Perspectrives

Vanus übermann des villes, le roi de la ville, le roi du monde, se fait des odes à lui-même et met ses chaussettes dans la pâte à pain. Sophie Couderc raconte quelques-unes de ses péripéties.

Vanus übermann of the cities, the king of the city, the king of the world, writes odes to himself and puts his socks in bread dough. Sophie Couderc recounts some of his adventures.

Je jette le matelas dehors, il rebondit sur trois cons et tombe dans une grosse flaque de jus de rue. Ok, pas mal mais il m’en faut plus. (Vanus)

Carie, comme le trou qu’on bouche au plomb, est une collection de textes courts et moyens qui se glissent dans la poche. Chaque livre (la dent) de la collection (la bouche) est troué (la carie) et cerclé d’un œillet métallique (le plombage).

Carie, like the hole filled with lead, is a collection of short and medium-length texts that slip into the pocket. Each book (the tooth) in the collection (the mouth) is holed (the cavity) and circled with a metal eyelet (the filling).

Après la naissance de sa baby girl, Sophie T. Lvoff tente de faire son come-back dans l’art contemporain. Elle doit se rendre au vernissage de son exposition dans un Kunstverein en Allemagne. Juste avant, elle emmène ses étudiant·es à Sainte-Marie-de-la-Mer en Camargue pour prendre des photos de flamants roses et de couchers de soleil mais rien ne se passe comme prévu…

After the birth of her baby girl, Sophie T. Lvoff tries to make her comeback in contemporary art. Before heading to the opening of her exhibition at a Kunstverein in Germany, she takes her students to Sainte-Marie-de-la-Mer in the Camargue to photograph flamingos and sunsets, but nothing goes as planned…

A manicure would be a good thing to do for her international comeback, but perhaps that could happen in Munich later.
(I'm Back, Baby!)

Carie, comme le trou qu’on bouche au plomb, est une collection de textes courts et moyens qui se glissent dans la poche. Chaque livre (la dent) de la collection (la bouche) est troué (la carie) et cerclé d’un œillet métallique (le plombage).

Carie, like the hole filled with lead, is a collection of short and medium-length texts that slip into the pocket. Each book (the tooth) in the collection (the mouth) is holed (the cavity) and circled with a metal eyelet (the filling).

Cadavres rassemble 13 poèmes écrits par Phœbe Hadjimarkos - Clarke sur les errances dans les villes âpres, les campagnes humides et les maisons branlantes. Les poèmes sont accompagnés de 15 dessins de Rozenn Voyer.

Slangen krioelen in de sarcofaag van het heden, in de krochten van de popcultuur, in de mummie van de natuur, in wondes en rot vlees, in artificiële woestijnen en op geoliede dad bods. Ze wentelen zich rond beursgrafieken, raken verstrengeld met wurgende algoritmes, orkestreren een trage ondergrondse revolutie. Een meisje snijdt zich aan een nepdiamanten piramide en werpt haar slangenvel van zich af.

Dominique De Groen is schrijver en beeldend kunstenaar. Ze publiceerde de dichtbundels Shop Girl (2017), Sticky Drama (2019) en offerlam (2020). Ze werd genomineerd voor de Poëziedebuutprijs Aan Zee 2018, de Herman de Coninckprijs 2020 en de Fintroliteratuurprijs 2021 en won de Frans Vogel Poëzieprijs 2019 en de Fintropublieksprijs 2021.

Poems on light and remnants. Light as mordant, as acid that etches through surface, as something that wraps itself around and between things, revealing form. The writing touches on dregs, remnants, residue and how we make sense of them, by making constellations and navigating through those diagrams. 

Anna-Rose Stefatou (b.1996, Athens) is a Greek-British artist based between Athens and London, working between moving image, installation, photography, and writing. Stefatou’s interdisciplinary works attend to stories attached to place and beginning to exist through writing, whether they become a structure to hold it, or whether language simply runs through them. Language is used both as an outset and as a distillation mechanism for ideas, with materials and imagery in visual works responding directly to the text. Gathering and repositioning knowledge guides her creative process: research includes archival footage, taking interviews, collecting objects, and location visits. This process is made visible through her material approach to the photographic image, transformed through different materials, forms and uses, as it unfolds and re-invents itself within new contexts. Stefatou graduated from the Slade School of Fine Art in 2019. Recently, she undertook a residency at Hospitalfield House, Scotland in 2023.  Upcoming projects include an exhibition at Pharmakeion, Athens in 2025 as well as a publication Dregs, Beacons that will be realised in 2025.

The Men explores a territory between the poet and a lyric lineage among men. Following a tradition that includes Petrarch's Sonnets, Dante's work on the vernacular, Montaigne, and even Kant, Robertson is compelled towards the construction of the textual subjectivity these authors convey-a subjectivity that honors all the ambivalence, doubt and tenderness of the human. Yet she remains angered by the structure of gender these works advance, and it is this troubled texture of identity that she examines in The Men.

Fiercely devoted to the margins of life in the generation after the devastating first wave of the AIDS epidemic, this cathartic collection of poems explores illness, travel, contagion, the meaning of home, identity, tainted purity, and the bits of life that contain them and hold them together in spite of the harsh exigency of daily life. In more than 40 pieces, Chin fearlessly delivers everything from his first exposure to science (Magnified) to a mail order fantasy experience (I Buy Sea Monkeys); from backroads travel in Asia (Little Everest in Your Palm) to the plight of immigrants in America (The Men's Restroom at the INS Building). Chin's brutal honesty and sharp humor frame a profound and original collection.

Justin Chin is the author of two collections of poetry, Harmless Medicine and Bite Hard (Manic D Press), and two collections of essays, Burden of Ashes (Alyson Press) and Mongrel: Essays, Diatribes and Pranks (St. Martin's Press). In the 1990's, as a performance artist, he created several performance works that were presented nationally and abroad.

Gerhard Rühm is a radical experimenter, a restless explorer of traditions and genres, atomizing their elements in order to recompose them with conceptual precision and a multiplicity of compositional techniques. He has worked with music and visual art, but basically the world is language for Rühm, the dictionary its body, and the alphabet its backbone.

Gerhard Rühm was born in Vienna in 1930. He began by studying composition and Oriental music, but came to devote most of his energy to literature, esp. concrete poetry. His aim has been nothing less than making language an aesthetic medium on a par with music and visual art.

Rühm is also known for his editions of Baroque and Expressionist poets. His prizes include the “Grosse Österreichische Staatspreis” (1991) and the “Hörspielpreis der Kriegsblinden” (1983). From 1972-95 he taught at the Hamburg Academy of Fine Arts. He now lives in Cologne.

“Orgy, for R. means semantic excess and turbulence, the coitus of words outside their usual use.”—Mittelbayerische Zeitung

“The almost constructivist compositions derive their solidity from the musical use of rhyme, assonance , alliteration and rhythmic figures, and not least through song- and sonata elements.” — Klaus Peter Dencker, Nürnberger Nachrichten

Rosmarie Waldrop's most recent books of poetry are Blindsight (New Directions) and Love, Like Pronouns (Omnidawn). She has translated Edmond Jabès (her memoir, Lavish Absence: Recalling and Rereading Edmond Jabès was published by Wesleyan University Press in 2002), Jacques Roubaud, Emmanuel Hocquard, and, from the German, Friederike Mayröcker, Elke Erb, Oskar Pastior.