anti-sonnets / mark staniforth. 2019

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also @
gammmorg.files.wordpress.com/2021/11/mark-staniforth_-anti-sonnets_-2019.pdf

Click to access mark-staniforth_-anti-sonnets_-2019.pdf

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«Anti-Sonnets comprised the creation of one sonnet per day over a year, irrespective of personal circumstance.

Each sonnet’s subject matter, and perhaps also the perceived quality of its artistic execution, would reflect the tribulations of daily life. Anti-Sonnets aimed to challenge assumptions associated with the sonnet form, and to champion the ascendency of context over content. Writing in The Cambridge Companion to the Sonnet (23011), the poet Stephen Burt identified “a commitment to dailiness, to impressions without an overarching order, each in its separate frame, as in a notebook or calendar.. [a]s each sonnet records an occasion or a day, a set of sonnets can take its own larger shape.”

An exhibition of Anti-Sonnets is being staged in the Research Station, Leeds Beckett University School of Art, Architecture and Design, from now until Dec 2019».

(https://antisonnets.wordpress.com/2019/09/13/anti-sonnets/)

4 from “baudelaire in english” / sean bonney. 2008

 

From Baudelaire in English (Veer, 2008)
[see onedit.net/issue8/seanb/seanb.html]

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more about / from / on / by Sean Bonney:
https://godsoftheplague.tumblr.com/
http://abandonedbuildings.blogspot.com/
illwilleditions.noblogs.org/files/2016/03/BONNEY-All-this-Burning-Earth-USLETTER-READ.pdf
https://web.archive.org/web/20120626162741/http://ytcommunication.blogspot.com/
http://www.onedit.net/issue6/seanb/seanb.html
https://my-blackout.com/2020/02/24/sean-bonney-notes-on-baudelaire/
https://my-blackout.com/2019/11/21/11637/
https://my-blackout.com/2017/12/03/sean-bonney-our-death/

and
https://www.poetryfoundation.org/harriet-books/2020/03/sean-bonneys-life-work
https://jacket2.org/commentary/sean-bonney-william-rowe
https://writing.upenn.edu/pennsound/x/Bonney.php
https://jacket2.org/podcasts/insurrection-value-poemtalk-122
https://otherroom.org/tag/sean-bonney/
https://www.poetryfoundation.org/poets/sean-bonney
https://prolapsarian.tumblr.com/post/189486233632/notes-to-sean-bonney-1969-2019
http://www.openned.com/print/the-commons-sean-bonney.html
https://en.wikipedia.org/wiki/Sean_Bonney#cite_note-4
https://www.poetryfoundation.org/harriet-books/2019/11/rip-sean-bonney-1969-2019

bad romance / allison grimaldi donahue. 2018

from:
Allison Grimaldi Donahue, Julia Hölzl, Jennifer Hope Davy,
On Endings (Delere Press, 2019)

 

bad romance:

una poesia ha bisogno di un piedistallo

quante ripetizioni sono necessarie per formare un segno

arriva un succubo e di nuovo sbircia nel tuo appartamento al piano terra e non sarò lì per la chiamata

sogno di portarti a incontrare bifo e ci sediamo a bere acqua sulfurea e sudare per via del nostro costoso correttore make-up

il linguaggio, per essere utile, o redime o è logoro

mi hai sbattuto la testa al muro. hai detto: il limite è lì per essere superato

a brooklyn un adulto mi ha chiesto se, da quando vivo a roma, parlo rumeno

re luigi xxiv esce dall’accademia di belle arti di lione con una congrega di lesbiche

il formaggio svizzero è delizioso, ne gratterò i buchi sugli spaghetti

ogni volta che tradisco mi viene una spellatura

il braccio di legno è come un artiglio

le amo le lacune nella comunicazione

ho pubblicato un annuncio cercasi sesso violento, citando saffo

una donna da sogno immobile ingessata, che ancora riesce a fumare una sigaretta

ordina al mcdonald’s col touch screen ma non mangia mentre aspetta il treno (il rituale)

un discorso sull’erotismo anale femminile ancora manca

sotto la pioggia corri giù dalla basilica e le tue prada si rompono, come ci fosse da soprendersi Continue reading “bad romance / allison grimaldi donahue. 2018”

some sentences from an interview, in “secession” / rirkrit tiravanija. 2003

“I’m not making a sign, I’m not creating an image, but I am interested in a kind of attitude or a shift in how one thinks. I don’t make things that everyone can agree on, things that say ‘This is what it’s all really about in the end’. It’s much more shifting and ephemeral than that, so I think that statement is really about having a different sense of culture”. […]

“I always want to have the same experience as the visitor in the sense that I don’t know what is going to happen. My experience of my own work is the same as everybody else’s as I don’t really know what will happen. I don’t start from the point of knowing”. […]

“My approach is always to look for more possibilities, seeing different people doing different things and thinking in different ways in terms of being in the space”. […]

“I start with a kind of frame to open up ideas, but not as if I’m the originator of these ideas, it’s more about how one can use these ideas, to start a new frame for them”. […]

Matthias Hermann: “That is the opposite of appropriation art, where people take an idea and appropriate it for their own agenda. You do it the other way round, you take an idea and open it up, but for everyone to use it”. […]

Rirkrit Tiravanija: “It is about someone who works or is in the place and deals with the situation, deals with what’s happening”.

Rirkrit Tiravanija,
in Secession (2003)