skeleton / wolf vostell. 1968

de-coll/age actions to change the environment.
wuppertal/germany, 1954. overnight or during the day a familiar spot of the city is consciously & spontaneously changed, using any means at one/s disposal.

  1. put 100 human & animal skeletons in the wupper river, also raw meat & intestines, without explanation.
  2. color the wupper red.
  3. generate & spread smell where otherwise there would be no smell.
  4. write any text where there wouldn/t be anything written otherwise.
  5. all passengers on the suspension railway are given binoculars.
  6. a group of naked women run across a public place.
  7. the suspension railway stops at random intervals.
  8. all of a sudden 100 washing machines stand in a public place.
  9. all automobiles are covered with black cloth.
  10. a sprinkler system is installed in one street.
  11. streetcars drive through town with their windows boarded up.
  12. every cop gives information about his past.
  13. daily newspapers hit the stands completely white.
  14. people dressed in yellow stand in the middle of a busy place.
  15. blood is running endlessly down the front of a house.
  16. hand-cuffed people sit in a high class restaurant.
  17. all christians wear a wooden cross sewn to their clothes.
  18. an express train is coupled with cattle cars.
  19. people stand in front of a bank saying NO.

text from
Wolf Vostell, Miss Vietnam and Texts of Other Happenings,
translated by Carl Weissner
The Nova Broadcast Press, San Francisco 1968, p. 6.

some pages from “sentences” (forlaget gestus, copenhagen) / cia rinne. 2019


an excerpt from
published by Forlaget Gestus, Copenhagen 2019
20,9×12,7, 50 pages, edition of 100
Available from or:
Bladr, Copenhagen


Continue reading “some pages from “sentences” (forlaget gestus, copenhagen) / cia rinne. 2019″

zu der blühenden allmaterie (abbozzo) / gustav sjöberg. 2017


according to a classic aesthetic model, the artist forms an already existent matter, turns nature into art, gives matter form. the paradigmatic example in this context would be sculpture, but poetry too is ultimately understood in similar terms. for what, as it were, distinguishes a poem from a non-poem, poetry from that which is not poetry? as various historically conditioned attempts to provide poetry with an essential determination little by little have proved to be untenable, the one thing remaining is an implicit notion of human agency, the very idea that the poet in one sense or another organizes the non-poetic matter and turns it into poetry.

which particular methodological premises that are underpinning such an organization of matter is, in this particular light, of secondary importance. what it comes down to is, above all, the fundamental aristotelian distinction between form and matter, and its still strong influence on concepts such as ”art” and ”poetry”.

bearing this in mind, it becomes one of the most crucial tasks for contemporary writing to subvert or dissolve the distinction between that which is produced by man and that which is produced by nature, or between the ”universal artist” (universalis artifex) and the ”universal matter” (universalis materia), to use the terminology of florentine neoplatonist 15th century philosopher marsilio ficino.[1]

for this to be possible, another understanding of the relationship between form and matter seems to be required. which? Continue reading “zu der blühenden allmaterie (abbozzo) / gustav sjöberg. 2017”

lost job / david shrigley



Gironzolavo in casa della mia direttrice

e le ho infilato in un occhio

la pennetta di plastica del mio palmare.

Lei mi è saltata addosso

ma ha preso soltanto il lettore cd, con la forchetta che in quel momento le capitava di avere in mano.

Il lettore cd era ancora acceso, dopo. Con le cuffiette staccate. Una mi era rimasta nell’orecchio.

Lei ha buttato per terra il succo di verdure

che giusto in quel momento stava bevendo.

Allora le ho tirato due calci.

E ho perso il lavoro.

tr. it. Marco Giovenale