Siouxzi Mernagh / Matthew MacKisack / Lauren Moffatt / Gabi Schaffner / Kerstin Cmelka / Gerard Carson / Richard Mosse / Pauline Carnier Jardin / Anna Niedhart
Curated by John Holten
Berlin - Altes Finanzamt - Jan 12, 2011
Dublin - Block T - May 25, 2011
Oslo - Tbc
For Immediate Release:
This issue of the Kakofonie, ‘the video issue’, has been compliled by BDP writer and editor John Holten. It is an attempt at eschewing the accepted norms of a video exhibition and presents nine very different artists working in the same medium. The calibre of the artists involved, their diverse backgrounds and wide ranging subject matter ensures that the issue lives up to its name; the resulting cacophony ranges from a re-enactment of a scene from a Michel Haneke film, to a suicide bomber’s martyr recording, an animal circus via an investigation into a fictional archeological dig.
The Kakofonie is a European journal of art and literature that takes a different physical form for each issue. It presents multi-linguistic, multi-form work from across Europe in curated, polyglot editions. It has enjoyed myriad manifestations and appearances, some of which included it being postered on an abandoned shopfront in Grønland in Oslo, Norway, a flyer turning up in countless cafes across Europe, it has also been featured in the Musuem of Contemporary Art in Leipzig, on Basso’s wall at Kunst Werk in Berlin as well as in postcard form.
This issue has been available online and has had a screening in Altes Finanzamt in Berlin in January 2011, with a further screening planned in Aubervilliers, Paris and one in Oslo, later in 2011. Along with being screened in Block T in Dublin’s Smithfield, it will also be included as part of the INFlux art fair in Limerick.
The Kakofonie 004 Jota Castro and Cia Rinne ISSN: 2190-4928 Design : FUK Laboratories / www.fuklab.org
The latest installment of the ever changing, ever challenging Kakofonie is here! For this, the forth issue of The Kakofonie, BDP offer a special postcard edition designed by FUK laboratories Berlin. The postcard consists of a poem each by Cia Rinne and Jota Castro, a recto-verso investigation into recent objective and subjective realities, collapsing supposed historical and political opposites at the same time as challenging them. It will be distributed across Berlin by BAM, and is also available from our website.
To mark the publication of the latest issue of The Kakofonie Broken Dimanche Press are delighted to announce that Büro BDP next plays host to Cia Rinne, a concrete, visual poet at home when pushing and furthering the poetics and semiotics of several languages. For the exhibition h/ombres, Rinne will present a selection of her new work consisting of 77 postcards with typewritten texts in different languages in the space, and the sound installation sounds for soloists based on a reading of her book notes for soloists (in collaboration with Sebastian Eskildsen 2010).
Cia Rinne was born in Gothenburg/Sweden in 1973 and grew up in West Germany. Most recently she exhibited the work Night Calendar (in collaboration with Antonio
Scarponi) at ISCP, New York, 2010. In June 2011 she will participate in the Turku Biennale, Finland. Her publications include zaroum (2001), the online work archives zaroum (afsnitp.dk 2008), the book notes for soloists (OEI Editör, Stockholm 2009), and the sound work sounds for soloists (in collaboration with Sebastian Eskildsen, 2010). Rinne currently lives and works in Berlin.
Jota Castro was born in Yurimaguas/Peru in 1965 and has worked as a diplomat for the UN and the EU up until the late 1990s. Jota Castroʼs work has been extensively exhibited around the world. In 2005 he held a solo show Exposition Universelle 1 at the Palais de Tokyo. He has participated in the Venice, Tirana, Prague, Sydney, Moscow and Kwangju Bienalles. In 1983 he received the Young Peruvian Poet Prize. Currently he is co-curator of Dublin Contemporary 2011. Castro lives and works in Brussels. Büro BDP Emserstrasse 43 / 12051-Berlin
The Kakofonie 005
The Kakofonie 005 – Triple E (The Beer Issue)
Eric Zboya, derek beaulieu, Olivier Maarschalk
Bottle edition: 60 approximately
Brew: Olivier Maarschalk
Colophon design: Olivier Maarschalk
Bar night launch at O Tannenbaum bar April 20, 20h – late
A night of readings of Conceptual Writing followed by screenings of Ubuweb videos curated by derek beaulieu
Broken Dimanche Press in collaboration with O Tannenbaum are proud to present The Kakofonie 005: a homebrewed publication full of Es.
E for Ethanol
E for Europe
E for E numbers
E for the letter E
E is the fifth letter; E=mc²; E is the most commonly used letter in many languages; E is a most beloved letter; there are many Es in George Perec but none in La Disparation; E! is your source for entertainment news, celebrities, celeb news, and celebrity gossip; E as in Eric Zboya although derek beaulieu has four Es in his name;in British sign language E is signed by extending the index finger of the right hand touching the tip of index on the left hand, with all fingers of left hand open; in morse code E looks like ·, e is a mathematical constant and can also be calculated as the sum of the infinite series
A homebrewed publication full of Es. One poem to be unread untouched unseen. One typographical painting full of poems. One poem for those that do not see that cannot be felt. One poem for those who do not feel that cannot be read. A language to be touched are letters to be unseen. A language to be read are letters to be unseen.
And then again the most proper probable answer to this most mundane problem: people buy beer but they don’t buy books.
Il faut être toujours ivre, tout est là ; c'est l'unique question. Pour ne pas sentir l'horrible fardeau du temps qui brise vos épaules et vous penche vers la terre, il faut vous enivrer sans trêve.
Mais de quoi? De vin, de poésie, ou de vertu à votre guise, mais enivrez-vous!
(Get Drunk, Baudelaire)
derek beaulieu is an internationally-recognized text artist, conceptual writer and literary critic. He is the author or editor of 15 books, the most recent of which are Writing Surfaces: The Selected Fiction of John Riddell (co-edited with Lori Emerson) and Please,No more poetry: the selected poetry of derek beaulieu(edited by Kit Dobson) both of which are published by Wilfrid Laurier Unversity Press. He is the publisher of the acclaimed small presses housepress (1997–2004) and no press (2005–present) and is the visual poetry editor at UBUWeb. Beaulieu has exhibited his work across Canada, the United States and Europe and currently teaches at the Alberta College of Art + Design and Mount Royal University.
Eric Zboya is an experimental poet and visual artist who lives in Calgary, Canada. Zboya's works have appeared in literary journals, magazines, anthologies, art galleries and museums throughout North America and Europe. Zboya was a finalist for the 2013 Robert Kroetsch Award for Innovative Poetry, and for the 2013 Alberta Magazine Showcase Awards, poetry selection.
The Kakofonie 006
The Kakofonie 006
Text: Theis Ørntoft
Image: Francisco Queimadela
Edited and fabricated by John Holten and Broken Dimanche Press
The latest issue of the ever-changing The Kakofonie Journal of European Art and Literature is a declarative work of the visual and poetic about end times. Taking the form of a parasitic wrapping, issue 006 evokes the works of Christo as much as it does Epstein’s unrealized wish for Sgt. Pepper’s to come wrapped in a bag. It is at both concealing but also revealing, a wrapped opening to another world entire. It comes with issue five of Sand Literary Journal as a limited edition brownpaper covering wtih ethanol transfer.
Francisco Queimadela’s evocation of the Jormungand, the serpent from the Edda myths that eats until it grows to encircle the world and eats itself, is the perfect match for this double act of growth and cancelling. Queimadela’s work is from a series of perfectly poised renderings of mythologies and compliments perfectly the dense simplicity of the exciting young Danish poet Theis Ørntoft. His two line poem, written especially for this issue of The Kakofonie, furthers the theme of a world slowly turning toward its own demise. But again thanks to the twofold act of perceiving this issue in dual directions – historical or prophetic, declarative or concealing – the words of Ørntoft can in fact be read to have solace if not optimism.