~ Video Library ~

Kepler’s Law by Christina Rau

From the Visible Poetry Project in 2018, this is Kepler’s Law, re-imagined as an allegorical animation by Dana Sink, and displaying a unique, graphic style.

The piece was written by Christina Rau, who describes it as “sci-fi fem poetry”. As a lover of astronomy, this possibly self-invented genre intrigues me, especially as it is expressed in this fresh poem, unusual in choice of language. As if to demonstrate the generic form in its title, Christina’s collection, Liberating The Astronauts (Aqueduct Press), was published in 2017, the year before the making of Kepler’s Law.

Among cultural involvements such as teaching and facilitation of writer’s groups, Christina serves as Poetry Editor for The Nassau Review. Dana’s animated videos are designed to appeal to his young daughter, who inspires his current creative work.

 

Wanting by Rich Ferguson

Los Angeles poet and performer Rich Ferguson teams up with film-maker Chris Burdick to create Wanting, a tour de force of beat-style spoken word and mashed-up old films.

Rich posts daily at his blog, RichRant. The constant stream of inspired writing is marvelous, some of it existential, some political, some funny, frequently all three, and almost always on key.

The selection and editing of archival film is the work of a master. Any film-maker who has worked with footage from the Prelinger Archives will appreciate the countless hours that must have gone into finding all the shots, that are then cut to the fast rhythms of Rich’s voice.

Chris’s virtual home is at Patreon, where can be found a blackly hilarious account of his life and aims as a film-maker/writer/human. The synopses of his short fiction are alone worth the visit.

The ongoing collaboration between Rich and Chris has produced several videos so far, of which a small collection can be found on this playlist at YouTube.

Call for work: 8th International Video Poetry Festival Athens 2019

The +Institute [for Experimental Arts] and Void Network present the 8th International Video Poetry Festival 2019

The +Institute [for Experimental Arts] and Void Network
present the 8th International Video Poetry Festival 2019

at Free Self Organised Theatre Embros Riga Pallamidi 2 Psirri

DEADLINE 20 November 2019 – Athens / Greece

The +Institute [for Experimental Arts] and Void Network are pleased to announce that submissions are open for the 2019 International Video Poetry Festival in Athens, Greece. The annual festival will be held at the free, self-organized theatre EMBROS this winter, with the precise dates yet to be determined. Approximately 1200 people attended the festival last year.

The 8th International Video Poetry Festival will run for two days in two different zones. The first day will be the Video Poetry Show Room, a unique zone that will include video poems, visual poems, short film poems and cinematic poetry by artists from all over the world (America, Asia, Europe, Africa). The second day will be the Live Improvisation Zone with multimedia poetry readings, concerts with experimental music, and performances.

We are inviting artists – poets, video artists, directors, producers – who want to visit the festival to present their art project at the Theatre. We can provide accommodation for three days (one day before the festival, during the festival and one day afterward).

The International Video Poetry Festival 2019 attempts to create an open public space for the creative expression of all tendencies and streams of contemporary visual poetry.

It is very important to note that this festival is a part of the counter-culture activities of Void Network and +the Institute [for Experimental Arts] and will be a non-sponsored, free-entrance, non-commercial and nonprofit event. The festival will cover the costs (2000 posters, 15.000 flyers, high quality technical equipment) from the income of the bar at the festival. All the participating artists and the organizing groups will participate on a volunteer basis.

The Institute [for Experimental Arts] invites the artists and creators of video poems to participate from their side in our effort to cover the expenses of the festival without private or state sponsorship. For this reason, we propose to the artists the suggested donation of 5 euros for the submission of their video poems.

Void Network began organizing multimedia poetry nights in 1990. Void Network and +the Institute [for Experimental Arts] believe that multimedia poetry nights and video poetry shows can vibrate in the heart of the metropolis, bring new audiences in contact with contemporary poetry, and open new creative dimensions for this ancient art. To achieve this, we respect the aspirations and the objectives of the artists and create high-quality, self-organized exhibition areas and showrooms. We work with professional technicians, and we offer meeting points and fields of expression for artists and people that tend to stand antagonistically to the mainstream culture.

HOW TO SUBMIT

  1. Click here to download and complete the application form
  2. Your participation is FREE. Please, if you can, add the suggested donation of 5 Euro (or more) to the following bank account:
    National Bank of Greece 04664860451 Iban GR2101100460000004664860451 Swift (BIC) ETHNGRAA
  3. Please, send the submission material via email as following:
    +++ via email:
    your video poems in mp4 or mov filedefinition(720 x 576, 1280 x 720, 1920 x 1080)
    the submission form and photos in .jpg file
    (all these in a single wetransfer file)
    Email: theinstitutecontact [at] gmail.com
    *please replace [at] with @ symbol to send email
    You can use wetransfer.com or any other FREE SERVICE to send us big files.
  4. It is very important to name your files (videos and still images, photos) as it is shown below:
    Title of video poem
    Artist’s name
    Country
  5. Be careful, you have to send only one email with the application form, the link to download, the video poems or the video poems archives, the still images of the video poems and any website of your art work projects
  6. We recommend you add English or Greek subtitles to your video poems even if the spoken language is in English as it will be easier for people outside the English speaking world to understand it.

We recommend you send your video poems over the internet. But if you prefer, you can also mail your DVD file to the following address:
INTERNATIONAL VIDEO POETRY FESTIVAL
TASOS SAGRIS
159 KREONTOS
SEPOLIA ATHENS
GREECE 10443
Please post it no later than November 20, 2019 (date of postmark) to the International Film Poetry Festival, Athens.
+ the Institute [for Experimental Arts] will inform you about your participation in late November 2019.

Documentation of previous events

Review of the 7th International Video Poetry Festival by Michael Mantas, Film Director

Photos of previous poetry nights organized by Void Network and + the Institute [for Experimental Arts]:
International Poetry Festival London Financial Consequences Festival- 9/2/2019 at LSE- Reviews & Photos
5th International Video Poetry Festival
SPEAK NO EVIL / poetry event in WEN. 21/10/2015 Thessaloniki
More photos from Void Network art, events and actions

Huntress by Janet Lees

Huntress is by Isle of Man poet and artist Janet Lees, who also shot and animated the images.

The piece encourages us towards a wider-awake vision, towards more sensitive ears, with attention facing both inwards and outwards, and on the perceptual spaces in between. True to the soul of our times, it is deeply moving and beautifully well-realised.

George Simpson is the creator of the soundtrack, providing a track called “Artemis”, from his album Still Points In The Turning World. Emotionally affecting, with an elegant and simple extended first movement, followed by expansion into expressive drama, the music coherently accompanies the visual and textual elements in an organic way.

All the elements of this video merge to become an audio-visual experience far more than any sum of its parts.

Floodtide by Ian Gibbins

Fellow Australian film-maker and poet Ian Gibbins asks in Floodtide how a city copes, and what does it look like, after years of drought, rising sea levels, relentless storms.

The video was shot around Adelaide, the Fleurieu Peninsula, Inner Suburban Melbourne, the Western Highway, and Far North Queensland. An only-slightly futuristic vision of a flooded urban landscape was achieved through the use of video compositing.

After The Incoming, The Overflow, our future lay within the tides, no turning back, no neap, no ebb, an undertow of uncertainty and doubt… Taunting us, an illusion of normality… We have run out of options, we are battling for breath…

It received the Honorable Mention at the Experimental Forum Film and Video Art Festival (Los Angeles, July, 2019).

Make America Great Again (Slogan) by David Hahn

A video collage by multi-media artist, Donna Kuhn, set to composer David Hahn‘s piece, “Make America Great Again”, addressing the contemporary political and cultural landscape of the USA, while alluding to historical ideologies of identity that have led to its present condition.

In a rhythm reminiscent of beat poetry, Hahn voices his own text in a rapid stream of hackneyed national slogans, turned upside-down and inside-out to powerfully convey the deranged zeitgeist experienced by so many US residents, and by masses around the world. His feverish mantras climax in the distilled and obsessive chant, “America, America, again, again, again, America, again, again”.

The video is made up of a kinetic array of visual elements including animated text, digitally-drawn art, abstracted numerical sequences, cartoon images, and superimposition of iconic movie clips with footage from World War II.

Hahn has been composing for 30 years, beginning as a performer on lute, guitar, and mandolin with groups such as the Boston Symphony Orchestra, the San Francisco Symphony and Opera Orchestras, Boston Musica Viva, the Seattle Symphony, Musica Nel Chiostro in Florence, and the City of London Festival. He served on the faculty at the New England Conservatory, where he co-founded the Boston Renaissance Ensemble, which toured extensively in the US and Europe.

Donna Kuhn’s experimental videos have exhibited internationally since 2004 at film festivals, museums, art galleries and online on literary and poetry sites.

The title of the piece is given on its Vimeo page as “Make America Great Again”, with the titles on the video itself suggesting the alternative name, “Slogan”.

Song of the Soil by Jessica Mookherjee

Jessica Mookherjee‘s poem “Song of the Soil”, from her collection, Tigress (Nine Arches Press, 2019), is given heartfelt filmic treatment by Helen Dewbery and Chaucer Cameron, under the auspices of their production house, Elephant’s Footprint. According to the book’s webpage,

Jess Mookherjee is of Bengali heritage and grew up in Swansea. She has been widely published in magazines, including Under the Radar, Agenda, The North, Rialto, Antiphon and Ink, Sweat & Tears. She is author of The Swell (Telltale Press) and Joyride (Black Light Engine Room Press) and Flood (Cultured Llama). She was highly commended in the Forward Prize 2017 for best single poem. Jessica works in Public Health and lives in Kent.

The poem expresses a deep connection to the Earth in an elegy of lost origins and disappearing ground. Giving further voice to these themes, the film is imbued with overexposed images of a natural world scorched yellow and burnt brown, and a soundtrack made ominous by ambient bass. Mookherjee’s solemn, rich narration rounds the elements of this powerfully organic piece.

The film is part of a series Helen and Chaucer have been doing for Nine Arches Press. They note that “The film-poems are not only viewed by Nine Arches’ existing readers and online audiences, but are a tool for their poets to engage more easily with their existing and new audiences.” The press, however, does not appear to embed any of the videos on the books’ pages, which is kind of baffling.

L’homme et la mer (Man and the Sea) by Charles Baudelaire

German film-maker Patrick Müller here adapts to the screen Charles Baudelaire‘s poem, “L’homme et la mer (Man and the Sea)”, from the poet’s most famous collection, Les Fleurs du mal (The Flowers of Evil), first published in 1857. This is his second adaptation of a Baudelaire poem, after Le Chat (2013).

The piece displays a distinctive approach by the film-maker, who shot it on the tiny and mostly obsolete super 8 celluloid format, popularised as a home movie medium from the time of its release by Eastman Kodak in 1965. Müller’s artisanal work includes hand-processing the film himself, then transferring it to the high-quality 4K video format for completion. This combination of analogue and digital creates uniquely beautiful images, with the sensuality of the film grain rendered in uncharacteristic clarity, and the choices in colour grading adding further to the poetry of the visual stream.

The softness and quiet passion of Müller’s voice entices us inwards to the text and the film. As with Caroline Rumley’s, Open Season, shared on Moving Poems yesterday, the soundtrack of L’homme et la mer is punctuated by sudden breaks to silence, as if to give moments of contemplation before beginning anew with the next fragment of the film.

The French-English translation of the poem in the subtitles is by Lewis Piaget Shanks (1878-1935).

Müller’s detailed process notes on the film may be read at filmkorn.org.

Open Season by Caroline Rumley

From Caroline Rumley, a film-maker/poet I admire greatly, this is Open Season, a melancholy response to living in the USA since 9/11. Rumley’s description on Vimeo:

After reading Albert Samaha’s powerful reporting on the first hate crime after 9/11 in the United States, I was inspired to make this found footage retelling of a glimpse of his story.

Here’s the Buzzfeed article she drew upon for her information and some of the text.

There Are Bullets in This Poem by Jan Bottiglieri, Chris Green, cin salach, and Tony Trigilio

This is Semi-Automatic Pantoum, directed by Matt Mullins, made to accompany the collection Semi-Automatic Pantoums: A Collaboration on Gun Violence [PDF] by the Chicago-based collective Poetic Justice League. According to their origin story,

In 2018, in the season of Donald Trump and longing for another time, Chris Green was driving down a Chicago road to see his poetic super heroes Jan Bottiglieri, cin salach, and Tony Trigilio. He proposed The Poetic Justice League, a group for poetic non-silence on the big issues of the day. They dreamed up PJL to unfold group poems, to wake up poets and readers to a sense of newborn responsibility. [links added]

The pantoum is one of those forms with repeating lines, which makes it a good if macabre fit for the subject of semi-automatic weapons and the semi-automatic reactions of various political factions to the American epidemic of mass shootings. Matt Mullins added some lines of his own to the video, but otherwise the text is the same as “There Are Bullets in This Poem” (page 5 of the collection). As Matt said in an email on Monday,

It’s intensely disturbing that these horrific mass shooting events just won’t stop happening (I write you this the morning after we realize that families can’t even go to a food festival without being murdered by someone with an assault rifle.) American gun violence has gone far beyond insanity, and yet, as we all know, the politicians in the palm of the NRA will do nothing.

To write your own semi-automatic pantoum, see the collective’s instructions for teachers.

The Poetic Justice League hopes that high school students form their own PJL chapters! You will receive a PJL hat and will be included in all publishing and promotional ventures . . . and we will continue to include you in all future PJL political poetry adventures.

The only requirement is that students contribute their own collaborative political poems modeled after PJL projects. For now, we’re seeking semi-automatic pantoums–we will post the pantoums on our site.

City Swans by Bernard O’Rourke

Bernard O’Rourke is an Irish writer, film-maker, and spoken word artist, new to Moving Poems. Filmed along Dublin’s Grand Canal, his City Swans reflects discontent and restlessness within the enclosures of city life. The poem is richly voiced by Bernard himself, woven into the melancholy whimsy of Brendan Carvill’s guitar chords. As an ensemble, the piece evokes a sense of sky-born hope glimpsed in lowly places. It was a finalist in 2018 for the Ó Bhéal Poetry Film Prize at the IndieCork Film Festival, Ireland.

Alphonso’s Jaw by Sarahjane Swan and Roger Simian

Recently I became part of an international collective of artists called Agitate:21C. In its short existence, it has attracted about 300 outstanding experimental, avant-garde, and generally ‘other’ artists from around the world, including film-makers, poets, curators, critics, lovers of the arts, and just about any kind of alternative creator, focused on any medium, genre, style or form.

Originally part of a larger art installation created for Alchemy Film and Moving Image Festival, Alphonso’s Jaw was the first poetry film I found via A21C. It is written and directed by Scottish artists Sarahjane Swan and Roger Simian, also known as Avant Kinema. Sarahjane appears in the film and voices the piece in English and French. I find it virtuosic in its fusing of word, soundscape and image, as well as deeply moving in its meditation on the timeless horrors of war in the lives of individuals.

This is an excerpt from what the artists have to say on the film’s page at Vimeo:

The installation, and our subsequent short film, were inspired by our fascination for two objects we discovered amongst Edinburgh University’s Anatomy Collection: (1) the cast of a disfigured face; (2) a prosthetic jaw constructed on an early nineteenth century battlefield.

Through some research we unearthed the story of Alphonse Luis, a young French gunner struck by shrapnel at the Siege of Antwerp, 1832. Having suffered horrific facial injuries, losing his lower face, Alphonse’s quality of life was eventually improved when the Surgeon-Major and a local Belgian artist collaborated on the construction of a silver prosthetic jaw, painted in flesh tones and adorned with whiskers.

We uncovered historical accounts of Alphonse Luis’ injury, surgery, recuperation and rehabilitation in medical journals of the day, and drew on these for an exploration of identity, disfigurement and reconstruction.

In Alphonso’s Jaw we imagine that Alphonse Luis has become dislocated from history to exist outside of any specific time or place, trapped in eternal convalescence, soothed by the dreams of his Battlefield Muse, who is equal parts Night Nurse, Scheherazade and Beauty from Beauty and the Beast. Luis’ Battlefield Muse is, in turn, both horrified and fascinated by her patient.

The poem, titled “Beauty and the Silver Mask,” can be read at Avant Kinema’s blog, in both its full English version and the short fragment of it spoken in French, which was translated by Raymond Meyer.