3:AM Magazine

You can now read a classic print ‘interview’ (from 1998) with Dennis Cooper by Stewart Home, hosted at 3:AM.

(clip: Italian book trailer for Cooper’s God jr)

BLATT and 3:AM proudly present two evenings of Offbeat fun in Berlin:

Joining us on December 8th at 9pm will be Heidi James, Travis Jeppesen, Gaby Bila-Gunther, Helena Prince, and Mike Haef. The evening will be capped off with a performance by Brother John & Sister Jane. All this will get underway at Lady Gaby’s new space Wonder Bar, Wienerstr. 45. On December 9th at 9pm, Heidi James, Lewis Forever, and Jeff Tarlton will be guests of FUEL night, hosted by Lady Gaby. This event will take place at Trödler Bar, Dresdner Str. 123. (Both events are free.)

Berlin is also hosting an exhibition about re-enactment in contemporary art which includes Tom McCarthy and Rod Dickinson’s Greenwich Degree Zero installation. A chapter from McCarthy’s Remainder appears (both in English and German versions) in the exhibition catalogue:

History Will Repeat Itself: Strategies of Re-enactment in Contemporary Art
November 18, 2007 - January 13, 2008
Artists: Guy Ben-Ner, Walter Benjamin, Irina Botea, C-Level, Daniela Comani, Jeremy Deller, Rod Dickinson, Nikolai Evreinov, Omer Fast, Iain Forsyth & Jane Pollard, Heike Gallmeier, Felix Gmelin, Pierre Huyghe, Evil Knievel, Korpys/Loeffler, Robert Longo, Tom McCarthy, Frédéric Moser / Philippe Schwinger, Collier Schorr, Tabea Sternberg, Kerry Tribe, T. R. Uthco & Ant Farm, Artur Zmijewski.

“The exhibition History Will Repeat Itself focuses on current strategies of re-enactment in contemporary art and presents the positions of 22 international artists. Re-enactments have become more and more popular in recent years. The re-creation of historical battles or important events seem to exert a fascination particularly because they provide the opportunity to gain a different entry into history by re-experiencing it. In contemporary art there has been an increasing number of artistic re-enactments. Unlike popular historical re-enactments artistic re-enactments do not simply affirm what has happened in the past, but question the present by taking recourse to historical (often traumatic) events that have left their traces in collective memory. Because history and memory are seldom directly experienced but more often mediated through media, re-enactments also represent an artistic interrogation of media images. They try to scrutinize the reality of the images, while at the same time pointing towards the fact that collective memory is essentially mediated memory.”

Slates has published an interesting article — “Brit Lit of the Post-Punk Generation” — about the Offbeat Generation:

In the burgeoning underground of new British literary talent the ideals of the punk DIY ethic are rampant. Shunned by the major publishing houses that determine trends based upon their potential market viability, and in reaction to the stagnant state of the contemporary literary culture, the latest generation of writers are utilising a new arena to publish their work; the internet. What began on the blogosphere through websites like 3:AM Magazine, created by editor Andrew Gallix as a small effort to raise greater awareness of new writing in 2000, has transformed into a growing cultural phenomenon.

In a recent article on Offbeat writers (a group who have formed a key part of this new wave) in Dazed and Confused, Andrew Gallix suggested that the movement was going overground and that the prospective release of a new anthology of Offbeat poetry that he is editing was akin to the Sex Pistols 1976 gig at the 100 Club. But already such comparisons are increasingly becoming obsolete. Members of its ranks are beginning to gain currency in mainstream publishing and the movement itself continues to further diversify by setting up independent presses of it’s own both here and internationally.

If such recognition not only in Dazed and Confused but also in the pages of the Guardian and the Independent is to be taken as an indicator of its entry into the zeitgeist, then for many this period of its preliminary development is of lessening importance as it moves away from this and into a definably ‘post-punk’ era. Whatever the case, the achievement of so few in such a short space of time is a revolution in all but name, as the relative success of associated Offbeat writers group the Brutalists illustrates.

Formed in the heatwave of summer 2006 by Adelle Stripe, Tony O’Neill and Ben Myers under the butchered punk motif of ‘Here’s a computer. Here’s a spell check. Now write a novel.’ The trio of have gone on to make big waves from their diminutive roots as a literary collective with only a MySpace page to their name. Most recently Tony O’Neill, one time keys player for Kenickie and The Brian Jonestown Massacre and a former junkie, has signed his first major publishing deal with Harper Collins to co-write the memoirs of flunked NFL star Jason Peter, detailing the sportsman’s battle with drug addiction. Elsewhere O’Neill has toured his collections of poetry at high profile readings that have featured Yoko Ono in the audience amongst other notable guests.

…With this in mind, and in terms of their techniques for disseminating their works, the Offbeats are nothing particularly unique in the history of literature. Writers and poets have distributed their work in the form of pamphlets, zines and small runs of publications for centuries, by everyone from the Romantics to the Beats. Indeed for that matter, the narrow-minded nature of publishers is nothing new either. In an industry that is driven by profit, much like any other, publishers occupy the paradoxical position of simultaneously dictating tastes and also being driven to respond to change in sales by altering these accordingly.

What is different, however, is the way in which these groups have aligned themselves in direct opposition to this practice as a defining principle of their raison d’être. Moreover, with their expanding influence in Europe through other guerrilla bodies in the form of Blatt Magazine (Berlin), Metronome Press (Paris), and the semi-fictitious worldwide arts organisation, the International Necronautical Society chaired by Offbeat associate Tom McCarthy, it would be difficult to imagine this situation retrogressing any time soon. In which case contingency plans need to be made for the future as, if the movement truly is going to go overground, then something needs to be done to protect them from being swallowed up into the mucky realms of its major publishing foes completely when success inevitably knocks at their door.

By Susu Laroche.