I am delighted to have been awarded an Artist Residency in Iceland in 2015. I am looking forward to spending 5 weeks in Iceland writing poems and creating poetryfilms in January and February 2015. My work will explore art, science and nature within the context of the Northern Lights, sulphuric volcanoes, boiling mud, and Europe’s most powerful waterfall.
PoetryFilm Blackboard was a participatory text/art project devised by Malgorzata Kitowski. Participants were invited to write or draw on a blackboard using chalk. A photograph was taken of each person’s blackboard and a montage film was made showcasing all the blackboard contributions.
PoetryFilm Blackboard was commissioned by the Southbank Centre as part of Poetry International and the Festival of Love on 18, 19, 20 July 2014 and took place at the Saison Poetry Library at the Royal Festival Hall.
I am delighted to hear that Full Stop has been selected for the forthcoming Regulate art exhibition. In this manifestation, the work will be experienced as a Morse Code audio recording (via headphones) and as a framed A1 hanging print at the gallery.
The Regulate exhibition is on the theme of routine. The exhibition will explore behavioural, visual and customary elements and present two dimensional works discussing a broad range of artistic interpretations of the habitual and optical pattern.
Key words: reflex, behaviour, form, structure, repetition, automatism, (un)conscious acts.
Regulate will be held from 7 November-5 December 2014 at The Montgomery, a multi-purpose space based in the heart of Sheffield City Centre. Various creative events and workshops will be held in the space during the exhibition.
Words & voice by Øyvind Rimbereid
Organ by Nils Henrik Asheim
Design & animation by Kristian P.
The Pipes (Norwegian: Pipene)
Written for the opening of the Stavanger Concert hall and its custom built organ, The Pipes is an ode to industrial history – the former backbone of the city’s economic and social life.
I was delighted to be invited to be a Jury Member and invited to award the Radioeins Prize at the Zebra Poetry Film Festival. Below are the comments I made before announcing the winning film and awarding the Diploma to Self-Evident Things by Piotr Bosacki.
The film was chosen on the basis of a majority vote by the audience jury team and the film was chosen for a number of reasons:
- For the strength and quality of a profound philosophical poem exploring the big questions about the human condition
- For its balance of rational and emotional, art and science, logic and feeling, mathematics and poetry
- For its kinetic visual metaphors alluding to the machines and systems of the body, as well as to the machines and systems of society, nature, and the world in which we live
- For its simultaneous timelessness and importance in the modern world today
- For its simultaneous complexity and simplicity
Zata Kitowski awarding the Radioneins Prize Diploma. It was received by Boris Nitzsche from Literaturwerkstatt Berlin on behalf of Piotr Bosacki.
Film still from Self-Evident Things / Rzeczy Oczywiste by Piotr Bosacki.
The winners of the 7th ZEBRA Poetry Film Festival have been announced. Congratulations to:
La’eb Al Nard / The Dice Player
Film: Nissmah Roshdy – Egypt 2013, 3 min
Poem: La’eb Al Nard by Mahmoud Darwish
Pipene / The Pipes
Film: Kristian Pedersen – Norway 2014, 3 min
Poem: Pipene by Øyvind Rimbereid
essen – stück mit aufblick
Film: Peter Böving – Germany 2013, 10 min
Poem: essen – stück mit aufblick by Ernst Jandl
The Aegean or the Anus of Death
Film: Eleni Gioti – Greece 2014, 7:30 min
Poem: The Aegean or the Anus of Death by Jazra Khaleed
The ZEBRINO prize for the Best Poetry Film for Children and Young People was won by:
Death for a Unicorn
Film: Riccardo Bernasconi, Francesca Reverdito – Switzerland 2013 15:00 min
Poem: Death for a Unicorn by Francesca Reverdito
The radioeins Audience Prize, awarded by a jury of radioeins listeners, has gone to:
Rzeczy oczywiste / Self-evident Things
Film: Piotr Bosacki – Poland 2013, 10 min
Poem: Rzeczy oczywiste by Piotr Bosacki
Faux Amis by Érik Bullot was shown at PoetryFilm Equinox in September 2014. Another of his films, Tongue Twisters, is also in the PoetryFilm Archive. Below is an insightful interview with Érik Bullot* about language, sound and cinema.
In your artistic research, language and voice seem to be central themes. When and how did this interest start?
I have been always interested by the issue of language, especially the topic of imaginary languages. As you know, the medium of film was originally imagined as an universal language or esperanto. It was a political dream. When I began making films, I made many silent films with the purpose to get a visual language. During my first film made in video, I was very struck by the relationships between video and writing. I think there is a continuity between these different mediums. Video is a kind of writing machine. I made a first film, Speaking in Tongues (2005), based on imaginary languages. It was the first step of a series of films about translation, misunderstandings and puns: Tongue Twisters (2011), about tongue twisters, shot in Berkeley; Faux amis(2012), a film about false friends between French and English, shot in Buffalo; Geographical Fugue (2013), based on a musical piece by Ernst Toch; The Alphabet Revolution (2014), a documentary about the change of alphabet in Turkey. There are always many languages in my film. I like to use linguistic elements as plastic material likely to be deformed, transformed, translated. My dream is making slapstick films with language.
You mainly work with visual media, such as video, photographs, texts and performances. What are your artistic references for what regards sound?
I am interested by artists which work is located between visual and sound fields. I was very impressed for example by the blind avantgarde film made by the German artist and filmmaker Walther Ruttmann, Weekend: a black screen with just a sound piece on the soundtrack. I like very much the works of Cage (Roaratorio) and Kagel (his film Ludwig van) and the experimental filmmakers who work on multilingualism as Peter Rose, Werner Nekes or Michael Snow. I have also a strong interest for the linguistic dimension of slapstick tradition, especially the films of Marx Brothers where you can see a ventriloguist situation between the three brothers.
Zata Kitowski, a British artist and founder of PoetryFilm
1. How can poetry and film unite?
Both poetry and film either describe experiences, or are experiences in themselves, so in that sense they’re already united… there are poetic aspects to most films, and, equally, poetry uses techniques adapted from cinema such as jump-cut editing and montage, etc. The greatest potential in this context lies in using the Poetry Film concept as a point of focus for exploring and amplifying certain aspects.
2. Has poetry film become our last resort in an increasingly rational world?
A rational thought process is quite useful when crossing a road! It’s been argued that new languages emerge when there is some form of information overload, and poetry films offer opportunities for creating expressions, and communicating messages and meanings in new ways. We’re not yet in a position to assess whether poetry film is our “last” resort; we will be able to judge this at some point in the future, and maybe poetry film will be shown to have been the beginning of a movement.
3. How can poetry film be of value to us in our modern times?
Poetry films open up new ways of engagement, new audiences, and new means of self-expression, and provide rich potential for exploring the creation and perception of emotion and meaning. This in turn enables us to connect with and communicate with people in hopefully innovative ways.
4. Is love still possible in the EU?
Yes, of course.
I am delighted that my triptych cut-up poem Cut-Up Experiment VIII: Timers Run On and the associated poetryfilm of the same title will be used for a creative writing course run by The Poetry School. The course is called Fragments: From the Thought to the Page and it is run by Kathryn Maris.
“In this genre-bending course, you will look at poets, fiction writers, philosophers and psychoanalysts who think and write in fragments, use modes of interruption or whose work simply survives in fragment form. Fortnightly reading and writing assignments will aim to broaden your ideas of what is and isn’t a poem, demonstrate the value of omission and the unstated, and suggest new ways of observing yourself and the world, and of communicating those observations. The course will include texts by Sappho, Lydia Davis, Kimiko Hahn, Simone Weil, Adam Phillips, Wallace Stevens, Theodor Adorno, Gertrude Stein, Sam Riviere, Nuar Alsadir, Simon Smith, Anne Carson and others.”
Below is a film still from the poetryfilm Full Stop. The poem (from a sequence of “punctuation poems”) is transcreated and presented aurally as Morse Code and visually in the style of a moving telegram. (4 minutes, sound).
Slavko Vorkapich was a Serbian-American film director and editor, former Chair of USC Film School, painter, and a prominent figure of modern cinematography and film art.