Fergus Kilpatrick
Fergus was born and raised in a pub in the northeast of Scotland in a small fishing village. At 18 he dropped out of school and moved to China to teach English. After three years, he realised he needed to get a degree, so he moved to Aberdeen and studied maths with chemistry for two years. He transferred to physics and is living in Leipzig, finishing his degree online.
" I met Jo in Leipzig, and we hitchhiked to Berlin together to stay with some friends of his. In Berlin, everyone was a poet. I've been interesting in psychopharmachology since 1st year of university, when I read some of Shulgin's books and tried to synthesize some of his chemicals. I've been conceptually designing chemicals since then. When Diente invited me to make a submission, I immediately thought of developing something around his work. Berlin is a good place to think about synthetic chemicals, there is plenty of inspiration. Perhaps mine will make it's way to Berlin someday, and we can see if it lives up to expectation."
Fergus was born and raised in a pub in the northeast of Scotland in a small fishing village. At 18 he dropped out of school and moved to China to teach English. After three years, he realised he needed to get a degree, so he moved to Aberdeen and studied maths with chemistry for two years. He transferred to physics and is living in Leipzig, finishing his degree online.
" I met Jo in Leipzig, and we hitchhiked to Berlin together to stay with some friends of his. In Berlin, everyone was a poet. I've been interesting in psychopharmachology since 1st year of university, when I read some of Shulgin's books and tried to synthesize some of his chemicals. I've been conceptually designing chemicals since then. When Diente invited me to make a submission, I immediately thought of developing something around his work. Berlin is a good place to think about synthetic chemicals, there is plenty of inspiration. Perhaps mine will make it's way to Berlin someday, and we can see if it lives up to expectation."
Cia Rinne
Cia Rinne is a poet and artist based in Berlin. Publications of visual, acoustic and conceptual poetry in different languages, a.o. zaroum (2001), notes for soloists (OEI Editör 2009), and should we blind ourselves and leave thebes (H//O//F 2013), sound works and exhibitions, a.o. at the Grimmuseum Berlin, Signal in Malmö, and at INCA Seattle. She has also worked on documentary projects, most recently on a book on the Roma of seven different countries (The Roma Journeys, 2007). ----------------------------------------- Cia Rinne es una poeta y artista con base en Berlín. Cuenta con publicaciones de poesía visual, acústica y conceptual en distintos lenguajes como zaroum (2001), notes for soloists (OEI Editör 2009), y should we blind ourselves and leave thebes (H//O//F 2013), trabajos sonoros y exhibiciones como en el Grimmuseum de Berlín, Signal en Malmö, y en INCA Seattle. También ha trabajado con proyector documentales, recientemente en un libro en the Roma of seven different countries (The Roma Journeys, 2007). ----------------------------------------- |
What is interesting about conceptual writing is its ability to disrespect the grammar of habitual communication, to operate beyond logics, and to ignore the strict definition of language as well as the constraints and requirements that other, ‘more serious’ writing genres are confined to. The different methods conceptual writers use can oblige certain rules, but conceptual writing in itself will with difficulty be defined according to such. It is not limited by the constraints of one single genre, but operates freely on the borders of many disciplines, and some pieces of conceptual writing can indeed be closer to pieces of visual, sound, or performing arts. There is something very liberating to language operating beyond its commonly accepted functions; you could call it linguistic anarchy, and although this aspect is not a goal in itself, it is certainly essential to conceptual writing.
Some pieces of what I would call conceptual writing have a certain esprit that goes beyond humour, and which I think is quite specific for such texts. In a way, conceptual texts operate on many different levels simultaneously. Besides their awareness on form and content, there is often a metatextual aspect to them. To a certain extent, language transforms into something else and reaches beyond its function as a mere means of communication.
It is especially interesting to me when a thought or idea is visualized with the minimum means necessary. In an interview with Wilma Lukatsch, Tomas Schmit put it like this: “What you can say with a sculpture you do not need to build as architecture, what you can do with a drawing you do not need to search in image, and what you can clear up on a piece of paper does not need to become a huge drawing; and what you can make up in your mind does not even need any piece of paper.” This is something I can relate to, and in a way, it is also a countermovement to the massive flood of information and waste of material. The ideal would probably be a constant reduction towards almost nothing." I'll Drown my book.
Joaquim Salvador-Rabaza Juguera (Elx, 1989)
Multidisciplinary artist educated in Barcelona.
# joaquimsalvador.tumblr.com
[email protected]
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Artista multidisciplinar formado en Barcelona.
Multidisciplinary artist educated in Barcelona.
# joaquimsalvador.tumblr.com
[email protected]
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Artista multidisciplinar formado en Barcelona.
Bárbara Zagora Cumpián
Nace en Madrid pero residió en Málaga hasta 2013. Actualmente vive en Barcelona en fase de formación artística. Ha publicado “Ultravioleta” en Ed. Monosabio (Málaga), “Teherán” en Ed. Árbol de Poe (Málaga), y ha participado en varias antologías como “Poetas en el cielo” a cargo del Instituto Municipal del Libro (Málaga), “Y habré vivido, Poesía andaluza contemporánea a cargo del Centro Cultural Generación del 27 (Málaga), “La Vida por Delante, Antología de jóvenes poetas andaluces en Ed. En Huida (Sevilla). Finalista del certamen de jóvenes creadores MÁLAGA CREA 2013 con mención especial en artes plásticas por la instalación fotográfica “El disfraz como cobijo. La intimidad como encuentro”. Ha realizado acciones performáticas en Galeria Central de la Universidad de Málaga así como en el espacio cultural La Térmica. # http://cargocollective.com/barbarazagora [email protected] |
Ariadna Raventós
Artist.
Artist.
Trihars && true(madara)
Madara True (Madara Kļavinska) is a freelance performer and writer of her own personal diary. In the summer of 2014 with the help of Pēters Riekstiņš she dissected it in small pieces and made it public. Tiny fragments of her life randomly narrates those intimate details in completely different combinations as originally intended. The latest poem was made together with Trihars - part of it contains her public diary translated in the language of code. The engagement with Trihars established in the Valentine's Day 2014 - at the Carnival of Art Academy of Latvia where they performed together. DIENTE.Morkkis intervention: "After our engagement with true(madara) on Valentine's Day in a few months the relationship was growing motionless. To heal the stagnation we found ourselves reading some love poems. It brought back memories of our togetherness. We met to compare our feelings towards what we had experienced. Communication brought us to decision to expose our bond in digital language - the code. Willingness to spread our deepest emotions into digital abstraction resulted in the creation of the image, which is representing or closeness in our dark time of separateness." "We coded poems created by true(madara). After wards we made visual interpretation from this code." |