London folks - this looks good... Suppose a Salon /Symposium (after Tender Buttons 1914) Date: Friday 26 July Time: 1-5 pm Venue: Banqueting Hall, Chelsea College of Art and Design,16 John Islip St, London SW1P 4JU Free event. All welcome. The salon /symposium will focus on Gertrude Stein’s modernist writing, exploring both its art historical relationships and its relevance to contemporary fine art practices. The event will include contemporary performance, artists’ moving image and recordings alongside talks from artists, academics and curators. The afternoon is arranged to encourage and open up discussion/conversation. Contributors include: Nicky Hodge, Debbie Booth, Gill Addison, Isabelle Parkinson, Laura Mansfield, Rosie Cooper, Michal William, Linzi Stauvers. (please see below). Inline image 1 Image: Gill Addison, Tend her button Pencil drawing on photocopy of Objects title page from Claire Marie ed of Tender Buttons 1914, 2013. Contributors abstracts/biographies Isabelle Parkinson: Suppose An Eyes in context. Gertrude Stein’s persona and Gertrude Stein’s work are both founded on notions of difference and marginality. I will explore this as a deliberate manifestation of Stein’s own theories about writing and the role of the modern artist. To this end, my presentation will consider Tender Buttons as Stein’s response to the context in which was produced. Looking at modernist works, activities and figures of the 1913 moment, I will examine the ways in which Stein positions herself in relation to these other modernist gestures. In particular I will discuss the liminal, uncertain status of her salon at the Rue de Fleurus in Paris, comparing it with other salons held by wealthy patrons in the same period. As a way of re-immersing Tender Buttons into the context of 1913, I will also encourage participants to read and listen to Stein’s other texts of the same period. Isabelle Parkinson is currently working on a PhD at QMUL, examining the place of Gertrude Stein in 20th century literary modernism and considering her legacy for poetry now. The working title of her thesis is ‘Gertrude Stein’s modernism: a finished or an unfinished project?’ Recent papers include: ‘Gertrude Stein, TS Eliot and the modernist academy’ and ‘Gertrude Stein: the logical conclusion of literary modernism’. Linzi Stauvers: Notes on Stein: Towards a Steinian attitude. In the miscellaneous file of Stein’s archive at The Beinecke Rare Book and Manuscript Library (Yale University) there are twenty-two pages of handwritten notes taken from Henry James The Wings of The Dove(1902). It is unclear whether the copying hand belongs to Stein or Toklas. In the Autobiography of Alice B. Toklas (1933) it states that it is Toklas, and not Stein, who is an admirer of James. Yet, if this was an exercise in copying, Toklas might have used the Smith Premier Stein bought her to type The Making of Americans (1925). This short presentation considers how artists, from the 1930s to the present day, have continued to copy Stein’s writing, either in their own hand or in type, and how this has led towards a Steinian attitude. Linzi Stauvers obtained a PhD from UCL for her thesis titled ‘Stein through the sixties: Minimal and Post-Minimal artists rehearse Gertrude Stein’s Poetics (2009). Since 2011 she has worked as Programme Producer at visual arts commissioning organisation Pavilion. Rosie Cooper: Through the keyhole. Rosie Cooper will talk about the home that Gertrude Stein and Alice B Toklas shared; touching upon the display and production of art that happened there. Rosie Cooper has recently been appointed as Project Curator at Liverpool Biennial. Prior to that, she set up a contemporary art gallery in a suburban school in London, and has also been Public Programme Curator at Barbican Art Gallery in London. As a freelance curator, she has organised numerous exhibitions and events such as‘More Soup and Tart’, at Barbican Theatre, London (2011), ‘Tableau Vivant: A Wandering Retrospective’, Prospect New Orleans (2010), and ’The Savoy Cafe’, London (2009). She regularly collaborates with Ariella Yedgar and the duo have recently launched an online curatorial project. Her ongoing interests are performance and experimental forms of exhibition making, in particular those that relate to the site in which they are presented. Later this year she will present an exhibition about British concrete / performance poet Bob Cobbing. Laura Mansfield: A Small Eating - the mouth as threshold. ' I have written a text that take’s a quote from Tender Buttons where Stein lists dishes of food, as a point from which to contemplate the sounds of each word and the relationship between the movement of the mouth when eating and speaking. ' We will gather around the table piled with food, taking and tasting whilst Laura reads the text aloud. Laura Mansfield is a curator and writer based in the north west of the UK. FEAST is a series of three publications presenting contemporary visual art and film works that explore our relationship with food as a social event, a marker of identity, a product of history and a commodity for trade. The publication combines articles on contemporary arts practices with recipes, film histories and literary narratives in an eclectic mix that serves to explore, highlight and question the varied roles food holds within our everyday. Feast is a project initiated by Laura Mansfield. Gill Addison: The Last One II and I, from the “Tend her Buttons” suit part 2 Performance reading A reading of a short essay about journey from Los Angeles to Paris via New York and the history of pasties (nipple tassels) and Gertrude Stein. A single hurt color vs. a chance to see a tassel, from the “Tend her Buttons” suit part 3 Video. 93 colours are noted in “objects” (chapter one of Tender Buttons) sometimes descriptive, sometimes evocative. In the video a single hurt color vs. a chance to see a tassel, the 93 colours and the order of their occurrences act as both backdrop and direct reference. Bringing the “Tend her Buttons” suit to a conclusion and back to Steins original text. Gill Addison is a filmmaker/artist and academic. Her practice negotiates memory, the archive and event in the context of the auto ethnographic. She was the commissioning editor of Art in Sight for Filmwaves magazine (2003 to 2008).Her films and previous collaborations have been screened both national and internationally at film festivals and screening centres. Several recent projects have attempted to explore the complexities of the how the “event” and the “archive” interrelate and are spoken about in the same breath. The “archive” is used as a tool to re-examine a “lost” moment as both liberating and political act. This action has manifested itself in several forms: performative reading, archive and film, text and image and in recent several works. Debbie Booth:’there is no there there’ (skype performance) The performance takes its title from Gertrude Stein’s response to returning to her childhood city decades after leaving which she describes in The Making of Americans as a place where a child ‘could have all anybody could want of joyous sweating, of rain and wind, of hunting, of cows and dogs and horses, of chopping wood, of making hay, of dreaming, of lying in a hollow all warm with the sun shining while the wind was howling.’ and finding that it only existed in memory. My interpretation is that Stein’s writing celebrates ‘nowness’. There is only here. Debbie Booth is a London based artist, curator and teacher; recent exhibitions include Wonderland - V&A Museum of Childhood 2010, SHOUT Birmingham Open 2009, Public Pages- Cube3 Gallery, The University of Plymouth 2007. “In asking the question of how to inscribe the repressed, the unspeakable, in language, I developed the use of collage techniques, working with fragments quoted from the exercise of literary criticism, represented to form a new textual body. An authorized voice is reframed as modified and intimate, available for other readings, resistant or alternate to the push of sanctioned intent.” Nicky Hodge: Lifting belly is all there (video) In Lifting Belly is all there, a series of Gertrude Steins and Alice Toklases participate in voicing the continuous flow of Stein’s sensual text Lifting Belly. Alice’s improvised responses are framed alongside Gertrude’s passionate declamations, allowing this relationship to be presented in every possible position and in every possible relation in the way the poem describes. Nicky Hodge is an artist and was a former deputy editor of MAKE magazine. Recent exhibitions and projects include Not(even) withstanding, a video with Fritha Jenkins for Deptford X (2012);The Group, exhibition in Abergavenny, Wales, (2012); GravePassions, an event (co-curated) at Nunhead Cemetery, (2012); Watching Paint Dry, painting/performance, Frisk event, The Others, London (2011). Michal William: Hand to Mouth Michal will play original recordings of Gertrude Stein reading her own work. All the recordings that make up the ‘hand-to-mouth’ series are chosen from the personal record collection of Michal William. Michal William is an original founder of Cafe Kino in Bristol and is known for playing in the bands Headfall and Corey Orbison. He is also a designer, recordingproducer, and sculptor. Hand to Mouth is an occasional series of events were Michal plays rare and historical recordings of writers reading their own work, selected from Michal’s personal collection of original LPs. Past events featured T.S. Eliot, Sylvia Plath and Dorothy Parker. infosupposeaneyes@gmail supposeaneyes.tumblr/
Posted on: Tue, 23 Jul 2013 11:22:41 +0000
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