tag:blogger.com,1999:blog-63044271353141032922024-03-13T23:09:29.195+00:00Tony Lopeznews, projects, reviewsTony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.comBlogger97125tag:blogger.com,1999:blog-6304427135314103292.post-35027458604638126502016-08-25T16:15:00.000+01:002016-08-25T16:15:24.946+01:00EXE VALLEY WAY TO BICKLEIGH<div class="separator" style="clear: both; text-align: center;">
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-67sdKlAcDTo/V78IXBOjhsI/AAAAAAAAAxU/-HL5j_EeJMM8r-6AdwR_KlD9f7fgynjRgCLcB/s1600/P1010393.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-67sdKlAcDTo/V78IXBOjhsI/AAAAAAAAAxU/-HL5j_EeJMM8r-6AdwR_KlD9f7fgynjRgCLcB/s400/P1010393.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Farmyard near Brampford Speke</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Brampford Speke</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-aG0H_a0gAQk/V78IXfewxvI/AAAAAAAAAxY/42gRmfWKMMQdVcCcnTWGDL9fxB-DIUkqQCLcB/s1600/P1010397.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-aG0H_a0gAQk/V78IXfewxvI/AAAAAAAAAxY/42gRmfWKMMQdVcCcnTWGDL9fxB-DIUkqQCLcB/s400/P1010397.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brampford Speke</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-SWr6dMdLeL4/V78IXhub0yI/AAAAAAAAAxg/K2dkdpCZ0QEugdgumXIXp5ATcZQNkJvXQCLcB/s1600/P1010401.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://4.bp.blogspot.com/-SWr6dMdLeL4/V78IXhub0yI/AAAAAAAAAxg/K2dkdpCZ0QEugdgumXIXp5ATcZQNkJvXQCLcB/s400/P1010401.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Follow the river</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">River Exe</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-SZ0Ko99-jes/V78IYCtXwjI/AAAAAAAAAxs/mx1oRvOfFeEr7qTFLM1wZPORJm0cLV7vgCLcB/s1600/P1010407.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-SZ0Ko99-jes/V78IYCtXwjI/AAAAAAAAAxs/mx1oRvOfFeEr7qTFLM1wZPORJm0cLV7vgCLcB/s400/P1010407.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nether Exe</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-Ci9ni9WUJkc/V78IYONa1iI/AAAAAAAAAxo/wogndp-AjsgLdcC3JpE5EZNArvDAr4VRwCLcB/s1600/P1010408.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://4.bp.blogspot.com/-Ci9ni9WUJkc/V78IYONa1iI/AAAAAAAAAxo/wogndp-AjsgLdcC3JpE5EZNArvDAr4VRwCLcB/s400/P1010408.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Thorverton bridge</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-hNDFOZM4Ja0/V78IZGYOXwI/AAAAAAAAAxw/W4MybNJrTIg91ZUGEKQ31K9b4y2H2zzrwCLcB/s1600/P1010410.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-hNDFOZM4Ja0/V78IZGYOXwI/AAAAAAAAAxw/W4MybNJrTIg91ZUGEKQ31K9b4y2H2zzrwCLcB/s400/P1010410.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Thorverton House</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-bl2R7g-Oljg/V78IZdpilEI/AAAAAAAAAx0/5Yb8lnupNS4d4QgzCFVBToQ_Cn2bvZLRQCLcB/s1600/P1010411.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://4.bp.blogspot.com/-bl2R7g-Oljg/V78IZdpilEI/AAAAAAAAAx0/5Yb8lnupNS4d4QgzCFVBToQ_Cn2bvZLRQCLcB/s400/P1010411.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In Thorverton</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-yFvwvXPrT0I/V78IZfWXzXI/AAAAAAAAAx8/PkoDKThLfq0vLThhwsCB9x7-bsRgc-klgCLcB/s1600/P1010414.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://4.bp.blogspot.com/-yFvwvXPrT0I/V78IZfWXzXI/AAAAAAAAAx8/PkoDKThLfq0vLThhwsCB9x7-bsRgc-klgCLcB/s400/P1010414.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bidwell Cross</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-Us1Gw856D-I/V78IZnAB_sI/AAAAAAAAAx4/MEN6ZP2Apco4Ywn-yd9rH3oHvwE6zhLkACLcB/s1600/P1010417.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-Us1Gw856D-I/V78IZnAB_sI/AAAAAAAAAx4/MEN6ZP2Apco4Ywn-yd9rH3oHvwE6zhLkACLcB/s400/P1010417.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bickleigh</td></tr>
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<tr><td style="text-align: center;"><a href="https://4.bp.blogspot.com/-tL4luGrIgmo/V78IZjFdT0I/AAAAAAAAAyA/2QF0XEA58CINWWScDLowYsg9T7qVXqN_QCLcB/s1600/P1010420.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://4.bp.blogspot.com/-tL4luGrIgmo/V78IZjFdT0I/AAAAAAAAAyA/2QF0XEA58CINWWScDLowYsg9T7qVXqN_QCLcB/s400/P1010420.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bickleigh Castle</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-XkEY5WFf4PQ/V78IZ0AD7QI/AAAAAAAAAyE/JEpnPtr7m-crJotbKY_u44VZaNxxcxJ-ACLcB/s1600/P1010424.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-XkEY5WFf4PQ/V78IZ0AD7QI/AAAAAAAAAyE/JEpnPtr7m-crJotbKY_u44VZaNxxcxJ-ACLcB/s400/P1010424.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bickleigh Castle</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-UWATerbHJDQ/V78IaFplYGI/AAAAAAAAAyI/TzYK1yuNwToXHNKLNlue2WEgKLR0GdKdgCLcB/s1600/P1010425.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://1.bp.blogspot.com/-UWATerbHJDQ/V78IaFplYGI/AAAAAAAAAyI/TzYK1yuNwToXHNKLNlue2WEgKLR0GdKdgCLcB/s400/P1010425.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bickleigh Castle</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-_PW14-i8CfM/V78IaLH7_4I/AAAAAAAAAyM/aeq6iOHMxzYRJAOM90tLSBx0RdS495VnQCLcB/s1600/P1010428.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://3.bp.blogspot.com/-_PW14-i8CfM/V78IaLH7_4I/AAAAAAAAAyM/aeq6iOHMxzYRJAOM90tLSBx0RdS495VnQCLcB/s400/P1010428.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From Bickleigh bridge</td></tr>
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Some more photos taken walking from from Brampton Speke to Bickleigh.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-47268059088783889822016-08-25T15:55:00.002+01:002016-08-25T15:56:41.601+01:00WALKING THE EXE VALLEY WAY<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-wapc9OZJPog/V78EvQPrcMI/AAAAAAAAAv4/YRKhvbHzuMwdqCbXL6T2jzZRfSm87Qt9gCLcB/s1600/P1010331.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://3.bp.blogspot.com/-wapc9OZJPog/V78EvQPrcMI/AAAAAAAAAv4/YRKhvbHzuMwdqCbXL6T2jzZRfSm87Qt9gCLcB/s400/P1010331.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Starcross Ferry</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-5e0H735ron0/V78Evl5WBVI/AAAAAAAAAv8/v7yIYKWDlkABGctfuq_bSzYPYqxZXZFbgCLcB/s1600/P1010347.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://1.bp.blogspot.com/-5e0H735ron0/V78Evl5WBVI/AAAAAAAAAv8/v7yIYKWDlkABGctfuq_bSzYPYqxZXZFbgCLcB/s400/P1010347.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exmouth Mussels dredger</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-kb_B0eSJ41s/V78Ev7F2lRI/AAAAAAAAAwE/R5oVle8mEW8_fG7gx5EUZLLKPCpS40gQgCLcB/s1600/P1010351.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-kb_B0eSJ41s/V78Ev7F2lRI/AAAAAAAAAwE/R5oVle8mEW8_fG7gx5EUZLLKPCpS40gQgCLcB/s400/P1010351.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Powderham Deer Park</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-7gkZ4USJbXQ/V78Ev5CTrwI/AAAAAAAAAwI/nbUn7PIykWQ7zbqUBFxZsQtOWcLbdx0PwCLcB/s1600/P1010353.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://3.bp.blogspot.com/-7gkZ4USJbXQ/V78Ev5CTrwI/AAAAAAAAAwI/nbUn7PIykWQ7zbqUBFxZsQtOWcLbdx0PwCLcB/s400/P1010353.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the sea wall</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-FXeLHYbuZeQ/V78EwHSRAnI/AAAAAAAAAwM/TjjdGDGtCAQGGhNgm_i6879fqp6zhLvHwCLcB/s1600/P1010354.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-FXeLHYbuZeQ/V78EwHSRAnI/AAAAAAAAAwM/TjjdGDGtCAQGGhNgm_i6879fqp6zhLvHwCLcB/s400/P1010354.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the sea wall</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-GQDPrg_cjm0/V78EwMaFWTI/AAAAAAAAAwQ/9OY-EGZWhDAi56Mw9PTB46yJyJUDbP_eQCLcB/s1600/P1010358.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-GQDPrg_cjm0/V78EwMaFWTI/AAAAAAAAAwQ/9OY-EGZWhDAi56Mw9PTB46yJyJUDbP_eQCLcB/s400/P1010358.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Turf</td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-mws3pfmw_Is/V78Ewdh_SnI/AAAAAAAAAwU/mj_xzHdEuhUT3-ibAJ1dZhgVwOq1V8mbACLcB/s1600/P1010359.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://3.bp.blogspot.com/-mws3pfmw_Is/V78Ewdh_SnI/AAAAAAAAAwU/mj_xzHdEuhUT3-ibAJ1dZhgVwOq1V8mbACLcB/s400/P1010359.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exeter Ship Canal</td></tr>
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<tr><td style="text-align: center;"><a href="https://2.bp.blogspot.com/-g8_esngIIl8/V78Ewml8vvI/AAAAAAAAAwY/efMOI7XnB1EN9X7oXluV0isReVa_OJQdgCLcB/s1600/P1010360.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://2.bp.blogspot.com/-g8_esngIIl8/V78Ewml8vvI/AAAAAAAAAwY/efMOI7XnB1EN9X7oXluV0isReVa_OJQdgCLcB/s400/P1010360.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Canal from towpath</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/--VjQLDiW9I4/V78EwghW0uI/AAAAAAAAAwc/dub6tLXL_vQZsgHihfy58nY1piS4HaPJACLcB/s1600/P1010363.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://1.bp.blogspot.com/--VjQLDiW9I4/V78EwghW0uI/AAAAAAAAAwc/dub6tLXL_vQZsgHihfy58nY1piS4HaPJACLcB/s400/P1010363.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">M5 crosses Exeter Ship Canal</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Wild Hops</td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-xAHqt6DuVkM/V78Ew6Eq5VI/AAAAAAAAAwk/xZpAoRB82zYhquDQIufhvhjNvRthTfB9gCLcB/s1600/P1010379.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://1.bp.blogspot.com/-xAHqt6DuVkM/V78Ew6Eq5VI/AAAAAAAAAwk/xZpAoRB82zYhquDQIufhvhjNvRthTfB9gCLcB/s400/P1010379.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exeter Ship Canal</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Exeter riverside</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Exeter riverside</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Exeter riverside</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Level Crossing near St David's</td></tr>
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Walking the Exe Valley Way from the Starcross ferry to Exeter along the river and the canal side.<br />
<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-39876210364646552092016-05-30T12:00:00.000+01:002016-05-31T07:42:30.942+01:00DARTINGTON MYTHO WALK<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Phil Smith heading into the woods</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Some walkers and Phil on the stony beach</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">empty 1930s swimming pool </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ready to roll</td></tr>
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Yesterday I went on an artist walk in the Dartington estate led by the Mythogeographer also known as Phil Smith. The event was organised by <a href="http://artdotearth.org/" target="_blank">artdotearth</a>. Just a small group of people gathered at the car park of Schumacher College and walked from there into North Wood, a plantation of huge conifers that must have been started in the 1920s, a wonderful space with giant red trunks pushing up to the sky. Here and there in the wood are various handmade structures, frames of shelters, gathering places with seating, odd sheds, and what looked like a Jules Verne space ship stuck up in a tree. We walked around North Wood and Newground Plantation, taking a meandering route, sometimes into patches of deciduous trees with undergrowth of ground elder, wild garlic, ferns, nettles, brambles, and bluebells now past their best; there was no undergrowth beneath the conifers, just a deep mulch of needles.<br />
We walked into Stillpool Coppice and Staverton Ford Plantation getting down onto the stony beach at Staverton Ford on the river Dart where there was a group of youngsters playing games by the water and cooking a barbecue. We walked close to the estate boundary on the edge of farmland and woodland, following the route of the river Dart and then taking a path in towards the centre that joined Warren lane and then past Chimmels, Blacklers, The Hexagon, Aller Park and into Blackler's Copse. It took two and a half hours to go round. All of the woodland walk, the bathing place on the Dart, and the path at the edge of the boundary wall was new to me, though I recognised the buildings at the end where some of my friends used to have offices when Dartington College was still in existence. I've given various readings and performances in Dartington, invited at different times by Caroline Bergvall and Larry Lynch, and a Dartington Space residency event in 2012.<br />
So the walk was rewarding because I got to see more of the Dartington estate but the main interest was Phil Smith's mythic reading of the landscape, first of all in terms twentieth-century Utopian experiments and then thinking about different aspects of the history and prehistory of the area. This was coloured by Phil's own experience of the place, since he was a teacher of performance for a time at the college, working with different groups of students, mostly outside in the landscape. So the various locations we went to had been the scene of student performances some time back. The ford was particularly rich as a location and I was much impressed with the empty swimming pool at Aller Park. We joined in with a number of low key workshop-type things (that I won't report on here) as we went round the walk and Phil is an excellent leader and storyteller guide to the landscape. It was good to see friends Richard Povall and Nancy Sinclair along with the other participants.<br />
Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-61006290782040022412016-04-22T13:57:00.001+01:002016-04-22T16:25:27.013+01:00PHOTOS FROM 1996 IN GREAT BARRINGTON<br />
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My first USA published book was <i>False Memory</i>, 1996, from The Figures, the poetry press run by Geoffrey Young. I sent my manuscript there because I thought that the press was really outstanding, it included books by Bruce Andrews, Rae Armantrout, David Bromige, Clark Coolidge, Michael Davidson, Christopher Dewdney, Lyn Hejinian, Fanny Howe, Ron Padgett, Bob Perelman, Kit Robinson, Stephen Rodefer, Peter Scheldahl, Ron Silliman and some others I didn't know back then. These were the writers whose work interested me so I thought it would be a good fit. The only English poet on the list at that time was Tom Raworth. I went to Romana Huk's conference "Assembling Alternatives" at New Hampshire -- which got me over to the US -- and then I stayed with Rosmarie and Keith Waldrop in Providence, Rhode Island, and read at Brown University. From there I drove to Great Barrington via Emily Dickinson's house at Amherst, travelling with Stephen Rodefer. Geoffrey Young organised a salon at his house for the publication of False Memory. I read there with Stephen and with Ben Friedlander. I got to know Geoff through the post, working on the book with him, so clear and focused, I never had a better editor. We set it in Palatino on a mac, it was printed in a local trade printshop in Great Barrington. For the cover image of this funky looking chapbook he got a photo of Charles Le Dray's sculpture "Milk and Honey", 1994-96, which had just been bought by the Whitney Museum of American Art, I think the first major museum sale for that brilliant artist. There are hundreds of tiny hand made pots, all different, mounted in a glass vitrine. These photos were mostly taken by Geoffrey Young; I was fortunate to be in such company.<br />
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<tr><td class="tr-caption" style="text-align: center;">This is me reading with Stephen Rodefer, Ben Friedlander and Michael Gottlieb<br />
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<tr><td class="tr-caption" style="text-align: center;">Michael Gottlieb, me, Carla Billitteri, Pierre Joris<br />
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<tr><td class="tr-caption" style="text-align: center;">Belle Gironda</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Carla Billitteri and Cheryl Donegan<br />
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<tr><td class="tr-caption" style="text-align: center;">Our host Geoffrey Young<br />
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<tr><td class="tr-caption" style="text-align: center;">John Mason, Christopher Funkhauser, Ben Friedlander<br />
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<tr><td class="tr-caption" style="text-align: center;">me, Stephen Rodefer, Ben Friedlander<br />
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<tr><td class="tr-caption" style="text-align: center;">Carla Billitteri, Pierre Joris, Liz Inglis, Cheryl Donegan, Kenny Goldsmith<br />
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<tr><td class="tr-caption" style="text-align: center;">Michael Gottlieb and me<br />
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<tr><td class="tr-caption" style="text-align: center;">Kenny Goldsmith and Laura Chester<br />
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Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com3tag:blogger.com,1999:blog-6304427135314103292.post-84356574366357304262015-06-20T10:49:00.002+01:002015-06-20T10:51:33.585+01:00EXHIBITION AT EXETER UNIVERSITY<a href="https://www.facebook.com/events/1579557158980296/" target="_blank">WOR(L)DS IN COLLISION</a> is an exhibition of artworks intersecting with the philosophy of Ludwig Wittgenstein, currently on show at Byrne House (the base of <a href="http://socialsciences.exeter.ac.uk/sociology/research/sts/egenis/" target="_blank">Egenis</a>) at the University of Exeter. The show includes work by Richard Carter, Sas Colby, David Connearn, Johanna Drucker, John Hall, Alan Halsey, Tony Lopez, Jaime Robles, Mike Rose-Steel, Suzanne Steele, Dan Wood and others. I went to the opening on Friday 12 June 2015, and so far as I can work out the company included Alan Halsey, Geraldine Monk, Regenia Gagnier, John Dupre, John Hall, Alan Munton, Steve Spence, Victoria Heath, Suzanne Steele, James Freeman, Ian Ground, Christina Burke-Tees, Maddie Dodds, Steve Spence, John Venn, Paul Martin, Lorna Wilkinson, Lucinda Carey, Frederick Cooper, Richard Carter and Dan Wood.<br />
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I've added some photos of the work, including my text animation <i>More and More</i>, a frame from Alan Halsey's <i>Memory Screen</i>, two individual facets from<i> The Wittgenstein Vector</i> by Mike Rose-Steel, Jaime Robles and Suzanne Steele, <i>Looseidity</i> by John Hall and <i>Untitled</i> by Dan Wood.<br />
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I'm grateful to Jaime Robles and Mike Rose-Steel who organised the exhibition -- it's great to see <i>More and More</i>, which is on loan from <a href="http://buryartmuseum.co.uk/" target="_blank">Bury Art Museum</a>, installed so well.<br />
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The exhibition WOR(L)DS IN COLLISION runs until September 2015 at Byrne House, University of Exeter.<br />
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Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-4593920902181526852014-07-28T15:05:00.000+01:002014-07-30T10:23:20.835+01:00MARINA ABRAMOVICH 512 HOURS, SERPENTINE LONDON<div class="separator" style="clear: both; text-align: center;">
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9th July 2014.<br />
We got to the gallery before opening time at 10 am expecting a big queue but it was fine, only about 20 people ahead. Gallery staff dressed in black walked along the line with leaflets and warned us that watches, phones and bags would have to be stored while we were in the gallery. 'You can stay as long as you like', they said 'but only one admission per day'.<br />
We were met at the entrance by Marina Abramovic who shook hands and said 'Good Morning' to each person who went in. Then we went through the entrance hall to a room with lockers. I removed my jacket but was turned back because I'd left my watch on.<br />
We went into the first room where there was a group of black uniformed young people on a central raised platform, just a step up, and a few chairs round the outside of the room. The staff picked on individual people, held their hands, and took them up onto the platform, whispering instructions into their ears. Each audience member and a uniformed staff member stood together with eyes closed, holding hands for a few minutes, then the staff member left them to it. I watched this for a while, sat down and took some time to get used to the room, everything slowed. The group on the platform was turning into mostly audience. My daughter Lucy had gone on to another room.<br />
I went to the entrance of the second room, a long gallery. Marina Abramovic, in the same black outfit, came up and took my hand and led me to the end of the room. She told me I was to walk as slowly as possible up and down the room seven times. She walked beside me, still holding hands, so that I could slow down enough to be in step with her. 'It is important to complete seven lengths of the room', she said, 'four times will be boring but after that it is bliss'. Then she moved away.<br />
Quite a few people were in the room going up and down, each more or less successful in getting out of the way of oncomers. It seemed a very long time to do one length of the room and turn at the same pace. The floor was tiled in rows I think, certainly there were stripes on the floor. Lucy was already walking her own line. After a while a man in a red monk's habit came and walked beside me on the next row, shoes off, wearing deep red woollen socks. His head was shaved. I was feeling hot in my shoes and stopped at the end of the second round to take them off. I noticed the other walkers, some of them were started off like me by Marina or other staff members. They would walk together with an audience member for a little while. This was a durational performance made by the audience who became the performers. And the task was so simple that they needn't be nervous or worried about exposure or failure. To me it seemed to be an occasion of mindfulness set up for participants out of the simplest means, with Marina and her assistants framing and helping it to run.<br />
It took a long time to finish the seven lengths of the long room, as slowly as possible; it made me aware of my pace and balance, the overall awareness of gait: proprioception. I could see others stopping and starting, avoiding, leaving, speeding and slowing down. There were smiles as I repeatedly met particular people on the way, which was a pleasure. When I had completed the seven lengths I put my shoes on, turned and walked out of the room. Marina came up and put her hands on my shoulders and smiled. 'So you survived it then', she said. I agreed, happily, and went to the next room.<br />
The third room was set up with small individual tables and chairs set in rows, just like an exam hall. I went just inside, looking for Lucy, and a black clothed young woman came up and asked me if I wanted to take part in the activity. I did. She took me to a recently vacated small table with a pile of rice and lentils, a piece of paper and a pencil. 'People are separating the rice and lentils and counting them', she said. So I sat down and made a start. At first I wondered if I could be bothered to do this pointless task, feeling a dupe of the set up, doing something that would be immediately undone. But I started to do it and became quite engrossed in picking out the green lentils which were thicker and thus stood a little proud of the white long grain rice. Like the slow walking it was a good task for someone always plotting and worrying about the next thing -- a good task to establish a mindful present awareness -- the simplicity and lack of strategy in it helped to establish that. I didn't go blank exactly, but I kept my eyes on the rice and lentils, getting them spread out a bit to make the separation easier. Lucy was in the row ahead of me and she finished before me and went out of sight. Some people walked in between the desks looking at those of us who were completing our task. I wondered how long I had been there and if Lucy might be waiting, needing to leave. I decided to just carry on and continue the task until it was finished, it didn't look as if it would take that long. I had a big circle of green lentils and a bigger one of white rice. When I looked at the paper I saw that the previous person had written '500 lentils, 500 rice (estimate)'. I added '(certainly a lot)'. Then I went out to the locker room where Lucy was waiting. We had used just the one locker and I had the key. When I got my watch back I found we had been inside for two and a half hours, fully involved for all that time. I wondered if the red-clothed western buddhist monk was a plant.<br />
Marina Abramovic and her assistants carried out a low key performance that enabled the audience to perform themselves within a framework established by the artist and the management of the venue that commissioned the piece. It put me into a state of mindfulness for two and a half hours, without any religious language or imagery. It massively exceeded my expectations. I had previously read some bad press stories about Abramovic online but this was a good experience.<br />
Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-4133910378858629382014-06-18T12:24:00.000+01:002014-06-18T15:59:16.141+01:00BOB COBBING ON ORCOMBE.COM<div class="separator" style="clear: both; text-align: center;">
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I went to the letterpress workshop in Plymouth yesterday to print the <a href="http://orcombe.com/">Orcombe.com</a> edition of Bob Cobbing's wonderful poem <a href="http://orcombe.com/?p=162" target="_blank">'Wan Do Tree'</a>. I really like the practical process of printing, working with the machinery to make something beautiful, and it's a special pleasure to work on a Cobbing piece. Each print day requires planning and preparation, trying out various design ideas and then working out what can actually be done with the equipment and available type. There are other people working in the print shop on completely different projects and I couldn't get anything done there without the 'old school' printer technician Paul Collier who runs the place. So it is in various ways a collaborative effort. The photo above shows the type for 'Wan Do Tree' set up in my favourite press, furniture clamping the composition in place, with ink-charged rollers ready to go. The colour is called boysenberry and it looks rich on Somerset satin paper.<br />
My first experience of printing machinery was learning to print on an offset litho machine in the basement of the Poetry Society, this was at Earls Court Square (London) in the early seventies, and it was Bob Cobbing who taught me how to print. The machine was used for the large format <i>Poetry Review</i> edited by Eric Mottram and it was possible to print there just by asking if you had the front. I made some pamphlets and sold them door to door in South London. I also learnt silkscreen on very home-made equipment about the same time. Bob printed some of his <a href="http://www.bl.uk/reshelp/pdfs/writersforumpublications.pdf" target="_blank">Writers Forum</a> books there as well as <i>Poetry Review</i>, and used the printing process for direct composition, just as he did on mimeo and later on a photocopier. There's an excellent piece by Lawrence Upton on Bob Cobbing <a href="http://www.bbk.ac.uk/readings/issues/issue4/upton_on_cobbing" target="_blank">here</a>.<br />
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'Wan Do Tree' is copyright (c) Bob Cobbing 1977. I'm grateful to the Bob Cobbing estate for permission to make my new edition which is available only at <a href="http://orcombe.com/">Orcombe.com</a></div>
<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-23795418306775742952014-06-14T11:53:00.000+01:002014-06-14T11:55:18.252+01:00WIRING WITTGENSTEIN<div class="separator" style="clear: both; text-align: center;">
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I was at this high speed colloquium, chaired and introduced by Regenia Gagnier, on Thursday 12 June 2014 to show some recent work and give a brief talk. The speakers were John Dupre, <i>Meaning as Use</i>; Aron Vinegar, <i>'What is the logical form of that?' Wittgenstein, Gesture and the Arts</i>; Jaime Robles, <i>Verbal Entanglements: The physical aspects of language and its digitisation</i>; Mike Rose-Steel, <i>Tweeting the Roman de la Rose: digitisation, social media and constraints</i>; Tony Lopez, <i>'This is a forensic sentence'</i>; Suzanne Steele, <i>Northern Exposure: digital transparency, embeddedness and the Canadian war artist</i>; Richard Carter, <i>Performing the Algorithm: Engagements with Digital Literature</i>.<br />
Great to see so many Exeter people there including Lewis expert Alan Munton, the curator Cristina Burke-Trees, and Martyn Windsor from CCANW. Thanks to Jaime Robles and Mike Rose-Steel for inviting me to speak and for organising the event. The meeting was to explore future collaborative projects in philosophy, art, technology, english, hopefully right across the spectrum.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-32703693535052404832014-04-10T17:28:00.000+01:002014-04-11T15:39:21.270+01:00NEVERMORE<div class="separator" style="clear: both; text-align: center;">
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I just got a copy of my latest publication <b>Nevermore</b> from <a href="http://zimzalla.co.uk/objects-2/023-2/" target="_blank">ZimZalla</a> run by Tom Jenks. This is a standing poem in the form of a zigzag folding card with a silkscreen text printed on both sides. A tribute to the poet Robert Creeley, the text in full is a variation on the statement 'form is never more than an extension of content' attributed to Creeley by Charles Olson in his 1950 essay 'Projective Verse'. My poem is designed as a portable Creeley memorial, alluding also to Olson and (because of the title) further back to that pioneer of American poetics Edgar Allen Poe. Ideally this piece would be made in wood and fabric and installed as a free standing folding screen with a face size of just under six foot square.<br />
The folding card is 350 gsm Antalis Perfect Image printed by Handbench Screenprint.<br />
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The black side of the sleeve cover is letterpress printed in three kinds of Univers type and the red side is a purpose-made ZimZalla rubber stamp, both on 300 gsm Somerset printmaking paper. This is a hand made edition of 40 copies available only from <a href="http://zimzalla.co.uk/objects-2/023-2/" target="_blank">ZimZalla</a>.<br />
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<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-38795652525082235932014-01-23T10:53:00.001+00:002014-01-23T13:12:58.000+00:00LETTERPRESS PRINTING IN PLYMOUTH<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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I got an early train to Plymouth University on Tuesday to take part in a letterpress printing induction in the Faculty of Arts Scott Building, with writers Anthony Caleshu, Angela Szczepaniak and Jamie Popowich. The three-hour workshop was run by Paul Collier -- a printer, technician and teacher who is in charge of the outstanding type collection located in Plymouth. There is a large range of lead and wood types which are no longer manufactured commercially. I understand that the collection is of national importance, there is certainly no other collection like it in the region. So it was a privilege to have a demonstration of how type is composed and how some of the different kinds of printing machinery work. We set our names and some lines of type and they were combined into a column that we each got to print on good quality paper. It came out OK for a first try, the feel of the impression on inked paper does it for me, beautiful. My first books were pulp novels printed letterpress by NEL in the early 1970s and I saw each one first in a heap of galleys with I think three pages on each long sheet, very different from the current digital print.<br />
I'm hoping to get some new work made in letterpress over the next few weeks.<br />
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<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-9607516454655934942014-01-08T14:52:00.002+00:002014-01-13T14:11:19.357+00:00NEON WORK EXHIBITED IN BURY, MANCHESTER<div class="separator" style="clear: both; text-align: center;">
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Still on show at <b><a href="http://www.bury.gov.uk/index.aspx?articleid=6275" target="_blank">Bury Art Museum</a></b> (5th October 2013 to 1 February 2014) is the exhibition <b><a href="http://www.bury.gov.uk/index.aspx?articleid=6275" target="_blank">Time for Light</a></b> which comprises works by <a href="http://www.graziatoderi.com/" target="_blank">Grazia Toderi</a>, <a href="http://www.brassart.org.uk/about.php?focus=colls&im=5&tm=about" target="_blank">Brass Art</a> and <a href="http://orcombe.com/" target="_blank">Tony Lopez</a>.<br />
<a href="http://www.graziatoderi.com/works.htm" target="_blank">Grazia Toderi</a>'s video installation <i>Atlante Rosso</i> (2012), a huge disc of revolving lights accompanied by machine-like sounds, seems to be based on night time illuminated cityscapes seen from the air. <a href="http://www.brassart.org.uk/about.php?focus=colls&im=5&tm=about" target="_blank">Brass Art'</a>s new installation of <i>The Air That Held Them</i> is three large fabric heads that slowly inflate and individually collapse, filling up the main gallery and creating a strange spooky atmosphere. My neon <i>Are We Not All Palestinian?, </i>manufactured in Manchester in 2012, is shown for the first time in a gallery with <i>Trespass</i> a neon piece in a suitcase by Brass Art.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-10228249774492467312013-11-03T18:18:00.000+00:002013-11-04T10:29:37.282+00:00BOB COBBING ABC IN SOUND<div class="separator" style="clear: both; text-align: center;">
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On 8th October I went to the opening of <i>Bob Cobbing: ABC in Sound</i>, curated by William Cobbing and Rosie Cooper at the Exhibition Research Centre, Liverpool John Moores University. This is an exhibition about the whole career of the leading British concrete and sound poet, virtuoso performer, publisher, poetry activist, teacher and intermedia artist Bob Cobbing (1920-2002). The exhibition features recordings going back to the 1960s and 70s, lots of publications and printed works, framed artworks, and works by some of his collaborators such as Dom Sylvester Houedard, Henri Chopin, and his wife Jennifer Pike. There are also documents relating to his activities as an arts and poetry activist, and to his early career as a teacher. Apart from the sheer compression and brilliance of his best work (see above, read it aloud), Cobbing was an influential poet and artist who inspired a whole generation through his generous workshops, performances and work as a publisher. It was a pleasure to see this show and have the many aspects of Cobbing's career sampled and effectively shown together, some of the best visual works reprinted and shown in large format. A new film by artist Holly Antrum presents Jennifer Pike's dance performance work. This was my first visit to the <a href="http://www.erc-ljmu.org/" target="_blank">Exhibitions Research Centre</a> in the John Lennon Art and Design Building, next to the Catholic Cathedral in Liverpool. Thanks to Robert Sheppard and Patricia Farrell for their kind hospitality.<br />
Image: 'wan, do, tree' from the Exhibition flyer, copyright (c) 1977 by Bob Cobbing, courtesy the Estate of Bob Cobbing.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-91265040826246340922013-11-02T12:56:00.003+00:002013-11-02T14:54:55.469+00:00BOOKBINDING WORKSHOP IN PLYMOUTH<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="color: #37404e; line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;">I went to a great bookbinding workshop run by Tom O'Reilly at <a href="http://www.plymouthart.ac.uk/" target="_blank">Plymouth College of Art</a> on Thursday 31 October. This event was part of the <a href="http://www1.plymouth.ac.uk/peninsulaarts/PlymouthInternationalBookFestival2013/Pages/default.aspx" target="_blank">Plymouth International Book Festival</a>. I made two bound books from scratch in a day: one casebound in maroon bookcloth with marker, headbands, shiny endpapers and vellum laid pages, another a Coptic binding in blue and white. <a href="http://www.bookbindery.co.uk/" target="_blank">Tom O'Reilly</a> the bookbinder is a great teacher -- everyone in the class made their own books. His own work is really various and interesting, lots of detailed embossed leather bindings, displayed on his website (see the Gallery) <a href="http://www.bookbindery.co.uk/" target="_blank">here</a>. </span></span><br />
<span class="Apple-style-span" style="color: #37404e; line-height: 18px;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span>Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-49916402859459061952013-10-29T14:38:00.001+00:002013-10-29T15:06:36.595+00:00EDINBURGH EXHIBITION AT SUMMERHALL : THE DARK WOULD<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: 'Times New Roman';">ONE HOUR : A SIXTY MINUTE CIRCLE WALK ON DARTMOOR 1984 by Richard Long, courtesy of the artist and Lisson Gallery</span><br />
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from Black List -- Saul and Elaine Bass -- 2006 by Simon Patterson, courtesy of the artist<br />
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Arcadia, 2012 by Tony Lopez with Orchard Memorials, photo by John S. Webb<br />
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These three images are from a forthcoming exhibition in Edinburgh -- details in the announcement below -- my works will be shown 'in conversation' with Ian Hamilton Finlay works also on display. What a great idea to put on this ambitious exhibition Philip Davenport.<br />
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<span class="Apple-style-span" style="font-family: 'Times New Roman';">THE DARK WOULD </span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman';">Summerhall, Edinburgh 7 Dec - 24 Jan (Public preview 7pm, 6 Dec)</span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman';">World-leading text artists and poets have been invited to make work about living and dying for The Dark Would exhibition, which includes work by Richard Long, Susan Hiller, Tom Phillips, Simon Patterson, Richard Wentworth, Tony Lopez, Caroline Bergvall, Erica Baum, Ron Silliman and many others, including ‘outsider’ artists. </span></div>
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<span style="font-family: 'Times New Roman';">Whether homeless people or outsider artists or art stars - we all have to find our way through the dark. Challenging and uplifting, The Dark Would reads the human traces that we leave in the world. This is an extraordinary gathering that asks what it is to have a body and to lose it. As well as including work from the living, there will also be 'answering' works by dead artists and poets including Stephane Mallarme, Ian Hamilton Finlay and Joseph Beuys. </span></div>
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<span style="font-family: 'Times New Roman';">Summerhall hosts the world premiere of this ground-breaking exhibition curated by poet Philip Davenport, before it travels elsewhere in Britain and abroad. The Dark Would exhibition is an ‘out-growth’ of the large anthology of text art and poetry edited by Davenport and published by Apple Pie Editions 2013.</span></div>
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<span style="font-family: 'Times New Roman';">There will be a series of artist's talks paralleling the exhibition.</span></div>
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<span style="font-family: 'Times New Roman';">Further information here: <a href="http://www.summerhall.co.uk/" target="_blank">Summerhall</a></span></div>
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Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-53098841420106134562013-10-21T16:23:00.000+01:002013-10-21T16:57:50.665+01:00TEXT FESTIVALS NOW PUBLISHED<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-FNHbs_WtHoQ/UmVCyY81JgI/AAAAAAAAAlM/aMn1AmgfT40/s1600/Front%2520Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-FNHbs_WtHoQ/UmVCyY81JgI/AAAAAAAAAlM/aMn1AmgfT40/s320/Front%2520Cover.jpg" width="213" /></a></div>
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<b><i>The Text Festivals: Language Art and Material Poetry</i></b>, edited by Tony Lopez, is now published by <a href="http://estore.plymouth.ac.uk/browse/extra_info.asp?compid=1&modid=1&catid=203&prodid=2719" target="_blank">University of Plymouth Press</a>: ISBN 978-1-84102-359-5; 13 new essays, 164 pages including 16 colour plates, notes on contributors, and a catalogue of works shown.<br />
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CONTENTS<br />
Preface<br />
Tony Lopez, Introduction: Language Art and Material Poetry<br />
Tony Trehy, Curating Text<br />
derek beaulieu, The Value of Nothing<br />
Christian Bok, The Xenotext<br />
Carol Watts <i>alpha</i>betise // Different Alphabets and Damage Control<br />
Philip Davenport, An Alphabet of Fishes: Curating Bob Cobbing<br />
Colour Plates<br />
James Davies, <i>if p then q</i> three and the Text Festival<br />
Robert Grenier, Bury Memories (whilst yet living)<br />
Alan Halsey, Memory Screen at Bury Met<br />
Holly Pester, 'I did not know till afterwards': An Archive Artwork<br />
Hester Reeve (HRH.the), But the Real Work Was to Place a Stone in my Mouth<br />
Liz Collini, Versions<br />
Carolyn Thompson, You're so Pretty when You are Unfaithful to Me<br />
Contributors<br />
Catalogue<br />
<br />
Get the book from University of Plymouth Press <a href="http://estore.plymouth.ac.uk/browse/extra_info.asp?compid=1&modid=1&catid=203&prodid=2719" target="_blank">here</a>.<br />
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<b>Cover art: <i>Versions</i> (detail) © 2009 by Liz Collini</b><br />
<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-58122605189931084892013-09-13T13:20:00.000+01:002013-09-13T13:20:43.347+01:00THE TEXT FESTIVALS: LANGUAGE ART AND MATERIAL POETRY<div class="separator" style="clear: both; text-align: center;">
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<b>The project that has kept me busy</b> over the past few months is a book about the <a href="http://textfestival.com/" target="_blank">Text Festivals</a>, curated by Tony Trehy at Bury Art Museum and other venues in the town in 2005, 2009 and 2011. The <a href="https://www.facebook.com/pages/Text-Festival/124830350898915" target="_blank">Text Festival</a> has always been about presenting high quality Language Art from the very different traditions that it emerges. Artists' and poets' works have been displayed together in exemplary curated space with minimal explanation, allowing different approaches in language use to work on each other, making it possible for the viewer to experience an unusual cultural resonance and crossover. Works from Conceptual Art, Concrete Poetry, Artists' Books and Publishing, Fluxus, Outsider Art, Minimalism, Performance Art, Vispo, Language Poetry, Pataphysics, Poetry Video, Conceptual Writing, really anything made of text or performing text or associated sound works have been presented and shown.<br />
I read some commissioned work at the second festival in 2009 with Philip Davenport and Carol Watts. I met lots of people involved with the festival and related events in Manchester. Apart from working directly with Tony Trehy, I got to know Philip Davenport, Helmut Lemke, Kerry Morrison, Robert Grenier, Marianne Eigenheer, James Davies, Tom Jenks, Hester Reeve and others. I spent some time with Ron Silliman who was also on at the Met Arts Centre that evening and we were both put up at the same Manchester hotel. We had a good time at the festival and after the main events there was a workshop day for participants based I think on business development techniques. That was a strange experience like being new at school or going to a training 'awayday' when I used to be an academic -- but one thing that came out of it was the obvious need to mobilise our different skills to make space for our work in common. I was really struck by the urgent need to make progress on focused secondary work. I kept in touch with Manchester friends, especially Tony Trehy, and was involved in the third festival, this time showing some new work in the main exhibition. And later on Philip Davenport edited and published <i><a href="http://www.applepie-editions.co.uk/DownloadKindle.htm" target="_blank">The Dark Would: Anthology of Language Art</a></i>, a wonderful ground-breaking collection. I took part in the launch earlier this year with Philip, Caroline Bergvall and Simon Patterson at the Whitechapel Gallery in London. James Davies, Scott Thurston and Tom Jenks have been running <a href="http://otherroom.org/" target="_blank">The Other Room</a> a series of free poetry performance events in Manchester for about five years. The associated website that they run is an important information hub for news of all kinds of cultural events in the Northwest and it helps to maintain online connections nationally and internationally.<br />
It seemed a worthwhile project to try and capture some of the huge range of activity involved in the Text Festivals in another form. I proposed editing a book that would gather contributions from artists involved in the festivals and also retrospectively catalogue exhibitions and events. I'm really delighted that the book was recognised right away by the editor and readers for University of Plymouth Press. It was a new area of research for me and an interesting challenge to write something about the quite separate fields of Language Art and Concrete Poetry as it happened in the UK since the 1960s. Tony Trehy and Philip Davenport have both written chapters about curating, and the other contributors have written about specific projects made for the Text Festivals. It's a valuable and unusual collection right away because of the range of contributors and what they each bring.<br />
This is the contents page but the order has since been changed to fit in the section of 16 colour plates in the middle of the book.<br />
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Preface<br />
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Tony Lopez, Introduction: Language Art and Material Poetry</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Tony Trehy, Curating Text</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
derek beaulieu, The Value of Nothing</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Christian Bok, The Xenotext</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Liz Collini, Versions</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Philip Davenport, An Alphabet of Fishes: Curating Bob Cobbing</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
James Davies, <i>if p then q</i> three and the Text Festival</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Robert Grenier, Bury Memories (whilst yet living)</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Alan Halsey, Memory Screen at Bury Met</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Holly Pester, 'I did not know till afterwards': An Archive Artwork</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Hester Reeve (HRH.the), But the Real Work Was to Place a Stone in My Mouth</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Carolyn Thompson, You're so Pretty when You are Unfaithful to Me</div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
Carol Watts, <i>alpha</i>betise // Different Alphabets and Damage Control</div>
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I was at the printers in Exeter recently to see proofs and the book looks really good. The design by Daniel Jones is excellent. The front cover (above) shows a detail of Liz Collini's wall drawing <i>Versions</i>. I'll post again when the book is available from the publishers University of Plymouth Press and all good booksellers.<br />
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<span style="font-family: Times;"><b>Cover art: <i>Versions</i> (detail)
© 2009 by Liz Collini</b><o:p></o:p></span></div>
<!--EndFragment-->Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-52858422611702769822013-09-09T18:13:00.000+01:002013-09-09T18:13:40.954+01:00A GARDEN BY JOHN S. WEBB<div class="separator" style="clear: both; text-align: center;">
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John S. Webb's latest book <i>A Garden</i>, published by Nya Vyer, Stockholm, 2012<br />
Photographs from Rorum, Osterlen, Sweden, 2012.<br />
64 pages, 47 images, text by John S. Webb, also includes 'Apple Garden' a short essay by Tony Lopez written for this book.<br />
Edition of 275 copies + 25 boxed special edition signed with print, hard cover clothbound.<br />
21.5 x 15.5 cms.<br />
Printed by Bulls Graphics/Standartu-Spaustyve, Lithuania.<br />
ISBN 978-91-9806662-0-30<br />
ISBN 978-91-9806662-1-0 boxed edition.<br />
Available from <a href="http://www.webbphoto.se/mailform.html" target="_blank">webbphoto</a> price 195 Svkr + 40 kr postage (Sweden).Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-15644183781139206142013-08-30T17:36:00.000+01:002013-08-30T17:36:20.565+01:00MORE & MORE AT ARNOLFINI<div class="separator" style="clear: both; text-align: center;">
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Just heard that my animated text <i>More & More</i> has arrived on time and will be shown at the Arnolfini in Bristol for the <a href="http://www.arnolfini.org.uk/whatson/ian-hamilton-finlay-weekend#3b2352c0c5844bf9b6e26e4bf3cb67cf" target="_blank">Ian Hamilton Finlay Weekend</a> Friday 30th August and Saturday 31 August 2013. The weekend is a special event for the Ian Hamilton Finlay Exhibition, that is currently showing at the Arnolfini, a really comprehensive show of Finlay's cards produced right through his career from 1963 to 2006. The weekend programme includes talks by Graham Rich, Stephen Bann, Harry Gilonis, OEI Magazine, film screenings of Beatrice Gibson, <i>The Tiger's Mind</i>, Ian Hamilton Finlay's <i>Carrier Strike</i>, films by Karl Holmqvist, and Kriwet, a concert by Amor de Dias, a DJ set by Christian Flamm, Sue Tomkins audio work, and a performance by Kasia Fudakowski. Works by Victoria Bean, Antonio Claudio Carvalho and my <i>More & More</i> are to be shown. There is a benefit auction Friday 30th August at 7.30pm to help to maintain Finlay's garden Little Sparta in Dunsyre Scotland. The auctioneer will be George Ferguson, Mayor of Bristol. I went on an exhibition tour and talk by Stephen Bann last Saturday with Graham Rich and Lesley Kerman. It was great to hear about Finlay's print projects and his various disputes and campaigns. I really enjoyed the visit to the Finlay garden at St George's church in Bristol.<br />
This photo of <i>More and More</i> was taken at the Sentences exhibition in Bury Art Museum, 2011 by Jari Kuusenaho; the animation is by ranfirefly, technical development by Tom Lopez of Microserve Bristol. The work was also shown at <i>Poetry for the Eye</i>, TR1 Gallery, Tampere, Finland 2012, and at <i>Visual Poetics</i>, South Bank Centre, London, 2013.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-65797686934680453032013-07-24T14:59:00.000+01:002013-07-24T15:07:15.730+01:00DUBLIN POUND CONFERENCE<div class="separator" style="clear: both; text-align: center;">
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I was in Dublin for the Pound conference 9th to 14th July. Lots of papers of course and with three strands running most of the time you get only a sample of what is happening. Ira Nadel's paper on Pound and the Artichoke (Pound meeting Beckett) had a spoiler from Seamus Heaney who also had something to say about this Paris encounter and Pound's dismissive remark to Beckett. Emily Mitchell Wallace was again focused on Byzantine Torcello and carved dolphins with lots of beautiful photos. I think that the Torcello mosaic is one of the most beautiful things I've seen and very different from everything else in Venice, so I was glad to have it displayed up on the big screen. I saw and heard a range of papers some of them really interesting by David Ewick, Catherine Paul, David Ayers, Jo Berryman, Richard Parker, Yoshiko Kita, Andrew Houwen, Ron Bush, Michael Kindellan (read out by Richard Parker) Giuliana Ferreccio, Annabel Haynes, Alan Golding, Daniel Swift, Philip Coleman, Robert von Hallberg, John Gery, David Moody and others. I took part in a reading with David Cappella, Desmond Egan, Kevin Kiely, Patrizia de Rachewiltz, Mary de Rachewiltz, John Gery, Biljana Obradovic, Jessica Pujol I Duran, Ron Smith, Stephen Romer, Daniel Maria Mancini, Jeff Grienensen, probably others, which demonstrated the enormous range of poets who apparently have an interest in modernism (though quite a few of them write as if it never happened). It was fun to meet up with friends and go out in Dublin for drinks and dinner. The district I was staying in, Temple Bar, is a kind of theme park of Irish nightlife, lots of live singers, pavements thronged with revellers many of them very tired and emotional. I had a day free after the conference, stashed my luggage and walked round the James Joyce sights including the James Joyce Centre and a trip on the DART train to see the Martello tower that opens <i>Ulysses</i>. I wished I'd taken some swimming trunks along as the forty foot bathing place looked like the best place to be. The photos above are the Martello tower at Sandycove, the interior of the tower as it is now, the sign for the Forty Foot Bathing Place, and the James Joyce statue with suitcases and litter bin by O'Connell Street.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-7773366392164463602013-07-20T13:27:00.000+01:002013-07-25T14:03:22.223+01:00TEXT ART ARCHIVE<div class="separator" style="clear: both; text-align: center;">
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These are photos from the <a href="http://textartarchive.wordpress.com/" target="_blank">Text Art Archive</a> Colloquium at Bury Art Museum on 20 May 2013. Me with Nick Thurston (left) in the first photo, then Holly Pester and Kerry Morrison (left), then Tony Trehy in front of the dead deer painting, then Scott Thurston (left) and James Davies. It was a good day put together by Holly Pester who has been working at Bury as artist curator, with talks about archiving and arts practice from Holly Pester, derek beaulieu, Carol Watts, Tony Trehy and Kerry Morrison. Thanks to Phil Davenport for the photos taken on my camera.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-8901201791492724212013-07-20T13:06:00.000+01:002013-07-20T13:29:23.926+01:00IN PLACE OF LOVE & COUNTRY<div class="separator" style="clear: both; text-align: center;">
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A new anthology edited by John Gery and Richard Parker, <i>In Place of Love and Country</i> is published by <a href="http://www.craterpress.co.uk/" target="_blank">Crater Press</a>, 2013 - ISSN 2041-0948. The contributors are Mary de Rachewiltz, Ron Smith, Wayne Pounds, Biljana D. Obradovic, Julian Stannard, Amy Evans, David Cappella, Desmond Egan, Jeff Grieniesen, Tim Atkins, Daniel M. Mancini, Kevin Kiely, Richard Parker, John Gery, Michael Kindellan, Dirceu Villa, Tony Lopez, Jessica Pujol I Duran, Gavin Selerie, Stephen Romer, foreword by Walter Baumann. This is an anthology based on a reading in London at the Ezra Pound International Conference, held at the Institute for English Studies, University of London, July 2011.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-87901380836557363342013-05-18T12:07:00.000+01:002013-05-18T12:11:20.720+01:00MOVING ART TO MANCHESTER<div class="separator" style="clear: both; text-align: center;">
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Just packing up my neon to go to the <a href="http://www.artfund.org/what-to-see/museums-and-galleries/bury-art-gallery-museum-and-archives" target="_blank">Bury Art Museum</a> for an exhibition later this year. It looks like <a href="http://www.moma.org/interactives/exhibitions/1999/muse/artist_pages/broodthaers_musee.html" target="_blank">Marcel Broodthaers</a> has been here and left something behind. Now that is someone I wish I'd met and had a chance to talk to, and get a personal tour of the Museum of Modern Art Department of Eagles. I hope to get there eventually and donate some Eagle sculptures. I'm driving to Manchester tomorrow to attend the Archive Colloquium at Bury: Derek Beaulieu, Carol Watts, Kerry Morrison, Holly Pester and Tony Trehy are giving talks; I'm looking forward to seeing good friends and catching up, hopefully meeting Tom Jenks of <a href="http://zimzalla.co.uk/" target="_blank">zimZalla avant objects</a> to discuss our upcoming collaboration.<br />
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Here is a photo by Phil Davenport of the neon being tested at Taylor Electronics (Manchester) Ltd.<br />
<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-67647815049385594942013-05-15T20:40:00.000+01:002013-05-16T09:14:41.557+01:00TIME, THE DEER, IS IN THE WOOD OF HALLAIG<div class="separator" style="clear: both; text-align: center;">
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<span class="Apple-style-span" style="font-family: inherit;"><br /></span>
<span class="Apple-style-span" style="font-family: inherit;"><b>Time, the deer, is in the wood of Hallaig</b>, is an exhibition on forest memory curated by Amy Cutler.</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: inherit;">The Belfry art gallery, St John on Bethnal Green, 200 Cambridge Heath Road, London </span></span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;">E2 9PA.</span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: inherit;">6th till 11th June/ weeknights 7-9pm, weekends 12-6pm</span></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: inherit;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px;">Nearest tube Bethnal Green</span></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;">This free exhibition investigates the properties of forest memory through text, archive, and ‘xylarium’, or wood collection. Between the French horticultural term “forest trauma” and Robert Pogue Harrison’s “forests of nostalgia”, a whole discipline around history, witnessing, and the memorial qualities of woodland opens up. Art works exami</span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="text_exposed_show" style="display: inline;">ning the cultural expression of time and history in the forest are placed here alongside archival photographs, small press texts, artefacts, and museum objects, in an old, low-lit belfry designed by Sir John Soane.</span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="text_exposed_show" style="display: inline;"><span class="Apple-style-span" style="font-family: inherit;"><br /></span></span></span>
<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: inherit;">A candle-lit collection on forests, memory, and social and natural history ● Cabinets of book works, wood works, paintings, drawings, prints, film projection, and music ● Wood specimens and photographs from Kew’s Museum of Economic Botany, English Heritage, the Epping Forest archive, the London Metropolitan Archives, and local collectors ● Tree ring slices and materials from dendrochronology labs ● Installations and one-off editions from forty artists, including Colin Sackett, Chris Drury, Bryan Nash Gill, Richard Skelton, herman de vries, Katsutoshi Yuasa, and Stefka Mueller</span></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: inherit;">ARTISTS / CONTRIBUTORS: Alec Finlay, Peter Larkin, herman de vries, Jeff Hilson, Colin Sackett, Gerry Loose, Justin Hopper, Carol Watts, Camilla Nelson, Anthony Barnett, Edmund Hardy, Una Hamilton Helle, Katsutoshi Yuasa, Richard Skelton, Autumn Richardson, Julian Konczak, Bryan Nash Gill, Amy Cutler, Tom Noonan, Chris Drury, Paul van Dijk, Frances Hatherley, David Chatton Barker, James Aldridge, Chris Paul Daniels, Frances Presley, Stefka Mueller, Gail Ritchie, Christina White, Paul Gough, Morven Gregor, Perdita Phillips, Amy Todman, Peter Jaeger, Zoe Hope, Zoë Skoulding, Peter Foolen, Phil Smith / Mythogeography, Cees de Boer, Carlea Holl-Jensen, Tony Lopez, John S. Webb, Will Montgomery, Michael Hampton, Kate Morrell, Ben Borek, Natalia Janota, Sung Hee Jin, Martin Bridge, Nicholas Branch, Mike Baillie, Mark Nesbitt</span></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: inherit;">WITH THANKS TO SUPPORTERS:</span></span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;"> </span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: inherit;">Landscape Surgery at Royal Holloway, </span></span><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;">John Wylie, Giles Goodland, Justin Hopper, Kris Rockwell, Jamie Wilkes, Sally Davies, Sally Armisen, Peggy Seymour, Sean Powley, Amy Francis-Smith, Richard, Neville Midwood, Nicholas, Liberty Rowley, Lee Wagstaff, Susan Holl, Carlea Holl-Jensen, Esther Rowley, Mark James, Susan Wright, Matthew Riley, Felix Driver, Harriet Hall, Cara Jessop, Thomas Jellis, Andrew Ray, Matthew Sperling, Candice Boyd, Katie Murphy, Louise Joly, Camilla Nelson, Alice Clark, Innes Keighren, Peter Larkin, Sue Edney, Tilla Brading, Jo Norcup, Sandra Wright, Hilary Orange, Simon Howard, Edmund Hardy, Jenny O’Sullivan, Alexandra Parsons, Charlotte Jones, Sefryn Penrose, Paul Warde, Leo Cutler, Clare Williams, Sarah Browncross, Kate Maxwell, Tim Cresswell, Caroline Cornish, Martin Bridge, Xas Arnaud, Diana Hale, and Gavin MacGregor</span>Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0tag:blogger.com,1999:blog-6304427135314103292.post-74149262879951230162013-04-29T09:48:00.000+01:002013-04-29T09:48:18.322+01:00THE OTHER ROOM ANTHOLOGY<div class="separator" style="clear: both; text-align: center;">
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Got my copy of The Other Room Anthology 5, 100 pages of writing, edited by Tom Jenks with a foreword by Scott Thurston. Linda Black, Paula Claire, Becky Cremin, Nikolai Duffy, Patricia Farrell, Clive Fencott, David Gaffney, Peter Jaeger, Tom Jenks, Chris McCabe, Sophie Herxheimer, Nathan Jones, Frank Kuppner, Helmut Lemke, Ira Lightman, Me, Alec Newman, Ryan Ormonde, Nat Raha, Elena Rivera, seekers of lice, Robert Sheppard, Marcus Slease, Hazel Smith and Biographical Notes.<br />
Lovely cover. Get it direct from the publisher <a href="http://otherroom.org/" target="_blank">The Other Room, Manchester</a>.<br />
<br />Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com1tag:blogger.com,1999:blog-6304427135314103292.post-88856052559605878582013-04-27T13:22:00.002+01:002013-04-27T13:24:29.277+01:00QUIET WALK ON DARTMOOR<div class="separator" style="clear: both; text-align: center;">
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Friday evening, 26th April, Sara and I went on the <a href="http://www.auneheadarts.net/blogsite/" target="_blank">Aune Head Arts</a> Quiet Walk number 1, led by Sound Artist and Naturalist Tony Whitehead, 7.30pm to 10.30pm at Bellever Forest, just a mile south of Postbridge in the middle of Dartmoor. In the evening light we walked and ambled up woodland tracks near the Youth Hostel, taking plenty of time to stop and listen to the sounds of Dartmoor. It was a treat almost right away to hear our first cuckoo of the year in the distance at first, then it flew close by and continued to call. We saw a roe deer very close and heard chaffinches, wrens, blackbirds, greenfinches, sparrows, woodpigeons, songthrushes, goldcrests and other quite ordinary birds - but we really took time to listen and to hear all the calls. Higher up in a clearing we waited and listened for fifteen or twenty minutes for the last of the evening songbirds, and when the air changed as the light faded a songthrush's extraordinary repeated variations were echoed across the valley way into the distance.<br />
Then we walked higher up towards Bellever Tor on the forest track in among a group of about twenty Dartmoor ponies, snorting and munching, tearing at the grass. As it grew really dark we saw the first planets, Saturn and Mars, coming into view, and then the mass of stars. It was very cold when we stopped on a high ridge and saw a red glow in the distance that turned into a red full moon rising over the moor, the colour draining out as it lifted higher in the sky. Then we walked down a steep rocky path by torchlight back to the Bellever Forest car park and drove back through Moretonhampstead and Dunsford to Exmouth. What an amazing experience and great company, thanks to Tony Whitehead and <a href="http://www.auneheadarts.net/blogsite/" target="_blank">Aune Head Arts</a>.Tony Lopezhttp://www.blogger.com/profile/06340749345887430857noreply@blogger.com0