POEM IN WHICH I DO NOT TELL MY ENEMIES HOW LONG I’VE BEEN STARING AT THIS GRAPEFRUIT TREE
When the future was now
“Injustices are everywhere. We live in a world that is beautiful and yet there is so much oppression and destruction upon it. The anthropocene is upon us and humanity has a long way to go before equality exists in every sense. My artwork has the intention to make the viewer aware of this and sometimes feel complicit in the various destructive actions of humanity and thereby, hopefully lead my audience to enact positive change through feeling some what responsible to take action themselves. I hope the least I can do is provoke thought in to an individual that had previously not cared for the world around them.”
Beneath Space (Numerous LEDs in a Republic) Continue reading “Mark Goodwin: Beneath Space // Coil Evolver”
Based in London, Konstantinos Papacharalampos (Greece, 1988) works in poetry, performance, installation and regeneration. After releasing K – On (ed. Entefktirio, 2011) his poems appeared in leading magazines in Greek and Russian and installed in situ in contemporary art festival Action Field Kodra. He then performed his second book Είναι/ Íne (ed. FRMK, 2015) in English (Velorose Gallery, London) and Greece (Lola Nikolaou Gallery, i.a.). Selected work was translated in German for Dichtung mit Biss (Freie Universität Berlin: ed. Romiosini/ CeMoG, 2018) and English for Futures: Poetry of the Greek Crisis (Penned in the Margins, UK, 2015). He holds a Diploma in Rural and Surveying Engineering from Aristotle University of Thessaloniki and an MSc Real Estate from CASS Business School (London). In 2018 he released his new poetry book, 3: Ανθρώπων Ιστορία/ 3: Anthrópon Istoría (ed. Koukounari), the hybrid pop project about repetition of ego in social media. See more from Konstantinos in his website or contact him via email. Twitter: @Kon_Papach Continue reading “Konstantinos Papacharalampos: Hi, Passenger”
an excerpt from The Gush by SJ Fowler
Ash and Stardust, a monthly column by energy worker and artist/writer DHIYANAH HASSAN explores the intersections of tarot with healing and creativity. You can read the rest of the series here.
For October, I came up with a personalized tarot-inspired inktober challenge that I named after this column, #ashytober. I drew a card for each day and then illustrated my response to that card. The result is a series of digital art illustrations that gave life and ambience to the vibrant things that pulsate vividly beyond the surface of my days. Save for a couple of lags, I spent my October making art that I had no chance to plan for since each day’s prompt only happened when I pulled a card from the deck. I documented the work and shared some insight about the process for each piece on my Instagram (they’ll also be up on my website once that’s back out of its hiatus).
The ways in which I work has changed. Instead of squeezing effort to make things, I’m more focused on allowing things to happen. There’s so much that wants to come through me, so much that’s getting ready that wants me to be gentle with it.
Working on #ashytober after months of light sketchbook work allowed me the space to let the different parts of my work – my art, my training as a healer, my words, my aspirations – find their own ways to integrate and merge. I also found out that working intuitively was a great way to allow old strategies of art-making to adapt to where I’m at now.
Like how with each piece of #ashytober, I was building – finding – a fantastical world that housed its own cosmic cartography with strange landscapes, multiple suns and moons in the sky, and characters living diverse lifestyles.
Building up a cosmology for magical worlds – like building up the narrative behind the theory behind the symbology of a series – is something I’ve grown so accustomed to in my work as an artist. Except that I used to pressure myself to the point of paralysis that not much of this work gets to see the light of day. And so it was really delightful – like unwrapping candy to find a surprise toy packed inside with it – to see an entire universe of characters and narratives being spun out so spontaneously with each piece.
Air cooled life-forms by Rob Miller
About the series //
Work produced for the Grey Planet series reflects the incalculable absurdity of a global economy fundamentally at odds with our shared ecology – the [im]material flows of commerce, a fiction of progress constructed from pure exceptionalism. We the first of the last men trade more than futures; these transactions create a terminal velocity in which we attempt to live a myth not yet even imagined. We are faced then with a new and inescapable reality, in which the world-wide blindness of our impact is matched only by the eco-anxiousness of the few. Willingness alone simply produces an artifice of meaning and self-indulgent virtue signalling – conflicted anxieties of which I am equally guilty.
Continue reading “Air cooled life-forms: Rob Miller”
SJ Fowler was interviewed by Matthew Blunderfield for Episode 12 of the Scaffold Podcast. In this interview Steven talks about many things, but of particular relevance to my guest editorship are his thoughts on the avant-garde, and future-facing poetry. I hope you may find this interview useful. With thanks to the Scaffold Podcast, Matthew Blunderfield & SJ Fowler.
“After trying for a couple of years to write smooth poems about wild animals or foxes or whatever poets do in the countryside I realised actually I can’t control anything, I’m going to die, and that language, before that death, will not comfort me […] The first note of understanding language before you re-displace it as an art form is to understand that it will always fail to communicate what you want to communicate.”
(image: your own double-entry by SJ Fowler)
Burning House Press are excited to welcome PAUL HAWKINS as our NOVEMBER guest editor! As of today Paul will take over editorship of Burning House Press online for the full month of November.
Submissions for Paul are open from today – 1st November and will remain open until 23rd November.
Paul’s Theme for the month is as follows
FACING UP TO THE FUTURE
Paul has introduced his theme for your guidance:
Facing up to the future
Please submit work of a future-facing, avant-garde nature that is singly or a combination of form(s): poetry, prose, visual artworks, collage, sound, photography, musical scores, architectural design, forms, maps, film, sketches, plans, short stories in which context dominates content.
the poetry of: space-junk, fake news, black ops, artificial intelligence,
the visual taste of global-warming, #metoo, rising-tides
the musical scent of Brexit, Trump, The Cloud
the sound map of: gentrification, water-shortage, anarchism
ENCOURAGED: work that is collaborative, radical, experimental, intersectional, across form(s) & across discipline(s).
Aaand that’s a wrap! Burning House Press would like to thank October’s Guest Editors SHE SPEAKS UK for selecting, curating and presenting an INCREDIBLE array of writing and art on the theme/s GENDER & REVOLUTION – and for all of the endeavour and hard work that has gone into managing the month – THANK YOU FOR EVERYTHING, EMERCIANA, AOIFE, & JO!!!
Massive thank you also goes to everyone who contributed to the theme/s and all who continue to send BHP your writing and art – we are so happy and grateful that you entrust us with your work, thank you!!! xX
Here it is, the full GENDER & REVOLUTION EDITION – every selection in one place for you to read/peruse – enjoy!!! xX Continue reading “GENDER & REVOLUTION EDITION – SELECTED/CURATED/PRESENTED BY OCTOBER 2018 GUEST EDITORS SHE SPEAKS UK”
Between your [social] legs
Sometime in the past, B was born..
B breathes, welcoming the air external to the host person.
A: ‘What is between your legs, little one?’
A: ‘Congratulations, it’s a.. >insert binary pronoun here< .’
B cries, again.
A: ‘What are you going to call >insert corresponding binary pronoun, here< ?’
Sometime later, after B has spent years experiencing on earth..
B: ‘I still breathe, and cry. The questioning human at my birth got the pronoun wrong. It was a mistake to think that my anatomy somehow directly corresponded to a distinctive set of social behaviours. Or, knowingly or unknowingly, any attempts to make that the case. Other determining factors which continue to make me me, were quite underestimated, overlooked or ignorantly bypassed. As were possibility and actuality.’
B: ‘Yes, I have something between my legs, and person/human/homo sapien is my name’
A: ‘What is between your.. social.. legs, big one?’
B: ‘A variety of focal points for questioning. And I may not be one, but many. And why the assumption of ‘I’, anyway? But that’s for another time.’
A jar of paint-thick blood and mire
To wet an oxen’s head
A finger blackened by the fire
And pressed against the red.
A mask of white upon the fool
Who stares up from the feast
A couple fleeing with their mule
But cannot move the beast.