Tandeta: Hughes, Shields, Mailer, Stevenson, Simenon, Crane, Perec, Eco
‘Ted Hughes, archives & alligators,’ how writers’ papers end up in British & American libraries [via @aldaily] / David Shields on life, art, Franzen and DFW in the Los Angeles Review of Books / Inside Norman Mailer‘s home / The neglect of Robert Louis Stevenson in the UK [via @Twitchelmore] / “”For 100,000 francs, the […]
Le Complexe de Saturne
Former lead singer with 70s Parisian punk band Guilty Razors and co-founder of the Musulmans Fumants art collective in the 80s — Tristam — has a new exhibition (entitled “Le Complexe de Saturne”) opening in Paris (well, Montreuil, to be more precise). [Related: Sexy Eiffel Towers / Jeunes Gens Modernes in Paris / Pic: Tristam […]
Text on Paper, Variable Dimensions
Much of Davies’ work occupies a place between poetry and conceptual art. His poetry is shot through with references to the work of artists as wide ranging as Franz Kline, Vija Celmins and Thomas Fehlmann. Lines such as “next we masticated to Jeff Koons’ record collection”. Formally, his work responds in different ways to that of these artists. His chilly, wet and monotonous poem ‘The Weather’, made up of four identical tercets describing the weather, each tercet ending in the line “I wonder what it will do tomorrow” seems to be a response to the centreless, representational graphite Sea and sky drawings by Celmins.
Colin Herd reviews James Davies‘ Plants.
Trumpet Forsyth
Each midnight, Trumpet Forsyth leans out of his sixth floor bedroom window and blows out his horn. The first notes are avant-garde and complicated, angry, like his Guernica is inhabited by limbless limbo dancers and drowning hands. The next series of notes are big-nosed-Sonny-Rollins-sax, then tall and meditative, and after that a little fruitless like a man growing wings to turn into a penguin that will never fly.
By Alan McCormick & Jonny Voss.