Wednesday, April 29, 2009

DIXON PLACE and the FLARF COLLECTIVE Present MOVIE NITE


MAY 1 & 2, 2009 8PM

A Mini-Festival of Live Interactives, Musical Attacks,
Neo-Benshi, Experimental Video and other damages
to the World's Cinematic Legacy

A Benefit for Dixon Place

Advance Tickets: $12/show ($15 at the door) Both nights: $20

Advance Tickets Available (and highly recommended) at www.dixonplace.org

PROGRAM SCHEDULE

Friday, May 1st

Sharon Mesmer, Dainipponjin
David Larsen, Logan's Run
Edwin Torres, Five 1/2

Intermission

Nicole Peyrafitte, A Voyage to the Moon
Julian Brolaski (with Paul Foster Johnson), Another Man's Poison
Bruce Andrews (with Brandon Downing), Sip Girl
**Video by Konrad Steiner, Linh Dinh, Nada Gordon and Brandon Downing


Saturday, May 2nd

David Larsen, Troy
Nada Gordon, Navrang
Tisa Bryant, Untitled
Gary Sullivan, Darby O' Gill and the Little People

Intermission

Eileen Myles, Satyricon
Bruce Andrews (with Brandon Downing), Gossip Bruce
Drew Gardner and Risa Puno, Untitled
**Video by Konrad Steiner, Linh Dinh, and Brandon Downing

Sunday, April 19, 2009

Notes on "Notes on Conceptualisms"

This post was meant to appear over a week and a half ago now, but maybe in the spirit of the book it references (Notes on Conceptualisms by Vanessa Place and Rob Fitterman), it kept coming out in the form of tangled quotes or observations and never managed to become prose until today. I bought this book in late March a few days before its release at the Kitchen in Chelsea on March 31st, where the book—which starts at least three times within its own binding, with an introduction, the notes themselves, a related piece by Place, and a reading list—was reenacted ("Note the desire to begin again" (20)) via representation by examples of its subject in the form of presentations by Steve Zultanski, Kim Rosenfield, Jen Bervin, Nada Gordon, and Lytle Shaw. Text from Notes itself only showed up in Fitterman and Place's excellent introductions.


Notes on Conceptualisms is resistant to becoming the manifesto it appears, particularly in its unwillingness or inability distinguish between claims and accusations of what conceptual writing can and has done. The resistance lies in allowing (or forcing) self-referentiality’s occasional pride (“For an example . . . see Place . . . see Fitterman” (39)) to conspire with its admission or apology. At the same time, acceptance or praise of failure inscribes a second pride that comes after the admission—where success is measured, to some degree, by failure itself.


Kim Rosenfield introduced this context by beginning her reading by thanking Vanessa and Rob for having “tried to begin to define conceptual writing”. Trying/trying (ie attempting/bothersome) plays a central role in a method of artistic production that “draw[s] attention to the conflation of work (research and play (composing)” (32); “beginning” may carry more of a warning, and opens both the book and the reading up to the question of what has already begun versus what this book begins, especially with Fitterman’s forward acknowledging being “painfully aware that Conceptual Art was termed nearly half a century ago” (10).


But a book and a reading have beginnings of their own: the formers’ (after the forward) is “1. Conceptual writing is allegorical writing”. Now we know what’s news, at least, and the reading can begin (after its forward as well), with F&P introducing Steve Zultanski via the method of his own poem “My Death Drive” (listing his distance from different locations, which seem to be plantations or something similarly sinister, allowing pre/con-text to be the means by which a paranoid map/compass duo could locate the missing subject). Steve always reads faster than his breath can, throwing pages on the ground, a style that, like the work it delivers, lets inertia take the reigns.


I had just started reading the book on the train on the way to the reading, and Zultanski’s work suddenly made conceptualism-as-allegory very clear: he works in the exasperated list, allowing each sentence to “fall through” (the repeated phrase in the first poem he read) the referent of the next, always with an extended metaphor/meaning that hides something serious behind the more comfortable humor of the literal meaning, even performing the “saying what can’t be said” that allegory makes legible in a poem that collaged appropriated statements acknowledging international customs, revealing how collage and appropriated language enable an author to say the unsayable by making it clear that someone else did the saying first.


Nada Gordon started with a little teasing, offering Tips for writers, but quickly moved into asking-for-advice in a poem built of what sounded like subjects of online posts seeking urgent and horrified answers to female genital problems. Here, polyphony reveals either the terrifying illegibility of the vagina (or the internet) or a reassurance of some sort of universality: yeah, I have no idea what is growing on my labia, but at least a dozen other internet labia feel the same. If one of the standard features of allegorical (via conceptual) writing is personification, we have to think about personification's relationship to the calcification of diverse appropriated voices into one panicked authorial pronoun, the becoming-one-person that sentences undergo in borrowed writing, which meets the becoming-many-sentences one author undergoes in the same process.


This isn't all I want to say about the reading or the book, but a blog is a shorter thing, after all, and there'll be more room out here in space. But one last thing I couldn't get out of my head while reading/watching this book perform itself:


Note that the absence of mastery is old hat for females and other others” (27)


If women are born into the status of the amateur, if women are somehow more comfortable with failure than men, then women may just have a disposition towards the kind of art that plays with rejection of mastery. Or, conceptual writing might mark a woman-becoming of poetry. This was most exciting to me when Kim Rosenfield was reading: she had selected text from many of her books that took the form of the recipe. I wrote a little about her work with the recipe in the essay that appears in re: evolution when talking about a moment in the text where “there is an imperative to become the author even in the recipe”, but when Notes warns us that “radical mimesis is original sin” (20), it reminds us that the recipe is a text that demands mimesis. It's a task (often a women's task) that asks to be repeated the same way every time, and the stakes for not-being-a-master are the stakes of the dinner table, of the family's rejection. The woman's alleged fear of not being the master of the recipe is well documented in countless offensive advertisements. The recipe's familiarity with the spell or the incantation warns that it may not be as mundane as it appears, but ultimately the recipe is an anxiety-inducing request for imitation: the best cook can deviate from the recipe and make it her own, but to fail at the recipe is strangely also to have gone astray.


The stakes for women as masters or as failed masters in conceptual writing seem high to me. One aspect of appropriated writing that often makes me uncomfortable—when the poet seems afraid to be associated with the borrowed texts, and all appropriation is delivered via the irony of the impossibility of the poet himself having said the lifted words—seems to be committed most often by men. That sentence is a problem—the value system in place there is my own, and sort of silly—I mean to say that appropriation sometimes invites texts in to subject them to critique and sometimes invites them in without that interference, often to interfere themselves to prevent the hardening of authorial perspective. The former seems more male and the latter somehow more female. If there is something “females and other others” know about not being masters, maybe there is something they know about not being authors, and we could all use a class on that.

Thursday, April 16, 2009

Here’s the fruit of a little armchair etymology tracing the connection between figs qua fruit and Les Figues' work bringing innovative writing and aesthetic conversations to fruition:

“Fig" is feague—‘whipping’ or ‘beating,’ from the German fegen—‘polish.’ Feg = fake flattery = “fig shower.” “A fig tree displays its roots.” It also descends from sycophant, from sykon (Greek) also “vulva.” Yes, the fig/female genital connection is old as the Greeks and older (see below).

On fig reproduction: “The tiny flowers of the fig are out of sight, clustered inside the green ‘fruits’, technically a synconium . . . In the case of the common fig the flowers are all female and need no pollination.” (California Rare Fruit Growers website). Who knew the Inland Empire was a hot bed of fig hybridization? — the “Excel,” “Flanders,” “Judy” and “Len” varieties originated in Riverside or Pasadena.

N.B. I’ll remind you figs aren’t the only fruit where a whole stands for a part that’s a hole. The pomegranate, la grenade does that too, & in the same Romance languages.

Figs are also fig.ures—the dope on tropes, as in representation, con.fig.ured. Which shows off another con our forked tongue pulls off: con. (Fr., n.m.), "idiot" and "female genital," pardon my French.
Fig. leaves keep covering up women already under/between covers (of themselves) — ‘down there’ where fig. figs literally symbolize.

Fig./fig, try out this: “I like to make things that look like one thing even as they contain another….” (Who said that, Teresa?)

Fig. leaves are large; they’re cover-ups. Leaves go figure. “Leaves”—as a fig.—as pages of a book. Pressed figs. Paper was skin first, papyrus, then wood by-product. Paper grows on trees, & books would be made of fig. leaves, cover to cover.

Wednesday, April 15, 2009

Small Does Not Mean Unimportant

I'm looking forward to two events this weekend.

First, on Saturday, April 18, Les Figues will be participating in SHELF LIFE: A BIG DAY FOR SMALL PRESSES at USC. The event is free and open to the public. Other participants include (alphabetical order): Beautiful/Decay; Beyond Baroque; Black Metal; Family Los Angeles; The Ice Plant; Journal of Aesthetics and Protest; Les Figues Press; MAJA/ Oscar Romero; Make/Shift; Modern Multiples; Nucleus Gallery; Old English Spelling Bee; Orly Olivier; Primary Information; Semiotext(e); Silverbridge; Skylight Books; Smart Art Press; Stories LA; Typecraft Wood & Jones; Wacko/Soap Plant/ Billy Shire Fine Art.

There are also panel discussion on independent publishing, from 1-2:30, with several artists/publishers, including Brian Kennon (2nd Cannons), V. Vales (Search & Destroy and RE/Search Magazines), Rachel Kushner (Soft Targets), and Bruce Caen (No Magazine).

On Sunday, April 19, Les Figues will be hosting our first annual garden party --- ALL FIGS ON DECK. We'll be having very delicious food (vegan + non-vegan options), drinks and door prizes. Plus readings by Mathew Timmons, Amina Cain, Allison Carter and Harold Abramowitz, and music by Laura Steenberge. Here's a fantastic video of Laura performing "Summertime."

Tuesday, April 7, 2009

My Insistence on my Self

I read Decreation by Anne Carson last month. I am still somehow with the book. On this blog, in my last entry, I quoted four lines from it. I don't equally love every part of Decreation, but when I do love it, it's in this very heightened way, similar to when my life is heightened, riding along the sharp edge of a sharp surface. The section called "Stops" is especially like this for me. "Standing on it the wind goes thin, to shreds." And then there is the section called "Decreation." And then a second section also called "Decreation." An essay, and then an opera, both featuring Sappho, Marguerite Porete, and Simone Weil. Carson talks about Porete's "FarNear," and it makes sense to me, the FarNear, and makes me appreciate what in my life has been this, or has at least seen it, or has at least met it blindly. I would like to read Porete's The Mirror of Simple Souls. Of Weil, Carson says, "The process of decreation is for her a dislodging of herself from a centre where she cannot stay because staying there blocks God." I have thought a lot about no self, but not about what I might be blocking in my insistence on my self. What would it be to unblock? What would it feel like? And, then, what would I see?