og er et bidrag til kvalitetsheving og profesjonalisering av et antall norske kritikere årlig. Fritt Ord ønsker å gi flere kritikere bedre muligheter til å utøve sitt yrke og bruke mer tid på det. Stipendene er ment som et tillegg til andre kritikerinntekter.
(...)
Mindre deler av stipendene kan brukes til reiser og kompetansehevende tiltak, men de skal primært støtte oppunder kritikerens mulighet til å leve av sin virksomhet og levere konkret kritikkjournalistikk av høy kvalitet. Legg ved en kort bekreftelse fra redaksjonen/e du er tilknyttet mht. din publiseringsavtale, inkludert honorarnivå i dag og honorarutvikling de siste årene. Gjør også kort rede for din inntektssituasjon helhetlig sett.
Se! Hvor ambitiøse og seriøse de er i Norge omkring kritikken(s betydning) og mulighedsbetingelser! - - - mere her - - -
onsdag, marts 18, 2015
tirsdag, marts 17, 2015
mandag, marts 16, 2015
Notes on Location – Et symposium om kunstnerbøger i et udvidet felt
D. 19. og 20. marts skaber Den Frie rammerne for et to-dags symposium med forskere, kunstnere, forlæggere og forfattere fra Danmark og Norden.
- se mere her -
Pressemeddelelse
Kritikerprisen til Harald
Voetmann og Georg Brandes-Prisen til Martin Zerlang.
Prisuddelingen finder sted torsdag den 16. april
2015 kl. 16.30
I Kulturstyrelsen, H.C. Andersens Boulevard 2, 1553
Kbh.
Alle er velkomne
Kritikerprisen for 2014 tildeles: Harald
Voetmann for romanen Alt under månen (Gyldendal)
Harald
Voetmanns roman Alt under månen
udspiller sig på øen Ven (Hven), som Tycho Brahe fik stillet til rådighed af
kong Frederik II i 1576, og hvor han opholdt sig på sit Uranienborg og i
observatoriet Stjerneborg frem til 1597.
Som forgængeren, romanen Vågen
fra 2o10, er den en fortælling om menneskets trang til at udgrunde verden, til
at forstå, hvad det er for love og kræfter, vi er underlagt. Man genkender den
Voetmannske tone, den eminente musikalitet, hvor vokalerne spiller på alle
sprogets toner, og ikke mindst vil man genkende beskrivelserne af menneskets
kødelige væren og åndelige begrænsning, de præcise og udpenslede beskrivelser
af kroppens væsker, af mørket indeni, og den evindelige menneskelige dårskab. Alt under månen er en roman om mennesket
i al sin komiske ynkelighed, sat i en perfekt lille scene på den tågeindhyllede
ø. Et syrebad af vilde billeder, en hylende morsom, grotesk og ravnsort
kommedie om menneskets fysiske og åndelige begær, storhedsvanvid og lidenhed,
som hverken er blevet større eller mindre siden dengang Uranienborg knejsede på
Ven.
Modtageren af Kritikerprisen udpeges ved urafstemning blandt medlemmerne
af Litteraturkritikernes Lav. Årets øvrige nominerede var Per Aage Brandt for digtsamlingen Tidens tand, mørkets hastighed (Basilisk) og Maja Lee Langvad for
vidnesbyrdet: Hun er vred (Gladiator)
Sidste års modtager af Kritikerprisen var Niels Frank for romanen Nellies bog (Gyldendal).
Georg Brandes-Prisen for 2014 tildeles Martin Zerlang for Karikaturland. I krydsild mellem danske
forfattere og tegnere (Forlaget Vandkunsten)
Sidste års modtager af Georg Brandes-Prisen var Niels Barfoed for biografien Benedicte – en skæbne (Gyldendal).
Georg Brandes
Pris-udvalget består i år af Peter Stein Larsen, Mikkel Bruun Zangenberg, Mads Rosendahl
Thomsen
Begge priserne er på 75.000 kr. og er finansieret
af Statens Kunstfonds Projektstøtteudvalg for Litteratur
Venlig hilsen Mai Misfeldt
Oldermand for Litteraturkritikernes Lav
Oldermand for Litteraturkritikernes Lav
fredag, marts 13, 2015
Så kan man tilmelde sig kurset POETIK / CREATIVE WRITING på Åbent Universitet på Københavns Universitet - kurset løber af stablen til efteråret, og undervisningen bliver forestået af Kamilla Löfström og Martin Glaz Serup
onsdag, marts 11, 2015
Debatten om kritikken er snæver og historieløs
På en av Aftonbladets kulturfester för kanske femton år sedan blev jag presenterad för chefen för ett av Sveriges största förlag. När han insåg vem jag var, och att jag dittills bara publicerat poesi, lyckades han i fyllan fästa blicken på mig, den var glad och uppsluppen. Sedan tog han handen ur fickan, gjorde tummen ned, sa ”poesi”, följt av ett pruttljud, och gick. Jag tror att denne förlagschef verkligen hyste en djup misstro mot poesi, att hans reaktion kom från hjärtat, inte från förlagets marknadsavdelning.(...)Men det finns pengar, de bara fördelas annorlunda än för tjugo år sedan. Det är naivt att inte se ett samband mellan det faktum att svenska aktiebolag i dag i snitt delar ut 60 procent av vinsten till aktieägarna mot 8 procent på 1980-talet, och det faktum att allt fler svenska författare under denna tidsperiod fått höra från sina redaktörer att deras manus kan bli ”svåra att få igenom hos marknadsavdelningen”.
(...)
- Lars Hermansson skriver i Aftonbladet i forbindelse med debatten om litteraturkritikkens status og betydning - ikke mindst i dagbladene - der i øjeblikket pågår i Sverige.
Herfra til virkeligheden
tirsdag, marts 10, 2015
mandag, marts 09, 2015
Dags att söka PERFOMRATIV KRITIK 15/16
Konstnärer, författare, filosofer, tonsättare,
koreografer, skådespelare, musiker, kritiker, dansare, filmare, humanister och
andra akademiker, m.fl. – för fjärde året ger vi kursen som för varje år djupnat i
samtal och form. Söktrycket brukar vara högt. Sista ansökningsdag: 2 april.
Ett år (halvfart) som förnyar och förändrar ens tänkande,
förnimmelse och förståelse av konstens kunskap och kunskapens konst. VÄLKOMNA!
fredag, marts 06, 2015
These days I'm performing at StAnza in St. Andrews in Scotland, see the full program here. On March 10 I'll continue down to Wales to celebrate the magazine Poetry Wales's 50th Birthday in Aberystwyth. More here.
onsdag, marts 04, 2015
…
- do i interrupt you
- no you don’t
- you wanna join the radio later on
- …
- i ask you cuz you wrote to me yesterday
- yes eh about that freedom of speech yea
- we thought about talking about the message you sent
- yea eh …
- … if you want to talk about it
- yea but don’t take it personal …
- well ok no no
- … no don’t take it personal
- it’s because you write you wish i was at utøya
- well don’t know don’t know how much it eh…
- … when we have debates like the one yesterday we get some wild text messages, and now you tell me not to take it personal, so let’s simply have a talk now about what you mean with a text message like that
- no ah i don’t really think that eh it’s gonna have any relevance
- ok ok so what about the text message you sent free freedom of speech to you the traitor i wish you were at utøya
- no but that is it is not like we have to share the same opinion i don’t know eh i think i feel like one must expect some consequences when one eh
- but eh is it a death threat you sent me
- no no haha not at all haha it ain’t no not at all
- then i don’t understand cuz you write wish you were at utøya
- well but that’s because with with with him eh him that imam from aarhus yea he’s gonna expect some media storm it’s like if you’re a brøndby fan who enters a fck camp and yells brøndby you know you should expect some consequences
- who is it you call a traitor and wish you were at utøya was it me or the imam
- eh well yea it was to you…
- it was to me yehaha
- … i think you found out about that yourself
- so do you think it’s okay to write wish you were at utøya
- well eh you do know what i meant it is not like i mean it it was just…
- so you did it just to provoke
- well that’s because you have the opinion there should be total freedom of speech but it’s just like the muhammed drawings please don’t do it if it pisses people off just don’t do it see i’m a red hair and if i’m at a bar and someone yells well it’s a long time since i was at a bar but then i’ll confront him and let him know that he went too far so if he continues he gotta know it’s gonna have consequences
- now listen you wrote this text message wish you were at utøya ain’t you man enough to take the consequence and let us broadcast this interview later today
- eh you can do that but eh i’d prefer to do it live you know don’t know how you’ll edit it
- well we won’t edit anything it’s a one take
- well ok you can do that and as i said it was a provocation
- so i should not regard it as a death threat
- no haha no you shouldn’t i could never think of that
Note:
Digtet er en transskription, ombrydning og oversættelse af Reporterne, en Radio24syv-udsendelse, fra 8. januar 2015. Den 6. januar 2015 modtager en journalist på Reporterne dødstrusler. 7. januar fandt massakren på Charlie Hebdo m.m. sted. Og 8. januar konfronterer journalisten nogle af ophavsmændene til dødstruslerne.
- Rasmus Graff den 23. februar 2015 på Hvermandag.dk
tirsdag, marts 03, 2015
mandag, marts 02, 2015
Martin Glaz Serup fortæller om Pier Paolo Pasolini.
Mandag den 2. marts kl. 19 til 21. Ved Klostret 4, kælderen, 2100 København Ø.
I relation til temaet kærlighed sætter Italo Libri fokus på litteratur, som har inspireret til stærke følelser. Denne aften vil forfatter Martin Glaz Serup fortælle om sit forhold til den italienske forfatter Pier Paolo Pasolini, som blandt andet har inspireret ham i forbindelse med sit arbejde med ”Romerske nætter”. Der vil blive læst op af udvalgte tekster både i oversat udgave og på originalsproget italiensk.
ENTRÉ: 50 KR.
Arrangementet er en del af festivalen kbh læser
Mandag den 2. marts kl. 19 til 21. Ved Klostret 4, kælderen, 2100 København Ø.
I relation til temaet kærlighed sætter Italo Libri fokus på litteratur, som har inspireret til stærke følelser. Denne aften vil forfatter Martin Glaz Serup fortælle om sit forhold til den italienske forfatter Pier Paolo Pasolini, som blandt andet har inspireret ham i forbindelse med sit arbejde med ”Romerske nætter”. Der vil blive læst op af udvalgte tekster både i oversat udgave og på originalsproget italiensk.
ENTRÉ: 50 KR.
Arrangementet er en del af festivalen kbh læser
søndag, marts 01, 2015
Abonner på:
Opslag (Atom)