FeedIndex

E.R.O.S. Journal vol. 1:5 'Death', winter 2014-15.

Ed. Sami Jalili

Published by Eros Press, London, November 2014.

Meditative essay (pp.70-79) on the paradoxical value of black ink as a signifier of everything and nothing, and sometimes both at the same time, in early- and pre-modern literary history (the work of Laurence Sterne, Robert Fludd, Matthias Huss) and modern visual art (Kazimir Malevich).



Cover: Issue 5, 'Death', E.R.O.S. Journal, 2014
Royal Holloway, University of London
Practice-based Research Conference, 2014

Saturday 15 November, 2014. 10-18:30.

Centre for Creative Collaboration
16 Acton Street, London, WC1X 9NG

Keynote talk about poetry and book indexes, and indexicality more generally, for a session convened by Emma Conway.



RHUL Motif Conference 2014 logo
Concordia University Department of English
November 12, 2014.
Room LB 646 at Concordia University, 1455 de Maisonneuve Blvd. West , S-LB 641, Montreal, Canada

Convened by Sina Queyras and Darren Wershler.

Info about the long-standing Writers Read series can be read here. An archive of events, including some great audio recordings, can be found here.

Ed. Annette Gilbert
Published by Lux Books (Weisbaden), October 2014.

Various works written or edited by me, and yet more published by Information as Material, are included in this big and well-produced bi-lingual (German and English) anthology.



Front cover: Reprint: Appropriation (&) Literature, 2014.
The White Review, Feature, September 2014.

Feature essay to mark the re-launch of The White Review Online. Full article here.


Account header for Rob Dubbin's Twitter-bot writing machine, Real Human Praise
'Unseen Presence', Irish Museum of Modern Art, July – August 2014.

Curated by Janice Hough (IMMA).

A newly commissioned pocketbook entitled Romantic Tragedy, published in an edition of 1000 copies by the Museum for 'Unseen Presence', an exhibition of new work by 2014 Artists in Residence.

During the exhibition copies are free to take from four constantly refreshed stacks sat on top of the upturned delivery box. Under the stacks are two splayed spreads of the book's endpapers, acting as spacers or placeholders for the piles, but also joining together the two-part pattern derived from an 1864 William Morris tile design.

Copies will be available for sale from the Museum's book store from August at a price of 1.95 Euro.



Installation shot: Romantic Tragedy (2014), freely distributed on the upturned delivery box during 'Unseen Presence, IMMA (Dublin, 2014).



Installation shot: Two inside cover spreads pulled from copies of the book, tiled foot-to-foot in a seamed extension of the pattern, and Scotch taped to the box lid as placeholders for the four book stacks. Featuring the endpaper derived from William Morris.



Installation shot: Detail of placeholder and stacks.



Installation shot: After the edition ran out. Shaded graphite pencil outlining the removed box, and vinyl strikethrough.
Published by the Irish Museum of Modern Art (Dublin), July 2014; on occasion of the exhibition 'Unseen Presence', IMMA, July – August 2014.

Commissioned by Janice Hough (IMMA).

ISBN: 978-1-909792-08-1
Price: Euro 1.95
Edition: 1,000
Pages: 16pp
Binding: softback with stapled bind
Dimensions: 105 x 74 mm
Content: text-only mainbody; B/W image on the endpapers

Copies will be available for sale from the Museum's book store from August.


Front cover: Romantic Tragedy, 2014.

From the back cover:
This is a potentially infinite epic. It treats the recto-verso cycle of the codex book like an ox-eye daisy. With one ink, one fold, one staple and the equivalent of one A4 sheet of the cheapest recycled paper, this pocketbook plays out a classically romantic, first-person tragedy.

PR description:
Players of the familiar French game effeuiller la marguerite, or plucking the daisy, strip a random flower in the hope that the odd or even total number of its petals will, respectively, judge the affections of some she or he in a strict binary of "loves me" or "loves me not". Nick Thurston's new pocketbook Romantic Tragedy replays that game. It treats each main body page like a symbolic petal, and because all codex books have to have an even number of pages -- every recto a verso -- no matter how long this book were to go on for the "she" referred to will never love the "me" referred to.

This is a classically romantic and potentially infinite first-person tragedy, given that in the West the genre of literary tragedy stems from a form of Greek epic drama in which a lead character's fall is inevitable. The book was made with one ink, one fold, one staple and the equivalent of one A4 sheet of cheap recycled paper. Its endpapers are based on a monochrome reproduction of a ceramic tile designed in 1862 by William Morris, whose motif of an ideally symmetrical ox-eye daisy (which he re-used in more famous designs like the 1864 'Daisy' wallpaper still manufactured by Morris & Co today) has been compressed by Thurston into a two-part pattern yet repeated endlessly... just like story bound between it.
Journal for Writing in Creative Practice vol.6:3, winter 2013-14.

Guest edited by Jerome Fletcher.

Published by Intellect (London).

Online access to article via here.

A dense but systematic article that tries to think through two key concepts, 'publishing as praxis' and 'conceptualist reading performances', with regard to the collaborative work of Information as Material and the emergent literary field of so-called Conceptual Writing.

Short-form abstract here.

More info on the original conference here.


Screen shot of the workflow diagram for Quill, a computer programme developed by Narrative Science to analyse, and write analysis of, datasets.
The Iowa Review vol.43:1, spring 2014.
Extensive interview by Stephen Voyce

A long conversation (pp. 94-108) with the poet and literary theorist, Prof Stephen Voyce about my previous books, art and poetry, and the foci of conceptual poetics, all in light of what my most recent book, Of the Subcontract may and may not be symptomatic of as a presentation-representation of computational capitalism.


The Iowa Review cover, spring 2014.
Wroclaw Museum of Contemporary Art
May 23, 2014.
MWW, pl. Strzegomski 2a, 53-681 Wrocław, Poland

Convened by Sylwia Serafinowicz (MWW).

One-day conference on the histories of DIY zine and book publishing in Poland and England from the 80s to present day.



Cover: Aspen no.9 (winter–spring 1970)
"Robert Fitterman's No, Wait. Yep. Definitely Still Hate Myself by Nick Thurston"

Concise book review for BOMB Magazine 127, Spring 2014.



****

Literature and the Law

Research Seminar 4. "Borrowed Subjectivities: Personal articulations in the age of the internet"

March 17, 2014, School of English at the University of Leeds.

A new transdisciplinary series at the University of Leeds exploring cultural representations of the law and legal concepts, convened by Prof Rosalind Brown-Grant, Dr Claire Lozier (both French), Dr Alison Johnson (English), Prof Michael Thomson (Law) and me, and generously supported by the Literary Studies Research Group.

This fourth seminar event in the inaugural series featured a poetry reading and lecture by Prof Robert Fitterman (NYU), abridged from No, Wait. Yep. Definitely Still Hate Myself (Brooklyn: Ugly Duckling Press, 2014) and Just Another Soft Machine (London: Veer Books, 2014) respectively.

(An audio recording of the full event hosted by me to follow.)

The Eli and Edythe Broad Museum (Michigan)
21 March – 21 September, 2014.

Curated by Nora Abrams and Andrea Andersson.

Info about this third and final leg of the show here.

Look out for an accompanying UP book, now due out in 2014, which will include new essays by me and many others.

Info about my prints in the show here.

Info about the French translation of my prints here.

Interim
May 2014
East Street Arts, Leeds.

An innovative exhibition of undergraduate artists who previously studied on the excellent Leeds College of Art Foundation in Fine Art programme.

Selected by Nigel Walsh (Curator of Contemporary Exhibitions, Leeds City Art Gallery) and I at the invitation of Sean Kaye and Harry Meadley who co-curate the blip blip blip programme.



Catalogue cover: 'Interim', blip blip blip projects, March 2014.
Centre for Research in Creative and Professional Writing, Roehampton University (London)
Wednesday 26 February, 2014.

Invited talk, entitled "What might contemporary art make it possible to write?", for the Poetics research seminar series convened by Peter Jaeger, Reader in the Department of English and Director of the CRCPW.


Nick Thurston, Andre After Andre (Equivalence VIII), 2012. Typewriter poem on letter paper.
College Arts Association 102nd Annual Conference
12–15 February, 2014
Hilton Hotel, Chicago.

Session: 'International Association of Word and Image Studies – Conceptual Writing: A Word and Image Continuum'
Thursday 13, 17:30-19:00, 8th Floor, Lake Erie
Convened by: Prof Christa-Maria Lerm Hayes (University of Ulster)

A paper entitled "Who is taking responsibility for that text?", addressing the literary theory of Conceptual Writing via the thinking of Michel Foucault and Rachel Malik.

'The Visitor Talks'
Centre for Curatorial Studies, Hessel Museum of Art, Bard College
Annandale-on-Hudson, New York State, 12504 -5000
Monday 17 February, 2014.
Convened by Prof Paul O'Neill and Sarah Higgins

Practitioner talk.

Chilean poet Carlos Soto-Roman has translated an expanded Spanish edition of Do or DIY for the Santiago-based independent publisher Das Kapital.



Do or DIY front cover.
Florence Loewy Gallery (Paris)
Nov 23–Dec 21, 2013.

Curated by Jérôme Dupeyrat

An exhibition that proposes the currently vacant fourth class in the French library classification system (the UDC, developed in 1905) be co-opted by literate art.

Featuring Robert Barry, Daniel Buren, Julie Marie Cazard, herman de vries, Amélie Dubois, IKHÉA©SERVICES, Jonathan Monk, Claire Morel, Julien Nédélec, Conny Purtill, Yann Sérandour, Laurent Sfar, Nick Thurston

Full info here.





Images courtesy of Florence Loewy Gallery (Paris)
OEI #58 (Stockholm, 2012): 'sömn, tillbakadragande, ppmärksamhet, distraktion, det samtida', edited by Jonas Magnusson and Cecilia Grönberg features some older writing by me. More info here.

Crux Desperationis 4: The Mental Issue, edited by founder Prof Riccardo Boglione (University of Montevideo, Uruguay), published on Ubu.com, includes the following one-sentence piece by me, 'In Your Dreams':

On the first night after you first read this sentence you will imagine me in your dreams whether you know it or like it or not.

The expanded German edition of Do or DIY has just been translated by Prof Annette Gilbert (Freie Universität, Berlin) and published by Salon Verlag, Cologne.


Front cover of the German edition of Do or DIY.
The Berlin Art Book Fair, September 19–22, 2013

abc Art Berlin Contemporary fair

Convened by argobooks, Michalis Pichler and KW Institute for Contemporary Art. Advisor: AA Bronson.

A reading plus books by information as material.



Miss Read 2013 poster design by Lawrence Weiner
Edited by Emmanuelle Waeckerlé and Richard Sawdon Smith.

Published by RGAP (Sheffield) and Book Room (London).

More info here.

I'll be chairing a panel discussion for the London Art Book Fair 2013 at Whitechapel Gallery to mark the launch of this book, in which I have short statement about information as material at the top of the article 'Reading. Some Positions'.

More info on the talk here.



Cover Spread: Book Live (Sheffield: RGAP, 2013).
Liverpool Biennial

Tuesday Sessions – August 27, 2013.

Curated by Vanessa Boni; hosted by Camp and Furnace (Liverpool).

A talk that relates two of my recent installations that both functioned as public reference libraries, plus the latest book, Of the Subcontract, to the long and recent cultural history of English public libraries – from the civilised civic sort to the dissident temporary sort.


Scan from Thomas Kelly's Early Public Libraries (1966).
Northern Gallery of Contemporary Art (Sunderland), August 10–Sept 23, 2013.

Commissioned and curated by Circa Projects (Newcastle).

A group exhibition that proposes the method of 'conceptualist reading performances' as a way of making art works, featuring multi-media pieces made through collaboration and/or friendship with information as material.

More details here.


Learn to Read Differently - Assisted John Baldessari Print, Simon Morris & Nick Thurston, 2013. Vinyl text on framed John Baldessari poster.

NGCA install shot featuring works by (back left clockwise): Nick Thurston, Greville Worthington, Simon Morris, Gareth Long.

NGCA install shot featuring (front right) Erased Kosuth Concept (Art as Idea as Idea as Art), Nick Thurston (2008).
Published by information as material (York), August 2013; agented by Coach House Books (Toronto).

Featuring a foreword by McKenzie Wark and an afterword by Darren Wershler.

Full details here.

“The first ‘computers’ were people, hired to do the tedious work of creating accounting systems and tax roles for the administration of newly created bureaucratic structures in post-Revolutionary France. Of the Subcontract presents the poems of their descendants. While this imaginative project extends a line of conceptualist practice that shows us how forms of aesthetic expression take root in the broader culture and what the continuum of amateur and professional work is, it also shows us how poetic acts, like other modes of production, conceal the contradictions and inequities of labour and value in a global world.”

—Johanna Drucker, artist, author and Bernard Breslauer Professor of Bibliography, UCLA

“In an expanded field of writing Nick Thurston is changing the literary landscape. Unlike Francis Alÿs’ workers, who were moving mountains in the desert by shoveling sand,Thurston’s underpaid writers are moving (one spadeful at a time) Robert Smithson’s heap of language from one place to another, leaving us with language to be looked at / things to be read.”

—Kenneth Goldsmith, poet and founding Editor of Ubu Web



Of the Subcontract is a collection of poems about computational capitalism, each of which was written by an underpaid worker subcontracted through Amazon.com’s Mechanical Turk service. The collection is ordered according to cost-of-production and repurposes metadata about the efficiency of each writer to generate informatic typographic embellishments. Those one hundred poems are braced between two newly commissioned essays; the whole book is threaded with references to Jean-Jacques Rousseau, Wolfganag von Kempelen, and the emerging iconography of cloud living.

Of the Subcontract reverses out of the database-driven digital world of new labour pools into poetry’s black box: the book. It reduces the poetic imagination to exploited labour and, equally, elevates artificial artifiical intelligence to the status of the poetic. In doing so, it explores the all-too-real changes that are reforming every kind of work, each day more quickly, under the surface of life.

& Model Gallery (Leeds), in conjunction with the Hannah Mitchell Foundation, will present a solo exhibition by Nick Thurston entitled ‘Pretty Brutal Library’ on themes relating to Of the Subcontract from July 25–August 31, 2013. Please contact Derek Horton at the Gallery for details: info@andmodel.com.
& Model Gallery (Leeds), July 25–Aug 31, 2013.

A temporary public reference library, produced as an art work in the format of a solo gallery exhibition.

More info here.

Contact the Gallery for details about the preview.

The exhibition will travel to Zurich in Autumn 2013.





Exterior photos courtesy of Thomas McGinn





Installation shot courtesy of & Model Gallery (Leeds)
An exhibition of photographs from the collection of Maïwenn Walter.

Co-curated by Derek Horton and Nick Thurston.

blip blip blip programme at East Street Arts (Leeds), 28 June – 18 July, 2013.

At the invitation of Sean Kaye and Harry Meadley, Derek Horton and I have curated the first print presentation of photographs of dead pigeons collected by French art historian Maiwenn Walter since 2009. A risograph booklet (12pp; one-colour; edition of 200) features a tangential collection of images plus a new text co-authored by Horton and I.

More info here.



Instal shot



Photo from the collection of Maïwenn Walter.



Risograph
The Power Plant Gallery of Contemporary Art (Toronto)
June 2013 - Sept 2013 + touring

Curated by Nora Abrams and Andrea Andersson.

Info about this second leg of the show here.

Look out for an accompanying UP book, due out in 2013 sometime, which will include new essays by me and many others.

Info about my prints in the show here.

Info about the French translation of my prints here.

Print edition commissioned for the first Hannah Festival (Leeds, June 2013) on behalf of the Hannah Mitchell Foundation.

Curated by Andrew Wilson.

A four-panel, folded card bookmark (250gsm; two-colour offset litho print with laminate; 60x420mm; edition of 500) freely distributed inside the Festival catalogue. When the bookmark is unfolded any reader can interlock the simple slot joins to erect a self-standing model with exterior and interior walls. The front face of the print (which can be made into an exterior wall) presents nine sentences that contextualise my upcoming solo show at & Model Gallery. The back face of the print presents a doubled doublet that I composed with American poet Kim Rosenfield. When that back face becomes an interior wall the doubled doublet is looped infinitely.

The remainder of the edition will only be available during 'Pretty Brutal Library' (July 25–Aug 31, 2013) at & Model Gallery (19 East Parade, Leeds, LS1 2BH).

Ed. Phil Davenport
Published by Apple Pie Editions (Manchester), April 2013.

Drafts for Andre After Andre anthologised in both the first volume print edition and the second volume Kindle edition.

More info here.

Print edition commissioned by Whitechapel Gallery (London), produced in association with the Laurence Sterne Trust (Coxwold).

Curated by Johanna Melvin

A new fine print edition that images what Laurence Sterne's so-called 'missing chapter' in the novel The LIfe and Opinions of Tristram Shandy, Gentleman might refer us or defer us to. Every print in the edition is uniquely hand marbled and screen printed.

More info here.

To order, email the Gallery directly via mailorder@whitechapelgallery.org


Print 1/25 from the edition The Visitationas at ****
Comparative book review for BOMB Magazine (New York) of Kim Rosenfield's Lividity (Los Angeles: Les Figues Press) and Steven Zultanski's Agony (Toronto: Book Thug).

Read the article in full here.


Cover spread of Kim Rosenfield's Lividity


Front cover of Steven Zultanski's Agony
Domo Baal Gallery (London)
Saturday 16 February, 2013.

A very short talk during an afternoon symposium on, in, and amongst the artist Sharon Kivland's current solo exhibition, 'Reproductions II' at Domo Baal Gallery (London).


Detail from Sharon Kivland's Ma petite charmeuse, 2012
&Model Gallery (Leeds).
January - March 2013.

Curated by Derek Horton.

Info here.


Instal shot courtesy of &Model Gallery: Erased Kosuth Concept (Art as Idea as Idea as Art), 2008. On loan from Leeds City Art Gallery.
Denver Museum of Contemporary Art
27 January 2013

Convened by Nora Abrams and Andrea Andersson.

Info here.



Video footage from both sessions of the symposium will be put on the Museum's website at some point in the near future.
Comparative book review for BOMB Magazine (New York) of two recent collections of writings by Ian Hamilton Finlay.

Read the article in full here.



Whitechapel Gallery (London)
Friday 16 November, 2012.

Invited reading, entitled What If?, and panel discussion in response to the retrospective exhibition of American artist Mel Bochner, 'If the Colour Changes', chaired by Achim Borchardt-Hume.

More info here.


Mel Bochner, If the Colour Changes #4, 1998
Les Halles, Porrentruy.
December 2012 - January 2013.

Curated by Mathieu Copeland and Philippe Decrauzat.

Info here.

Leeds College of Art
Wednesday 14 November, 2012.

Invited talk and discussion convened by artists Sean Kaye and Jenny West as a one-day symposium for students on their wonderful Foundation Fine Art programme at Leeds College of Art.


The post-studio, as is for many of us.
les Abattoirs - Toulouse Museum of Modern & Contemporary Art
November 2012 - March 2013

Curated by Jérôme Dupeyrat and Maïwenn Walter

Info here.

Corner College Gallery (Zürich)
Monday 29 October, 2012

Reading organised by Lucie Kolb and Romy Rüegger with Stefan Wagner in conjunction with a two-day workshop that I was invited to lead for MFA Composition students at the Zürcher Hochschule der Künste.

More info here.


Emily Wear's 2011 NAA IAC auction contest performance
Afterall (London)
Ed. Melissa Gronlund
Published October 2012.

Short essay review of the Writer in Residence scheme at dOCUMENTA (13) (Kassel), summer 2012.

Read the full article here.


Enrique Vila-Matas, speaking at dOCUMENTA (13) ( Kassel) 2012. Courtesy dOCUMENTA (13)
Eds. Sally Tallant and Paul Domela
Published by Art/Books (London), October 2012.

Excerpt from A Dress (2011) anthologised in the 'Thinking' section of this catalogue / reader for Liverpool Biennial 2012.

More info here.

Denver Museum of Contemporary Art
October 2012 - February 2013 + touring

Curated by Nora Abrams and Andrea Andersson.

Info about this first leg of the show here.

Look out for an accompanying UP book, due out in early summer 2013, which will include new essays by me and many others.

Info about my prints in the show here.

Info about the French translation of my prints here.


Instal shot courtesy of DMCA: He, 2009. On loan courtesy of the artist.
Site Gallery (Sheffield)
Thursday 30 August, 2012.

Invited gallery talk and discussion on the subject of libraries and contemporary art, convened by Charlotte Morgan of COPY in conjunction with the 'print it' exhibition of publications by Coracle Press.


Temporary library at the Occupy London St Paul's camp, London 2011
Afterall (London)
Interview by Louise O'Hare, August 2012.

"Louise O’Hare of Publish and Be Damned (PABD) talks to Nick Thurston of information as material (iam) about the impulse to self-publish and the possibilities it affords."

Read the full interview here.


Installation shot from Do or DIY (2012), Whitechapel Gallery (London), courtesy of the Gallery.
London South Bank University
Saturday 9 June, 2012.

Invited, collaborative presentation with Sharon Kivland, followed by a panel discussion for the Book Live! symposium convened by Richard Sawdon Smith and Emmanuelle Waeckerlé for the Centre for Media and Cultural Research at London South Bank University and bookRoom Research Cluster at University College of the Arts Farnham (London).


Photo courtesy of bookRoom (UCA Farnham), 2012.

An edited version of our presentation will be published under the title 'Reading. Some Positions', with the rest of the symposium proceedings, by RGAP (Sheffield) in summer 2013.
Sorbonne University (Paris IV)
Thursday 7 June, 2012.

Talk and panel discussion convened by American poet Vanessa Place under the title 'Global Conceptualisms' for the &Now 2012: Collaborations, Continuities, Evolutions conference hosted by Sorbonne University (Paris IV).

You can listen to audio from the panel event here.

In conjunction, Gallery Éof (Paris) convened a night of readings by all of poets on our small panel, footage of which will be online, somewhere, I'm sure.


Photo courtesy of &Now conference organisers.
Serpentine Gallery (London)
Saturday 19 May 2012.

Invited intervention or creative mis-reading of Hans Peter Feldmann's retrospective exhibition at Serpentine Gallery.

In short, following Feldmann's Street Portraits, Madrid series [example below], I paid my fee to a local caricature artist, Paul Dallimore, to come in to the gallery for the afternoon and draw the exhibits. Here's one of his sketches:


One of ten drawings by Paul Dallimore, 2012


Installation view of Hans Peter Feldmann's Street Portraits, Madrid courtesy of Serpentine Gallery (London).
St John's College, Oxford University
Tuesday 15 May, 2012.

Invited paper, entitled "Reading Beckett Out Loud Makes Your Jaw Ache", and discussion as part of the Samuel Beckett: Debts and Legacies series run by the Faculty of English and St John's College at Oxford University, convened by Peter Fifield.

More info here.

Arnolfini (Bristol)
Saturday 5 May 2012.

Invited paper, entitled "Publishing as Praxis", followed by a short discussion and a short reading as part of the Performance Writing 12 Festival convened by Jerome Fletcher and Falmouth University.

Some photos from the event can be seen here.

An expanded version of my paper will be published in a special issue of the Journal of Writing in Creative Practice (London: Intellect) sometime in 2013.


Photo courtesy of Arnolfini (Bristol), 2012.
ICA (London)
Saturday 17 March 2012.

Talks and panel discussion convened by Kit Hammonds in conjunction with 'Publish and Be Damned'.

Info here.

The event was named after this wonderful animation by artist Ryan Siegan Smith (2007):

Whitechapel Gallery (London).
March - April 2012.

Curated by Sofia Victorino and Nicola Sim.

Info here.








Instal shots courtesy of Whitechapel Gallery.

************

Shandy Hall, The Laurence Sterne Museum.
August - November 2012.

Curated by Patrick Wildgust.

Info here.








Instal shots courtesy of Patrick Wildgust.
Co-authored with: Craig Dworkin and Simon Morris

Published by: information as material

Price: £8

ISBN: 978-1-907468-12-4

Year: 2012

Edition: English; o.o.p.

Pages: 24pp

Binding: stapled; offset litho printed; two-colour cover; black text only inner on 100% recycled paper

Info here.

*This book may now be o.o.p. but any remaining copies can be ordered for international distribution here.

Translations in French, German, Italian and Spanish coming soon.

Whitechapel Gallery (London)
Saturday 18 February, 2012.

A night of sound poetry curated by information as material. Featuring a VJ reel put together by Canadian poet Christian Bök, plus performances by Rob Lavers and Simon Morris, myself, and a headline set by Dutch avant-garde composer Jaap Blonk, all staged within Josiah McElheny's installation The Past was a Mirage I had Left Far Behind.

Download poet Holly Pester's essay review of the event for The Blue Notebook Jounral 7:1 here [PDF].

And read critic Michael Hampton's long review of the event in the April 2012 issue of Art Monthly (AM355).



My reading finished with a first live performance of Esperanto Rhythm. Six performances of this poem will be published as an artist's vinyl record edition later in 2013, an outtake form which can be listened to below:

♫ Esperanto Rhythm_Jan12_outtake.mp3




Both photos courtesy of Whitechapel Gallery, 2012.
Goldsmiths College (London)
Tues 17 January, 2012.

Invited paper and discussion convened by Maria Fusco for the MFA Research Lecture series, department of Fine Art, Goldsmiths.


Trevor Hickman's (1967) recutting of a Matthias Huss block cut first made for a 1499 edition of La grât danse macabre.
This website lists concise info about current publications, talks, exhibitions etc that I'm involved with, from 2012 onwards.

I don't use any other social media so to receive very occasional announcements please enter your email address above.

For fuller info about individual works or older projects please email me (details on the Contact page).

A brief bio etc. are on the About page.

Index and Feed are two ways of navigating the same content. The former loads more quickly, the latter frames everything within one screen. If you find any teething problems please do let me know.