griffin art projects
1174 welch st.
griffin art projects
1174 welch st.
Join us for the second installment of #postdildo #readingseries, featuring poets Mallory Amirault & Cam Scott.
MALLORY AMIRAULT is an Acadian Mi’kmaq writer and performance artist from Mi’kma’ki, Nova Scotia. At its core, her work is concerned with issues of marginalization and agency. She hopes to be perpetually.
CAM SCOTT is a poet, critic, and improvising non-musician from Winnipeg, Canada, Treaty One territory. He performs as Cold-catcher and as one half of the duo Swolowes, and writes in and out of Brooklyn. A suite of visual poetry, WRESTLERS, was published by Greying Ghost in 2017.
#postdildo #readingseries unfolds in conjunction with postdildo reading group (to be held at ACCESS Gallery every Tuesday starting June 26th until August 7; see upcoming schedule) and a book of experimental essays and poems and fantasies titled, not surprisingly, POSTDILDO. Readers are asked to not so much directly respond to postdildo’s call, but to strap it on as they so wish to do.
What makes a dildo special is that it is a ready-made cock, available and detached from any supposed owner who may cause damage. As the saying goes: dildos don’t kill people, people kill people. #postdildosimultaneously views the dildo as a tool of liberation and oppression, exploring the dildo as a means to both support sexual autonomy and alienation.
To that end #postdildo, with its cacophony of non-raping cocks, speculatively tells us more about the design of our present moment than any possible future.
#postdildo #readingseries and its assemblages are situated on the stolen Indigenous lands of the Musqueam, Skwxwú7mesh Úxwumixw, Stó:lō , and Tsleil-Waututh peoples.
A heartfelt thank you to ARTS ASSEMBLY for hosting postdildo and its pursuits. ARTS ASSEMBLEY are artist-in-residence at Plot.
(PELT V. 4)
Edited by Anna Moser and Ada Smailbegović
Friday January 26
7:00 - 9:00 PM
8 E. Pender Street
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Tiziana La Melia
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In February 2016, Anna Moser and Ada Smailbegović had a conversation about the possibility (then dream) of producing a collection of contemporary feminist writing that cut across genres, and that reflected the voices of both emerging and established writers and artists. Responding to timely debates in the NYC poetry community, as well as to the renewed urgency that a word like “feminism” seemed suddenly to embody in light of the shifting political climate, we settled on the “theme” of Feminist Temporalities, in an effort to acknowledge “the unambiguous reality of an arduous and as-yet inconclusive movement.”
Feminist Temporalities (PELT V. 4) explores a striking constellation of diverse, yet related, critical and creative engagements, including, but not limited to: work and maintenance; crisis and abandonment; patience and reverie; the everyday, but also the fabulous; historical time, felt time; the non-monumental rhythms that may be at play below the thresholds of human perception, but also the vast swaths of geologic time that may supersede them; wild dreams; the patriarchy; the law.
The fatras is a form of medieval French verse dedicated to the impossible. A form of unsense verse that turns the animate world inside-out and takes apart the structures that wish to rule it. Its crass humour, often obscene, is directed at church and state, at bogus morality and the madness of war. All of the wildness of the fatras happens within a paradoxically rule-bound form, as if to mock the fraudulent elegance of the court and its love poetry. A fatras begins with a couplet, often lifted from a serious poem in high style. The first line of the couplet is then restated and “followed” by a 9-line sequence of non-sequiturs, dream-like shifts of scale and person, scatological or blasphemous jokes and slapstick routines, concluded by the repetition of the couplet’s second line. The ideational content is generated through puns, homonyms and rhyme. Only a few dozen fatras have survived, mostly written by the court poet Watriquet de Couvin, and performed together with a certain Raimondin. The nature of their collaboration is unknown – the poems may have been composed in advance or improvised in performance. It is not known whether or not they were accompanied by music. They have never before been translated into English.
Donato Mancini and Ted Byrne will present and read their translations of the fatras. Danielle LaFrance and Jacqueline Turner will respond to the original fatras, after which all of the poets will read some of their own poetry, either new fatras, or poetry that responds to the fatras. A general discussion will follow.
with Anahita Jamali Rad, Dante Tercero, Donato Mancini, Olga Gutiérrez & Jhonnatan Curiel.
Los invitamos a la lectura de obra y traducciones con poetas de México y Canadá. Habrá venta de libros por parte de poetas invitados.