Slangen

Nasleep neemt de protesten rondom het Gezi Park in 2013 als vertrekpunt en verkent gaandeweg wat er is overgebleven van dit historische moment waarin een andere wereld voor het grijpen leek. Het zijn gedichten die laveren tussen ritmische, conceptuele en kritische noise enerzijds en postrevolutionaire affecten anderzijds, tussen politise­ring enerzijds en onmacht en radeloosheid anderzijds.

In Bewogen selfies onderzoekt Obe Alkema de verhouding tussen landschap en herinnering. Wat treft hij aan bij terugkeer naar belangrijke plaatsen uit zijn geheugen? Wat herinnert hij zich niet, maar Google wel? Is er een gedenkschrift te puren uit zijn metadata?

Memoires, rechtstreeks verteld en met omwegen, uit eerste hand en van horen zeggen. Archieven en herinneringen eisen spreektijd, houden het niet meer droog of worden tot spreken gebracht. Wat hebben ze eigenlijk te melden? Ze lopen helemaal leeg, net als Alkema zelf. Een leven zoals zovele, poedelnaakt en geretoucheerd, vol zin en onzin.

In het begin van de jaren 1970, hield Guy Rombouts een notaboekje bij waarin hij alle woorden, bijvoeglijk naamwoorden en werkwoorden bijhield die hij tegenkwam tijdens het lezen en die met elkaar verbonden waren door het voegwoord ‘en‘.

Ongeveer 50 jaar later en met de hulp van de grafische vormgever Jeroen Wille, is de transcriptie van zijn aantekeningen gepubliceerd als een boek dat gelezen kan worden in twee richtingen (en als enige boek coronaproof met twee tegelijkertijd).

Het boek bevat 2158 verzen met in totaal 4316 EN-combinaties.

De kortste verzen met evenveel letters:

A EN Z

4 EN 6

De langste verzen met evenveel letters:

ONUITSPREKELIJKHEDEN EN IMPONDERABILIA

ONEVENWICHTIGHEID EN ZELFOVERSCHATTING

Nº 49 / October 2022

In her work, Lisa Vlaemminck explores the boundaries of painting, creating an exciting, vibrating and disorienting universe. In her images, she questions very classical phenomena in painting, such as the landscape and the still life, by freezing them behind semi-transparent layers of paint. We catch a glimpse that feels familiar, but soon find that nothing is what it seems. Vlaemminck’s work oscillates between the microscopic and the interstellar, as well as the amorphous spaces in between. Image, material, shape, texture and form mutate into compositional playgrounds floating in a newly created universe where different laws and rules apply.

The book “Screensaver Error” is conceived as a symmetrical, folded stack of sheets with images of Lisa’s paintings and collages.
At the heart of the book is the sixty-metre long, worm-shaped textile sculpture, which runs like a stream through the book for many pages.
Dominique De Groen wrote an electrically charged shimmering poem tailored to the work. The introductory text was written by Simon Delobel.

In KIOSK, Lisa Vlaemminck presents a series of new paintings and a sixty-metre long textile sculpture that will occupy the various exhibition spaces. For the design of the fabric, Lisa worked patterns that form a long colour gradient.

At the end of the exhibition, the sculpture, Meat A Morph Hose, will be cut into 35 separate, new sculptures that will be offered as artworks at € 350 each. Each work is a part of the colour gradient and has a unique print. The proceeds will finance the book. Details: Printed cotton, latex spaghetti filling, the ends are closed with climbing rope
40 cm diameter x 130cmA signed copy of the book will also be delivered together with the work.
The sculptures can be collected from KIOSK at the book-launch: Sat. 26 November

The artist is reprented by gallery rodolphe janssen

Nhã Thuyên’s đừng giấu cơn điên / don’t hide the madness contains eight poems excerpted from the forthcoming book vị nước (taste of water). To read this work is to be wrenched out of oneself and into the opening and closing world of language: a world in equal parts vegetal, liquid, human, stone, at once bordered river and open sea, enclosed maze and open field; a labyrinth, but a labyrinth of the utmost clarity; a rising or collapsing building made of words that’s not a ‘dwelling’ so much as a refusal to dwell, which is its loneliness and bereftness and consolation and strength, all at once. “Steps here pulled forth by some line of poetry out of time”, such work “fabricate[s] a bed out of sea, build[s] a house out of tremendous immensity”. It’s the result of a lifelong investigation of the Vietnamese language, deep, joyous, scrupulous and sometimes painful; of a lifelong investigation of the whole deep field of history and time as it’s lived deep within the person and in the field beyond the personal that poetic language affords us. This is a realm, not of simple freedom, but of the struggle for the fullest record and the fullest measure towards which a poet can strive. Don’t hide the madness. Don’t be at peace. [D.G.]

NHÃ THUYÊN secludedly anchors herself to Hà Nội, Việt Nam and totters between languages. She has authored several books in Vietnamese and/or in English translations, including viết (writing) (2008), rìa vực (edge of the abyss) (2011), từ thở, những người lạ (words breathe, creatures of elsewhere) (2015), and bất\ \tuẫn: những hiện diện [tự-] vắng trong thơ Việt (un\ \martyred: [self-] vanishing presences in Vietnamese poetry) (2019). Her next book of poetry vị nước (taste of water) is waiting to see the moon. She has been unearthing her notebooks and rubbing her words in Berlin as a 2023 DAAD Artists-in-Berlin fellow, and learning to quietly speak up with care.

KAITLIN REES is a translator, editor, and public school teacher based in New York City. She translates from the Vietnamese of Nhã Thuyên, with whom she co-founded AJAR, the small bilingual journal-press that organizes an occasional poetry festival. Her translations include moon fevers (Tilted Axis, 2019), words breathe, creatures of elsewhere (Vagabond Press, 2016), and the forthcoming book of poetry taste of water.

STW, your favourite station! functioneert als een radioprogramma. Een boek dat lyrisch proza uitzendt van We make stuff up for a living (een CV medley) tot COMPUTER_SONG, een ceremoniële quiz met Adult Hood & Young als protagonisten, een grillige anekdote van iemand die zich ergert aan een Call Service, en meer! Thanks for tuning in!

How much distance and difference can intimacy hold? How much proximity and likeness does it require? What can we learn from its capacities? And what could we salvage from its limits?

Curious Affinities unravels the risks and possibilities brought forth by unconventional styles of intimacy. Across kinship, friendship, romance and community, the threads of social relation are entangled by race, class and queerness in unexpected and generative ways, as we find ourselves rent to shreds and stitched back together in the name of common feelings.

In rousing poetry and incisive prose, Sophie Chauhan reflects on the bonds and boundaries that govern our collective ways of life and wonders how they might be reimagined.

Sophie Chauhan is a London-based writer and researcher, born in the UK and raised in Naarm (Melbourne). She is completing a PhD in Race, Ethnicity and Postcolonial Studies at University College London. Her academic, creative and organising work converge around her interest in anti-capitalist, queer and decolonial approaches to radical coalition-building.

A pulpy, mytho-poetic dispatch from an “anarchist jurisdiction” that explores the liberatory possibilities of community and womanhood. 

Enter: Local Woman, an archetypal figure, fresh from the forest into the streets of Portland, Oregon. She is a Black trans woman, seeking survival and satisfaction, giving seduction, disenfranchisement, and the contradictions of femme womanhood a face, body, and soul. In sensual, evocative lyrics, Jzl Jmz documents Local Woman’s movement through natural disaster, anti-fascist protest, romantic engagements, and an expanding sense of personal autonomy.