A navigable window onto “Exit 43″ has just gone live at The Arcadia Project: North American Postmodern Pastoral (courtesy of Ahsahta Press), accompanied by an interview with G.C. Waldrep. Thanks to editors G.C. and to Joshua Corey for envisioning a way for these pixels to be part of the anthology.
Laura Mullen and Angela Hume christen 2014 with this special issue of The Volta devoted to garbage. From Angela’s introduction: “What we know is this: that the controlled administration, attrition, and disposal of life is now the rule of the west. The biopolitical state requires it: radical expendability in the name of furthering “democracy”—that triumvirate […]
Terrain Vague: The Interstitial as Site, Concept, Intervention, Ed. Patrick Barron and Manuela Mariani (Routledge, Fall 2013) arrived today. Inside is a piece called “Garbage Arcadia: Digging for Choruses in Fresh Kills,” discussing the gossip under the ground of devastated landscapes such as an anonymous Superfund site adjacent to my childhood home and Fresh Kills […]
Another culmination of a collaboration between Kathy Westwater (director and choreographer), Seung Jae Lee (visual design), and me, this Friday at 12:30 pm on the lawn of Pratt Institute! Featuring a “wall” of trash text. Thanks to the Office of Recuperative Strategies for supporting this event….
So there’s this chapbook/keyword manifesto/ecopoetical souvenir, A Neural Net, collectively assembled by Rachel Levitsky & Ira Livingston (OoRS), Jen Hofer (ANTENA), David Buuck (BARGE), and Jennifer Scappettone, Kathy Westwater, & Seung-Jae Lee (discussing a 2011 iteration of PARK) for the Ecopoetics Conference roundtable on “Ground Scores: Unburying Ecologies Through Embodied Practice,” convened at the University […]
Upon Thom Donovan’s invitation, my contribution to a discussion surrounding our artistic practices in the wake and current moment of the occupations, at Harriet: on the relation between capital and waste, garbage and exposure, the intimate public sphere.
PARK at Fresh Kills #2, verbose, saxophone-struck, wander-threaded wind at the dump summit of a November noon, in the captured unstill pixels of participants.
Our iLAB residency and fieldwork for PARK at Fresh Kills comes to a close tomorrow: with strings, post-consumer waste, a phantom city block and chorus, dance, and empty horns of plenty:
The introduction to our performance at Corto Circuito tonight, in Italian: Queste partiture “pop-up” fanno parte di un progetto in corso, intitolato Uscita 43, che è composto di elementi poetici, visivi, e sonori. Lo descrivo come un’archeologia di paesaggi tossici e afflitti, e un’operetta di cori “pop-up” (prendendo il termine usato per le finestre “pop-up” […]
“New York City” and its scrapings of sky seen from the perspective of its underbelly, the swollen dump mounds shrouded in plastics.
Performing pop-up choruses surrounding postpastoral landscapes from Exit 43/Uscita 43 with the Difforme Ensemble (Marco Ariano, Renato Ciunfrini, Roberto Fega) and with Ersela Kripa & Karen Yasinsky this Saturday night at the Centro Sociale Corto Circuito in Cinecittà: be there/ sii lì!
At Fresh Kills, double to Mannahatta, with Kathy Westwater, Seung Jae Lee, Leigh Draper, and Raj Kottamasu, gearing up toward our residency for PARK, a view of the East Mound of solid waste becoming laboriously yet strategically a mountain by way of 280 gas extraction wells and plastic and other geosynthetic, permanent or impermanent impermeabilities: […]
Joe Milutis’s question: see the interview here for my response. [Image courtesy of Jeremy Mende's Anxious Futurism.] Milutis: Given this poetry requires a lot of research, is there a sense of regret that such a signature is not enough, and that your filtration process leaves out material that could be used to educate or elucidate? […]
The first response (composed in January) in an episodic interview with Joe Milutis about the “poetics of enormity” as laid out in a talk in verse I gave at the Penn-Columbia “Rethinking Poetics” conference last June (available for download here) is up. I wrote the piece with the demands of the Gulf oil spill and […]
Its plastics in the off-season left orphan, mute against the Adriatic without their hippies.
Just in time for our imminent pilgrimage to the ancient landfill of Monte Testaccio: audience thoughts salvaged from the performance of “PARK” at Freshkills, Staten Island, posted at Kathy Westwater’s blog, here.
EJ McAdams writes about PARK at Freshkills (and at Dance Theater Workshop) for Critical Correspondence @ Movement Research: “I wanted to leave a trace of this dance, a dance that seems to have no beginning like a dream and no ending, only this awakening into the way we precariously move about on a landfill over […]
Dark anniversary. Still to work in sentences through the moment of PARK at Freshkills following a hypnotic duet by Ursula Eagly and Kazu Nakamura when the realization dawned that, due to contingencies of wind, I’d be reciting an elegy for Taimour from the harbor directly facing the absence at the end of Manhattan. Letting the […]
My colleague in Chicago, the novelist/poet/translator/critic John Keene, was among those who joined us at Freshkills for PARK on June 26 and writes generously about it on his blog: “It was, to put it simply, unforgettable. I’m no dance critic so I won’t even try to describe it, but I did appreciate how the performance […]