Sound Seeps Thru Ma Very Soul

What a busy week I had!

14-21 Sept 2017

(für Google-Übersetzung ins Deutsche siehe unten englisches SkriptJ)

First I embarked to Germany to learn more about Performance Art (PA) skill then I went to see some key practitioners in the world of books in London, my feet hardly touched the ground even tho’ my mind and body were deeply rooted to the earth during the PA workshops- 8 hours a day for 4 days.

a carol, vasiliki + gerhead
Carol & Vasiliki with Gerhard.

Somnambulant Rogue Allows Ambient Sound To Seep Thru His Very Soul.

 I felt a bit of a Rogue abandoning all my responsibilities at home to embark on a 4 day workshop in a foreign country (Germany) with the wonderful duo VestAndPage

a andrea & verena pagnes 2
VestAndPage with Verena holding the famous ‘Merkel rhombus’

(VAndP ) but I decided to Allow myself to venture to Dusseldorf because I love what they bring to Performance Art so much, they create a beautiful Ambient backcloth in which the participants feel comfortable and adventurous, all getting drawn in, so much so they fully engage in the Somnambulant atmosphere with vigour and apparent ease.

a no notes + Eva
Eva allowing the sheet to speak.
andrea mallouris
Andreas taking control of the sheet, or so he thinks.

In one exercise we were asked to write about our experience so far, then to choose a small number of words which we would consequently make ‘actions’ for. So, the challenge was to enact ‘Somnambulant’, not such an easy task but I mind-set myself to walk like a zombie in a film. VestAndPage don’t make ongoing judgements on your choice of actions, they let you ‘do what you do’ but you do it with some enthusiasm as you know the whole group will be watching when you are to take the floor solo and enact your moves. Rogue, Allow & Ambient presented me with slightly harder visualizations, but I found some moves which I shall be exhibiting during my ‘gig’ on 5th November at Colchester Arts Centre along with pieces I had planned before I went to Dusseldorf.

 

In Wuppertal I made a pilgrimage to see the place where Pina Bausch used to lead her dancers. I had sweet & sour feeling as I looked at the apparently abandoned building as “the company is on tour in USA. Kind regards. Ursula”. But I was able to visit book binder Roger Green who kindly showed me many of his book projects and if I ever have the wherewithal I shall go back to attend one of his workshops, altho’ I won’t go by train again as the journey takes up to 12 hours each way, even with the 3 hour wait at Stansted a flight would be less time consuming. Trying to ascertain the train connection times for my homeward journey proved nigh impossible at the information desks in Dusseldorf and before that even with the Eurostar phoneline ‘help’ people. In the end it was Patrick at Hostelworld who said in his matter of fact way, “What’s the problem? Just get on a train (to Koln) then onto the next one to Bruxelles”, which is exactly what I did and I had 4 lovely sunny hours in Bruxelles where highlights were the Tintin shop and Montana, a graffiti shop where I saw – Mater Museum: by Vincent Glowinski  (Author), Agnès Debizet  (Author) and Joe Sorren by Gingko Press. I sat in the sunny square eating a scone bought in Koln, drinking a coffee I bought with my last 2€ coin and listened to a woman playing beautiful oboe.

 

I would stay again at the Hostelworld as their place was comfortable and breakfast was good. I must remember however to ensure that I stamp my ticket BEFORE boarding the train, I forgot on the journey back from Wuppertal to  Dusseldorf (altho’ I was tired and a bit cold) and as sod’s law would have it that was the only time the guards boarded my train in 12 local journeys! There’s a 60€ fine if they decide to apply it but they can make allowances for dim foreigners (Brit-victims of the Brexit fiasco) who cannot read the instructions on every ticket!

 

In London

I learned so much from my meeting with book artist Sam Winston, we are partners in crime with words! We both undermine the canon. We each play wit werds in our individual ways. It’s so re-invigourating to see a kindred-spirit’s ‘play’ with the written hand-scribed word (often in pencil). He suggested maybe I do more with existing (manu-scrips) and less with future texts; whereas I had (gladly) signed off from all the versions I wrote in the 70’s of The Shrewd Idiot (SI buk) he hinted maybe not, maybe do more buks from those scrips. And as for my future tomes, lessen the content, be selective so they’re more discreet, which would be a lovli idea, especially for the viewer.

 

Sam does in fact do a lot of ‘Performance Art’ and he is well aware of that but does not utilise is in the remit of his output, it is merely a means to an end. For me Performance Art (PA) has become an integral part of my remit along with and inside of my books. Doing PA in fact makes it harder as I have to learn how to do it better but that’s not really a problem cos PA opens up the side of me which loves to flaunt around, the dancer in me, the exhibitionist, the dare in me, the chance-taker, adventurer but it also helps put my books’ contents out there by inviting folk to look at the books and also see some of my physical interpretations on what I think is important in them.

 

It’s great to have my A4 version of The Shrewd Idiot on sale at the wonder-full bookartbookshop @Bookartbookshop à Londres! Am set to do a gig thur on Jan 26th 2018. Tanya  has suggested it be a celebration on the centenary of my father’s birth, which is a wonderful idea and I shall prepare a PA to remember him with, incorporating mentions I made about him in The SI buk.

For google Translation into German below:

Übersetzung ins Deutsche:

Was für eine anstrengende Woche hatte ich!

14-21 Sept. 2017

 

Zuerst habe ich nach Deutschland begonnen, um mehr über Performance Art (PA) Geschick zu erfahren, dann ging ich zu einigen Schlüsselpraktikern in der Welt der Bücher in London zu sehen, meine Füße berührten kaum den Boden, auch wenn mein Geist und Körper tief auf die Erde verwurzelt waren während der PA-Workshops – 8 Stunden am Tag für 4 Tage.

Somnambulant Rogue Erlaubt Ambient Sound, um seine Seele zu sehen.

Ich fühlte mich ein bisschen ein Rogue, der alle meine Aufgaben zu Hause aufgab, um einen 4-tägigen Workshop in einem fremden Land (Deutschland) mit dem wundervollen Duo VestAndPage zu beginnen, aber ich habe mich Erlaubt, nach Düsseldorf zu gehen, weil ich liebe was sie zur Performance Art bringen, so schaffen sie einen wunderschönen Ambient-Backcloth, in dem sich die Teilnehmer wohlfühlen und abenteuerlich fühlen, alle werden eingezogen, so dass sie sich in der somnambulanten Atmosphäre mit kräftiger und scheinbarer Leichtigkeit engagieren.

In einer Übung wurden wir gebeten, über unsere bisherigen Erfahrungen zu schreiben, dann wählen wir eine kleine Anzahl von Wörtern, die wir folglich “Aktionen” machen würden. Also, die Herausforderung war, “Somnambulant” zu verabschieden, nicht so eine leichte Aufgabe, aber ich habe mich in die Lage versetzt, wie ein Zombie in einem Film zu gehen. VestAndPage machen keine laufenden Urteile über Ihre Wahl der Handlungen, sie lassen Sie ‘tun, was Sie tun’, aber Sie tun es mit einiger Begeisterung, wie Sie wissen, die ganze Gruppe wird beobachten, wenn Sie das Wort Solo nehmen und Ihre Bewegungen zu tun . Rogue, Allow (Erlaubt ?) & Ambient präsentierte mir etwas härtere Visualisierungen, aber ich fand einige Züge, die ich während meines “Gigs” am 5. November im COLCHESTER ARTS CENTER ausstellen würde, zusammen mit Stücken, die ich geplant hatte, bevor ich nach Düsseldorf gehe.

 

In Wuppertal machte ich eine Pilgerfahrt, um dort zu sehen, wo Pina Bausch ihre Tänzer führte. Ich hatte süßes und saures Gefühl, als ich das scheinbar aufgegebene Gebäude ansah, als “das Unternehmen auf Tournee in den USA ist. Mit freundlichen Grüßen. Ursula “. Aber ich konnte die Buchbinder Roger Green besuchen, die mir freundlich viele seiner Buchprojekte gezeigt hat und wenn ich jemals das Wohlergehen habe, werde ich zurückkehren, um an einem seiner Workshops teilzunehmen, auch wenn ich nicht mehr mit dem Zug fahren werde dauert bis zu 12 Stunden pro Strecke, auch mit der 3-stündigen Wartezeit bei Stansted wäre ein Flug weniger zeitaufwendig. Der Versuch, die Zugverbindungszeiten für meine Heimreise zu ermitteln, erwies sich an den Informationstafeln in Düsseldorf und davor sogar bei der Eurostar-Phoneline “Hilfe”. Am Ende war es Patrick bei Hostelworld, der in seiner Sache eigentlich sagte: “Was ist das Problem? Fahren Sie einfach in den Zug (nach Koln) und dann auf den nächsten zu Bruxelles “, was genau das war, was ich tat und ich hatte 4 schöne sonnige Stunden in Bruxelles, wo Highlights waren die Tintin Shop und Montana, ein Graffiti-Shop, wo ich sah – Mater Museum: von Vincent Glowinski (Autor), Agnès Debizet (Autor) und Joe Sorren von Gingko Press. Ich saß auf dem sonnigen Platz und aß einen in Koln gekauften Scone, trink einen Kaffee, den ich mit meiner letzten 2€ Münze gekauft hatte und hörte eine Frau, die schöne Oboe spielte.

 

Ich würde wieder in der Hostelworld als ihr Platz war komfortabel und das Frühstück war gut. Ich muss mich aber daran erinnern, dass ich mein Ticket vor dem Einsteigen in den Zug stempeln kann, ich habe auf der Rückfahrt von Wuppertal nach Düsseldorf vergessen (altho ‘war ich müde und ein bisschen kalt) und wie das Gesetz des Gesetzes das hätte Wächter bestiegen meinen Zug in 12 Lokalreisen! Es gibt eine 60 € Geldbuße, wenn sie sich dafür entscheiden, sie anzuwenden, aber sie können für Ausländer (Brit-Opfer des Brexit-Fiaskos), die die Anweisungen auf jedem Ticket nicht lesen können,

 

In London

Ich habe so viel von meinem Treffen mit Buchkünstler Sam Winston gelernt, wir sind Partner in Verbrechen mit Worten! Wir beide untergraben den Kanon. Wir alle spielen wit werds in unseren individuellen Weisen. Es ist so re-invigourating zu sehen, ein Verwandter-Geist ‘Spiel’ mit dem geschriebenen Hand-geschriebenen Wort (oft in Bleistift). Er schlug vor, vielleicht mache ich mehr mit vorhandenen (manu-scrips) und weniger mit zukünftigen Texten; in der Erwägung, dass ich von allen Versionen, die ich in den 70er Jahren von The Shrewd Idiot (SI buk) schrieb, abgesehen hatte, hat er vielleicht nicht angemerkt, vielleicht noch mehr buks aus diesen Scripts. Und wie für meine zukünftigen tomes, vermindern die Inhalte, selektiv, so dass sie mehr diskret, was wäre eine lovli Idee, vor allem für den Betrachter.

 

Sam macht in der Tat eine Menge ‘Performance Art’ und er ist sich dessen bewusst, aber nicht nutzen ist in der Aufgabe seiner Ausgabe, es ist nur ein Mittel zum Zweck. Für mich ist Performance Art (PA) zu einem integralen Bestandteil meiner Aufgabe zusammen mit und innerhalb meiner Bücher geworden. Das macht PA in der Tat macht es härter, wie ich lernen muss, wie es besser geht, aber das ist nicht wirklich ein Problem cos PA öffnet sich die Seite von mir, die liebt zu flaunt herum, die Tänzerin in mir, der Exhibitionist, die Wagen in mir, der Chance-Taker, der Abenteurer, aber es hilft auch, den Inhalt meiner Bücher da draußen einzuladen, indem er die Leute einlädt, die Bücher zu betrachten und auch einige meiner physikalischen Interpretationen zu sehen, was ich in ihnen wichtig finde.

 

Es ist toll, meine A4-Version von The Shrewd Idiot auf den Verkauf an der Wunder-full bookartbookshop @Bookartbookshop à Londres! Am 26. Januar 2018 soll ich einen Gig thur machen. Tanya hat vorgeschlagen, dass es eine Feier zum Hundertjahrfeier der Geburt meines Vaters ist, was eine wunderbare Idee ist, und ich werde eine PA vorbereiten, um mich daran zu erinnern, indem ich die Erwähnungen einbeziehe, die ich über ihn gemacht habe Die SI buk.

 

 

Advertisements

Talking To The Moon in Colchester.

a fulmoon 6sept17 4sm

There was a full moon tonight and I awoke at 2am to take some photos of our nearest neighbour, some may tink am a bit nutty?

You’re not going to believe this but I am already preparing for my Book Launch at Colchester Arts Centre (CAC) scheduled for November 5th 2017. Apart from my books and artworks being there I shall do some Performance Art (PA). I know the things I’d like to do and with the ambience and assistance at CAC I am certain that it’ll be the best venue so far where I’ve done my PA stuff. I shall use this Bruno Mars Talking To The Moon piece https://www.youtube.com/watch?v=J9pXeziqdLc in my The Three Graces (see below).

However. Whatever I plan at the moment may change dramatically as I am about to go to Germany to spend time with my PA heroes Vest & Page (aka Verena & Andrea). This is a link to a trailer of their 2016 film, ‘Plantain’ https://www.youtube.com/watch?v=vS80Ki-T9bI   Their workshop is phenomenal like their work and I shall leave it a different Performance Artist to the one I am now. Hopefully a better one, of that I have little doubt. The last time I did PA in the company of V&P I poured wine over my head, I had pancake dough plopped on it too, leaves and grass all over my body and the gathered onlookers were laughing at my antics which, I must warn you, only encourages me to do more!

pete & jamiephoto ©jurgen fritz 2015

For those of you who need to know more about what PA is I can say that it is whatever the PA artist decides it is (Jurgen Fritz said in 2015, “Pete does what Pete does and that is what it is.”). PA can be very short, just a few minutes or very long, several days non-stop which is called ‘durational’ [or endurance, for the person doing PA and the potential audience]. You won’t have to ‘endure’ mine as am only planning on 3 pieces each about 15 minutes long.

a old ahed mask mould
Working towards the definitive Apulhed Mask

I have also prepared the definitive Mask of Apulhed(man) and have been doing ‘research at Tate Modern where I saw the South Korean Geumhyung Jeong make her masks come to life. https://www.vice.com/en_us/article/zm37m8/geumhyung-jeong-at-tate-modern-tanks-seven-different-ways Also went to see avant garde Flamenco dancer Rocio Molina at Barbican cos I want to put about 60 seconds of ‘flamenco’ into ma gig. This week I went to see Michael Clark Company do his tribute to David Bowie at Barbican. As there’s quite a bit of (purported) dance in ma gig am hoping their moves influence my body in a positive way. It was a good night of dance, a bit short at 90 minutes including a 20 mins interval but it was good to see how good Clark dances.

a geumhyung jeong fini veri sm
Geumhyung Jeong reflecting after her battle with her rather naughty masks.

The link below will show you some very differing PA pieces with a go at describing the form that is PA in the first para. :

http://www.complex.com/style/2013/04/the-25-best-performance-art-pieces-of-all-time/pandrogeny Two of my favourites are Oskar Schlemmer and Laurie Anderson.

There are ‘purists’ who tend to prefer not to use music, dance, or spoken word and like to do intense, mysterious-meaningful actions which may be about political or ethical issues. I am not a purist. I like to use music, dance, spoken word and changes of garb. I like to tell stories through movement & masks in my PA, stories about myself and the state of the world as I find it now and how it was when I moved through the years I have lived. Not a lot has changed over the years, the rich get richer and the rest of us just have to muddle on doing the best we can. I need faith hope & love to carry on pushing creative outcomes which make people think and maybe even entertain for as long as I am able, I am just so fortunate to be able. Ability takes years to accumulate and it can disappear in the blink of an eye so I make as much use of my time as I can.

a smsi cova wordsThis is a cover I designed but did not use for the book.

So, at the moment the stories I shall focus on will be taken from the book I have just published called The Shrewd Idiot. I knew the idiot well and I feel for his inability to get things right in his life. At the time portrayed in the book (1969-73) he didn’t know his ass from his twits. He was in fact a very lucky man with many friends and some were very close to him yet he often went out searching for more. One thing I know now, after all these, was that he rarely felt or showed any sense of being ‘worthy’. He didn’t comport himself with the pride and feeling of value that many of his achievements warranted.  Once he had achieved some good accomplishment he never rested on his laurels, he moved immediately on, to the next challenge.

When it came to his relationships with women, like many men, the one he was with was rarely the one he wanted to stay with and he was always looking for a better model. The idiot never understood that ‘a bird on the handle is worth two in the brush’ or summat like that. So, in almost all he did, and he did a lot, he was never satisfied. And one reason he couldn’t get his head together and think straight was cos he spent a lot of his evenings under the influence of alcoholic beverage. “Pissed all th’time”, some were heard to say when asked about his state of mind. In the Colchester Arts Centre PA at 2pm on 5Nov 2017 My 67 year old self will have some dialogue with my ‘Self’ from the early 1970’s, that’s if he remembers to turn up, sobre.

pete self P veriveri best veri sm
Self Portrait painted by the idiot aged 18 in 1969. I use the face as a mask in the CAC PA.

His drinking sprees will not be the subject of the PA, but his relations with women are in a piece called The Three Graces (about the 3 women he actually liked to be with…most of the time). Between 1969 and 1973 the idiot had relations of quite intense quality with 3 young women (these didn’t overlap…much) but lost all 3 because of his inability to show commitment. Actually he could commit. He committed to being Social Secretary at college, to playing football for the 3rd eleven at college and to ‘making art’ but that didn’t help his relationships in fact it very much undermined them. So The Three Graces is about the idiot’s feelings of loss after they had all wandered away from him.

Sounds really sad dunnit? But no, it was not only sad, it was uplifting, the idiot had to look at what he did and change for the better, which he did but it took decades and the help of a good woman to bring him through to a better place. Her identity is not evident in The Three Graces PA, but she was there for him as he managed to settle down, have a family and eventually stop savouring the evil brew.

The idiot eventually did be shrewd and now he has published some memoirs. And the whole idea of the book launch is to encourage folks to purchase them in the form of a beautifully composed book. There’s two or three to choose from at varying prices, but you’ll get to see them on November 5th.

1st-sighting-sans-cover-sm
Inside pages of The Shrewd Idiot (A3 deluxe version) showing the use of palimpsest

Finally watch some incredible movement here:

https://www.youtube.com/watch?v=9ms7MGs2Nh8 a Swiss man doing butoh PA in Japan

Bookbinding and beyond

I valiantly attempt to meditate, am still trying after all these years but am not very good at it, yet. I was intrigued when I read this in Brain Pickings: ‘Oftentimes during meditation, I am visited by flash-memories dislodged from some dusty recess of my unconscious — vignettes and glimpses of people, places, and events from long ago and far away, belonging to what feels like another lifetime.’ Maria Popova.

I have experienced exactly that, I remembered my own first visit to the Lake District during a deep restorative yoga relaxation session with Catrina. I saw that as strange but very understandable. In some ways the significance of that one memory was that the trip was with my junior school at the end of my time there and it was the first time I had been anywhere away from and without my mum and dad (Jack & Jenny K.).

10 TRY'D

The Society of Bookbinders (SoB) Conference 2017

I audaciously sent my bound version of Inside This Earthen Vessel with David Jury’s beautiful letterpress renditions of my six poems into the (SoB) Competition & it was included in the (SoB) Exhibition (organised and set up by Marie Doinne and Mylyn McColl) where it was in good company. It happened to be the biggest height & width-wise in the show. There were however many exceptional entries and I particularly liked the two books entered by Rahel Scheufele (Switzerland) who won the Second Prize & Third Prize in ‘Fine Binding’.

Sumi Perera’s ‘soundwave scroll & boxset’ called 28 or not 28 was for me one of the best in show as she not only bound her cd in a box but also created a very beautiful round box for her scroll.

sumi perera sm

Also I loved the cover, which was all I could see in the display cabinet- and I would have loved to have seen inside of Daniel Wray’s Koi Karp & Chips.

koi chips

In fact the method of display disallowed showing insides of books which for me is a shame as the insides must make up 50-90% of the book. In my case I made the bind to house the prints! And the prints are high quality letterpress the words being very meaningful too.
a vessel buk at SoB3a sm

 

The Catalogue has excellent design and layout by Mel Jefferson who also won the People’s choice award.

I was lucky to be able to attend several talks about different aspects of Bookbinding where I was astounded by how little I know:

Kathy Abbott A ‘Tomorrow’s Past’ Modern Conservation Binding in Limp Vellum www.kathyabbott.biz I learned so much watching Kathy’s talk in which she informed me that EVA is the best adhesive to use as it conserves better. Very instructive about making a ‘pricking temple’ and how to score creases from the mid-page out to top/bottom.

Roger Green – Making a Drop-Back Box www.buchbinderei-green.de I recently made my first book-box which had a ‘lip’ around the box, Roger’s had no lip and it was much stronger.

Renate Mesmer – Medieval girdle bindings. Renate’s incredible intro to making girdle books was quite stunning, concomitant with someone who works at the Library of Congress in Washington DC.

Consuela (Chela) Metzger –the ledger book. Chela showed me the making of  a cover in parchment with all sorts of tacketing.

John Mumford – Islamic bindings John gave a fascinating talk on how books were made after Constantine became Roman Emperor and felt the need to have ‘50 new churches decked out in shimmering gold and jewels which also adorned the parchment bibles that had to have heavy wooden boards on to keep the parchment flat.

Christopher Harvey- Old Manuscripts, Working Books, Changing Structures – Aspects of Book Conservation at the College of Arms, London www.college-of-arms.gov.uk Chris spoke well of the collection housed near St Paul’s in London where he tackles, ‘support & structural issues of the paper book-blocks’.

Peter Bower Adventures with Books: Investigations into Book History using Paper Analysis. Peter’s talk about his detective work in paper analysis was fascinating.

Paul Johnson – Pop Up Books In a way I saved the most intriguing til last. Paul showed us how he goes about making his incredibly complex one-off ‘pop-up’ books.

I was lucky to sit next to Monique Lallier during the formal meal in the Ballroom at Keele Uni as she proved to have a good sense of humour, as did her husband Don Etherington who told me he was an amateur binder and me being ignorant believed him, the joke was on me Don. It turns out that Monique does the most beautiful bookbinding and if I work hard for the next 50 years I may catch up with her. We also found that we read the same books, Book of Joy by Dalai Lama & Desmond Tutu and Red Notice by Bill Browder, what a strange coincidence. Next I must read her book on binding which she did with her husband!

After attending the above talks and demos in just 2 days I was knackered but much better informed about some of the skills which are out there. So, I am sticking my girdle book under my belt and, like Bunyan’s hero Christian, I’m setting off on a long road down Bookbinder’s Way. First stop may be Wuppertal in Germany (Pina Bausch’s dance place) where Roger Green has his bindery. He lives about 30 minutes train journey from Dusseldorf where I hope to be later this year to benefit from Vest & Page’s workshops in Performance Art (PA). Verena & Andrea (who are V & P) are two of the very best PA practitioners and I am hoping that just being there and getting guidance from them will help me move forward in the arts of Performance Art!

Am gonna need as much help as I can get as am doing some of my own pieces at Colchester Art Centre on Nov 5th as part of a launch for my Shrewd Idiot books.

Talking of Colchester Art Centre I must congratulate Ant & the team for setting up a great show of photos taken by people who live out on the streets in Colchester. It opened on Friday night in the Old Bus Depot which is a big old dusty near derelict site but I love old bus & lorry depots, something about my youth when we used to go frequent them when it rained and we couldn’t keep playing football in the backstreets until the rain abated. So, shelter for me as a kid, and now shelter for the artworks made by people who could benefit from better shelter in today’s world.

 

 

 

Trajal Harrell at Barbican.

‘The object of choreography: bodies, time & space.’

https://www.youtube.com/watch?v=Xf9LAo_buic

When I saw the first day of Harrell’s ‘Hoochie-Coochie’ season at the Barbican I loved him & his troupe of dancers and his choreography. I wanted very much like to take some photos during the dances but of course Barbican has a blanket ban on anyone doing that! I like the way Harrell crosses the boundaries with his art. So I drew them! You cannot keep a determined man down.

from Caen Amour

Caen Amour

Caen Amour is the longest piece at 1 hour 10 mins and his latest creation, it involves 4 dancers (3 male 1 female; Thibault Lac, Alex Roccoli, Trajal Harrell & Perle Palombe) and the audience. In my sketch the head on left shows how incredibly creative the troupe are with simple props, you have to see them to understand, in this sketch he is wearing a ‘tie’ wrapped round his head and dropping down his face. The central figure is totally covered in long garments and seems to have them pulled together at the mouth by hands. The woman uses a dress to cover her arms and head down to her bum, her nose makes the little black mark to left of the word ‘sheer/sheen’ and her nipples make the two ‘eyes’. Of course my rapid sketches do no service to the beauty of the dancers movements and costumes which are festooned with colour and glittery surfaces.

The dance owes much to a range of influences from Japanese ‘butoh’ to Folies Bergère, from Martha Graham to hoochi coochie dancers. All four main dancers have a trademark Trajal style of movement which comes in from his earlier ‘minimalist’ work and they use gyration and arabesque which crosses genders. “We perform as the all-female shows, though we are mixed genders.” They hold their hands above their heads and make hundreds of moves with their fingers, wrists elbows waists genitals knees feet and bum-see-saw daisys. It’s hard to describe. They are all strong, dedicated, muscular lithe they tease with their ‘c’mon in baby’ looks like strippers would if I ever saw any, not that I have, well not that many Mrs Moneypenny. The music is mesmeric and appropriate; it set the pace and the scene. Three dancers,  do most of the show then Trajal enters from through the pillow-seated audience and stamps his style on it. The audience becomes part of the show/choreography when the follow the invite to go round behind the set and watch the dancers disrobe and re-attire for their next entrance and they move on and off the stage with rapid frequency. If you click on the link you’ll see 3mins of Caen Amour: https://www.youtube.com/watch?v=7h6LURgMoWg

 

In The Mood For Frankie

in the mood for Frankie

Although only 3 male dancers took part in In the Mood For Frankie it turned out as fascinating as Caen Amour. It’s hard to detail the dance, it’s best to go watch it. The dancers moved across the set in twos with the third player sometimes criss-crossing the others. I found it peculiar that when one of them decided to replenish water in a conduit he used a plastic bottle rather than the brass jug which one dancer was dancing with altho’ taking in the ‘minimal’ and ‘realness’ using ‘everyday objects’ rather than things for show. Trajal talks of…”rejection of spectacle, virtuosity and make-believe…, his work ‘uses constructions of gender, artificiality and social roles to critique authenticity…realness operates precisely by blurring the line between perceptions and constructions of the fake and the real.’

There’s a great Guardian article which contains lots of links to more material about some of the wide variety of things which Trajal takes in when he designs a piece, https://www.theguardian.com/stage/2017/aug/01/trajal-harrell-the-dirty-dancer-voguing-his-way-into-history

This article is a good intro to one of Trajal’s influences, Rei Kawakubo’s fashion,

https://www.theguardian.com/fashion/2015/sep/20/rei-kawakubo-radical-chic and if you watch the video of her boys walking the walk you’ll see how Trajal mimics the walk in several of his works.

 The return of La Argentina

Carmen Amayareturn of La Argentina

Here I have Trajal watching over La Argentina as she danced.

The clothes he wears in his The return of La Argentina are fluted like her dress altho’ he only dons pieces of fabric, one colour on one leg, another on the other, one colour on one arm another on the other. He does dance with a flamenco dress(?) as he enters. He sits on a piano stool and does a ritual with some spoon and bowls. He scrapes the spoon around the Japanese dish which as its made of clay with a heavy grog sounds a bit like chalk scratching a blackboard but music all the same. As he departs he wears two rectangles of fabric folded into square in which he places his hands and motions toward the crowd which sits & stands watching. Is he waving? Maybe. He’s gesturing some sort of call, some of us wave, he smiles and backs away thru the gap between the audience and he smiles and shoots off up the stairs, the dance is done.

 

See this interview with curator Leila Hasham- https://www.youtube.com/watch?v=ZAK_GG4AFrU

 

 

Inside This Earthen Book-Box Part 2

ITEB 2

Now I’d like to reveal my new ‘book-box’ with various parts of the Inside This Clay Jug project on display in it.

[I do not expect it to sell in fact on the contrary  it is my own personal gallery space in which I can house an important show about a vital phase in my output.

I have had many ‘shows’ of my output since leaving college in Exeter in July 1973. The leaving of college, like the leaving of school is an important juncture. Leaving school was for me as being born (again) when I dropped the manacles which had gripped me since first entering school aged 4.

The first hint or ‘show’ of my output was my buk Apul-One which said (to my school) “You no longer manacle me, I’m free as can be. I no longer had to acquiesce to the norm”, I could do it my way and I did, for example with the personalised phonetic (fonetic) spellins. As it happened in 1975 I couldn’t exhibit (in my ‘gallery’, which Apul-One was) the beautiful use of colour which my ‘art’ employed as that was too costly but I was able to use my B&W works. Those colours are now available in my ‘Shrewd Idiot Series’ of books recently self-published (2017).

The Inside This Clay Jug project is vastly different to the content of Apul-One & the ‘Shrewd Idiot Series’ which both appear to reflect my own journey through the early 1970s. Inside This Clay Jug exhibits and reflects upon my acquisition of knowledge in, what may be best referred to as, the realm of spiritual contemplation, my thoughts on the deeper aspects of my existence and my investigations into ideas and concepts a little deeper than the surface level at which most of us conduct our daily journey.]

1 isev buk box closed sm

The book-box is circa A2 in size & about 25mm in depth.

It is a ‘unique object’ which has the same cover design & material as the bound book version of ISEV, see ITEB1 in https://apulhed.wordpress.com/2017/07/09/inside-this-earthen-book-box-1/ .

1 isev buk box with open contents sm

Inside my ‘book box’ are lots of goodies.

There’s a copy of each of the books; G BATCH, Inside This Great Pot, Inside This Earthen Vessel (PK version), Inside This Earthen Vessel (DJ letterpress version) and the full set of 6 etchings from the G Batch master drawings plus the original poems printed on Japanese paper AND the tiny version of DJ’s ISEV.

1 isev buk box + 2 etchings sm

Here you can see the Jung & the Silesi etchings which are printed in sepia colour and have a tilted diamond shape.

1 isev buk box +sm isev sm

here is the PK version of ISEV resting on the DJ one, with a colour photo of one of his chases.

1 isev buk box sma closer view of David’s chase for the Silesi letterpress print

1 isev buk box +sm isev smthe other photo (we only recorded two) of the Beuys’ print chase. All six chases were dissed on completion of the set of prints.

1 isev buk box just open smAll wrapped in ribbon with DJ’s folder full of letterpress prints at the back

2 'Leaf Books' in isev buk box smFinally.

Possibly most beautiful of all?

A simulation of my two Leaf Books inside the book-box!

This juxtaposition may never occur, or I may make a book-box specifically to hold them together altho’ of course they must be sold separately because they are very expensive.

The 2 leaf books each contain six etchings from the G BATCH master series along with the six early poems about the ‘wise men*’ on Japanese paper.

G BATCH=*

Giorgi Ivanovitch Gurdzhiev

Beuys Joseph

Angeli Silesii

Tenzin Gyatso

Carl Gustav Jung

Hermann Hesse.

g batch vase sm

Inside This Earthen Book-Box 1

This is only part one of a blArt about my new Inside This Earthen Book-Box ITEB

Part 2 will follow in a few days with more images of the Book-Box

pot wit scrolls sm
6 scrolls surround my pot on a hexagonal table, notice the Beuys’ scroll has felt over it!

A while ago I wrote a series of poems to be printed as scrolls which I placed inside a big pot.

I called the project Inside This Clay Jug after a poem Robert Bly had recited after the original translation by Rabindranath Tagore of a 14th century poem by Kabir. I first heard the recital on the late a Jackie Leven cd. I loved it and was lucky to have known Jackie when he used another pen name, John St Fields. I loved his rendition of Inside This Clay Jug for years and was fortunate to get together with Jackie shortly before he died. The project was as much in memorium to him as it was a celebration of knowledge passed down in ancient times by communities who hid their precious writings in pots in caves or underground like the Nag Hamadi library and Buddhist pots found in Kandahar.

the jug sm
Pot + Scrolls stand on sand base. There are words from Kabir’s poem on the pot. Each scroll has a leather thong with the name of the subject or his associative domain created on a clay tab.

I don’t expect anyone to go to this link BUT it has an account of how Buddha’s pot for alms was found in Kandahar, it’s an incredibly complex story but the kind I find quite fascinating if & when I find the time to explore. For me this kind of exploration is the closest I’ll ever get to actually setting foot in Kandahar cos am a lazy old tyke. https://books.google.co.uk/books?id=umZEfH1n0X4C&pg=PA281&lpg=PA281&dq=Buddhist+pots+found+in+Kandahar&source=bl&ots=XcgKUd5QC8&sig=qX35SJ3d_ZAJ9w4c_sG7PDX6YGQ&hl=en&sa=X&ved=0ahUKEwiqmNzu2_zUAhUNY1AKHV-ADl8Q6AEIRTAJ#v=onepage&q=Buddhist%20pots%20found%20in%20Kandahar&f=false

Recently I bound a copy of David Jury’s beautiful letterpress version of my poems in pots into a codex book.

1 isev bk SoB comp sm
Inside This Earthen Vessel (ISEV)

Letterpress print version bound as a codex book 

I only made two copies so far, one for me and one for DJ. And I have added a lovely little purple tassle to mine and sent it up to an international competition to see if they like it.

Whilst making the book I made a couple of extra cover and thought one day I’d make a book-box with one of em and put into it every incarnation of my poems for the Clay Jug Project about which I also published a book called G BATCH.

a cover of gbatch
Front cover of G BATCH

Now I know G BATCH is not the best name for the book, it’d be better named something like Inside This Clay Jug an Introduction. I preferred at the time to take letters from the names of the six men that my poems are about and as a group is also a batch called it a batch, G BATCH. The book is handmade in an edition of 50. It explains my ideas behind the project.

a orignl carl jung design
In my collage of Carl Jung I include a mandala I invented for Jung with pots and fishes plus a Buddhist Wheel of life. He is wearing his Gnostic ring.

It also has the master drawing that I used for the etchings of the six men.

isev at corsham court 2 sm
ISEV displayed at the Bath Spa ‘Concrete Poetry’ Symposium

I re-wrote the poems and published about 3 versions of them, Inside This Earthen Vessel (ISEV) was one version wherein I did the layout of the poems in the shape of pots and when DJ saw them he suggested we collaborate on the letterpress version which he would print. Those prints of the poems are now quite famous. Back in 2014 The Poetry Library at Southbank exhibited their copy in the Open Show of that year. They were recently (June 2017) exhibited at Bath Spa uni as part of their symposium on Concrete Poetry.

I did do a ‘concrete poem’ with the names of the G BATCH, actually more a log poem:

a gbatch concrete poem sm
Look carefully and you’ll see the names carved onto the logs.

Nowadays the bark is dropping off so I am going to recut the names a little deeper into the trunks to add to the poem’s lifespan along with some clarity.

Here’s some images of the Tenzin Gyatso (Dalai Lama) one when it was first cut.

a gyatso log stands
In my log poem I put his name where the T is in Batch. I s’pose I can recut the name as Tenzin?

 

a gyatso log cut
Tenzin Gyatso is the Dalai Lama’s name.

 

 

 

 

 

Explain The Shrewd Idiot

Who is a The SI logo  ?

Why is it The Shrewd Idiot?

Well it were a toss up between that and The Wise Fool. Shrewd- astute, penetrating, artful and crafty- (I tink) shrewd entails ‘wise’ altho that in fact in the definition relates to money… The Shrewd Idiot aka Pete Kennedy is (or was) that- an Idiot in a lot of his habits BUT he always knew there was a wise part in the mix because he had conversed with it on occasion; in lucid moments. “From early on I knew that ‘life’ was a serious game but I soon learned to make light of it. I frequently played the fool. Apart from rock music and sport my great loves in life have been art & humour [altho’ this tome is not (deliberately) funny], my great heroes include Groucho & Harpo Marx, Spike Milligan & Tommy Cooper.”

Another title could have been A Lucid Tosser or Lucid IdjetL I, or Li bringing in a zen feel to it.

There’s also another possibility in David Pierce’s book, Reading Joyce where on p. 316 he says, “[the surname] Glue is in fact from Old English gleaw, meaning wise or prudent.” So The Gleaw Idiot? Maybe not. Altho’ I was born in Glesgaw…The Glesgaw Idjet… The Glasgae Idiot?

Anyway all this is too late, the books are named.

So the ‘hero’ of the buk reveals his self, warts & all. There’s big honesty, an honesty which may seem unpalatable to some but it’s part of his idiotic nature- he cannot tell a lie or be clever for the sake of deceiving.

Gail Cher wrote in ‘One Continuous Mistake’, “Fleeting thoughts … quietly shock our being. You think one, sometimes you don’t even realise it’s there…it has been…your mind contains the memory…your consciousness is no longer the same….you keep track of your philosophical thoughts, your spiritual thoughts, your pecuniary thoughts, thoughts of your loved ones…”.) Gail Cher might have written those words for the doltie/dorky hero which is my a just SI logo because those are the kinda thoughts he notes down throughout the book(s) named after him!

a1-buk

Apul-One (original cover A5)

My old Burnley secondary school friend John Walton told me after he had read apul001 logo in 1976, ‘Pete, you write the thoughts we all have and think we’ll write them down but never do…’ Writing was his trade and I took that as a gentle compliment.

A4 SI front cover sm

The Shrewd Idiot (cover A4 version)  Portrait of the Idiot As A Young Man

So it is not a normal book. It’s written in the first person and is purportedly about the first four years of my life after I left school nearly 19 years old.

It’s not an autobiography because it doesn’t outline my successes in life, rather the opposite, it settles on my many doubts and failings (like frequent self-abuse). It features my anguishes rather than my triumphs, not the stuff of autobios. In my life I had many and regular successes and achievements, most of which don’t make it into this rather voluminous moan-ologue. But the fleeting moments do and I believe it’s those fleeting moments that mould the person, that’s why they’re featured. It’s the challenges, the overcoming the doubts and deficiencies that maketh (wo)man. I hope I’m correct cos if am not then this is 300 pages of unadulterated drivel, but don’t worry, be happy that I wouldn’t do that to you. Over 40 years since I first set my pen to paper writing this tome long-hand from the journals I kept tween 1969-73 and after spending months doing final edits and the layout for the book before I published it I am sure there is a story there, in fact several stories within the main momentum which follows me from a green horny youth through days of satisfaction and later of loss. The book shows many relationships beginning and moving on and some ending (prematurely) with some continuing way past the book’s end.

BUT, apart from the overt stories, there’s the covert revelations. It reveals my initiations, realisations, and most of all my growth from a punchy teenager to a more reflective early 20 year old who has no idea what his future holds but knows he’s at least prepared with his accumulated skills and learnings to face most of what life normally throws at a person and from experience knows that he can cope with some of the extraordinary things that crop up now & then.

The ‘punchy teenager’ taming was begun by the first of 3 women (The Three Graces) who had a major impact on him in those 4 years. Her name in the book was Bluebell, in real life it was Cath. She was the first woman I ‘went out with’ after I left school and in effect she saved my life. She gave me hope for the future and I still received her Christmas cards until a year or two ago… they seem to have petered out now despite my writing to her Australian address to tell her I’d like to send her a copy of the SI(A4). The second grace, Rose, real life- Jane, drifted rapidly then slowly out of my life but she taught me to value patience, although it’s taken 40 years for the lesson to kick my ass. The third grace, Camellia, whose real name I cannot reveal cos she’ll bat me, is still teaching me how to behave. She’s still got a lot of work to do. So as a result of those 3 gracious ladies I became less punchy, despite for a while taking on karate (I’m yellow!), I now learn Tai Chi with Master Ch’n Lay Seng, and the last thing you do in Tai Chi is get punchy!

pete self P veriveri best veri sm
I painted this Self Portrait in 1968 when it was exhibited in the local Burnley Artists Annual show. The local Burnley Express hailed me as a good colourist. This image features in the book.

The other revelation is of course the art that I produced. Much of my best work from 1968-73 is displayed in the book(s). One of my greatest thrills is to have found an outlet for the imagery which otherwise would have remained in my drawer until after my death* when it’d be taken out and revealed as the work of a wonderful undiscovered talent and then sold for millions of dollars, yen, euros but not £s cos an artist is never really recognised in his home town, are they? But I no longer care that for the past 40 odd years I was unable to find a market for the works I turned out with never ending enthusiasm. Most all of them end up in  my big plans-chest or a hut in ma garden  and remain unseen, so the SI buks are, for me, a comprehensive solo exhibition of those works. In the A4 version you get 25 images on translucent paper (tracing paper for want of a better word) which gives what I refer to as ‘palimpsest’ views through the parts of the paper which contain no image.

*Spike Milligan said, “I’m not afraid of dying, I just don’t want to be there when it happens”.

a The SI logo buks have been my vindication and I am so proud to present them to the world. The A4 version of  The Shrewd Idiot can be bought (£45 rrp) at the Whitechapel Gallery bookshop in London. The British Library will receive one copy but the other national libraries won’t as I only made 50 copies and at that price  I cannot afford to give em away.

I have now firmed up the date with Antony Roberts at Colchester Arts Centre to do a ‘launch cum celebration’ event around a The SI logo books. The date is Sunday afternoon at 2pm on 5th November 2017, just 9 days after ma 67th boithday. So there should be cakes and drinks and maybe me doing a couple of the performance art pieces (paps) about the books, inc The Three Graces). I must say, I’ve waited almost 40 years to do something there, I first approached the centre in c.1976 shortly after its formation, the then Principal of Colchester Art College (Atkinson?) and Tim Holden interviewed me, the former saying he thought apul001 logo was good but the rest o ma work didn’t strike a chord with him. They laughed at me when I said I wanted to do a show there, they’re not laughing now!

Congratulations to Sally Shaw and all at Firstsite for getting that BIG arts council grant. The gallery has moved a long way since its near demise a couple of years ago.

It was great to see Firstsite humming with at least 3 simultaneous activities last Friday night when I was lucky to be invited once again by Jim Pey at Educaid to read one of my pieces. I did a 2017 poym inspired by my 1972 set of screenprints ‘Appleheadman Sees’ which I shall read again on the 5th of November  with a little brushing up. In fact I’d love to do my PA version of the song called ‘Brush’ by Colin Lloyd Tucker too too.

a screem31
an early oil painting of Apulhed

Everyting cums to hee hee what waits! a pk logo yello

The activities of Pete Kennedy, Performance Artist Bloke, Book Creator & retired artist.