SCREENINGS Kino Arsenal, Atrium
Sat. May 6
6:00 p.m.: Presentation in the atrium
Stephanie Taylor – Reading / Performance
Stephanie Taylor will read from poems that were created in connection with her artistic work. Taylor's images and projects are created from text inventions, from linguistic combinations and chance narrations. The reading will be accompanied by slides and musical works.
7:00 p.m.: Kino Arsenal 1
with an introduction by Stephanie Taylor
OTHON Jean-Marie Straub/Danièle Huillet F 1970
Film based on a later work of the French poet Corneille (1606-1684). The setting is Rome in the first century at the end of the reign of the emperor Galba and during the power struggle over his successor. Straub/Huillet's film uses the historical material to show a continually current problem: that politics is done by a few who rule over the many. Through a strict, almost ascetic presentation of the image and a very particular manner of using the text of the source poem, the film opposes a conventional "reading" on a formal level, and in doing so it snubs the visual expectations of the audience.
The connection between the film and Stephanie Taylor's work arises at the textual level. Taylor works very associatively with text and images: out of one word comes a sentence, out of the sentence a story, and out of the story come posters and drawings.
1. Valsalhalal's Tin Gun
Such skies not seen for a week
And storms askew on the sea
These torrents, bellowy
Miles like a rapid ghastly river
streams strewn ashore
cries disguised in fowl weather
gust on the Isle of War!
In showers, the capsize, yachting corps seek
Obscured, tossed crews washed to the seas
A conundrum rowing
gulf flight fulfilled
The skid's demand?uc0 ?Thored oars?u150
dire, jeopardized and lines unteathered
robust rank of nile
its land- snares of weather.
the maddest sting of Titan deluges
Bray spreads over bower
of the methodical nautical hun
A skylark, a thousand drips has downed
Imperialized, will hatch his kin
an onerous mass with mantis eyes
The Annonayites bray nor spun a sound
Fie. Hark- dusty silence-
as he wanders around.
Mutilation of a cadet
accumulation of regret
perspiration, cold sweat
unwanted love, conceit and war,
one hunted dove- cold feet and core.
Tow thine kin and flea the threat of drub
Tiptoe benumb sub fret squint
snow shrub by sea, net, tin, splint
scrub to glint
eat them up!
shrubs fret, squint
Tiptoe, benumb, sub, fret, hint.
In tow- who stows Valsalhalal?
Some yet shall.
2. Gutter Foal
Dare does the clan,
bold come dawn.
Dew-sieved kin hush who?
Quay scad fro any rill,
skid scant snow-jut-
rue the flue.
Scoff the assay,
a brick knells.
Bow cold land- blue ash, green vine.
More weight, a cut- gulls fan from afar
Stirred to snit- half fly still.
Be brave then, glum moth.
Bore your knifed bow for key.
Blaze taunting stunt fool spring- phantom
as bats who slice and soar.
A briar crow bores three days wrong.
is that so?-
flew thrice and tore?
Fife, throw your glee, raise song.
Sing, band, chime!
"Gats blue splice the shore.
Roar wife no more!
Pour thy rife-sloe, Spore, thee!
Interpose torpor's true decree
Floor fife, low roar's plea-
fishwife, scad's fine filigree.
Doff thy allayed kick- yell, crow old hand.
Do smash thine preen and grate."
Roar nut man
with armored skull
as the cur that bit the calf,
the sky, the hill...
Snore Strife, go four keys.
An hour skives three.
Nor wife, nor flea-
Go Thor, flee.
He brays fine-spun.
Erelong bells ring.
Canned crime; vats brew vice.
Off and away thick spell- glow, fold!
Thor's knife from bow to porpoise
or ordinary dromedary...
A tomb analyzed before.
alas, brave roan, her gals lie low
minutia calaboose at bay
began duck thin
lest gut rides tail.
Molt them below,
"Throw bit loose, man-Know!
Pass or eat the crow!"
Some scar- hard spur- flit, laugh, die, kill.
A finer gait-
A gutter foal- Lanar
cajoled, miscued dawn's scarred forehead whom few bait.
Aweigh apogee's crooked dell.
Laugh spry gill!
An ox, a rhinoceros
blooming twenty eight paws, cells grow.
Brawn's abrogate granule so entomb.
Honor's oars led a spume's crew-
a gate of jaws tell so-
heaven's red door.
Festooned and ongulled, Anisar roars.
sheds flumes to flue-
thinned straws bestowed.
Ill-advised in vain
inveigh hunches' chimes- a weighted ton.
Impasse outweigh unwon.
Chimes span fayed guns.
Kith flout. Wren flee dread.
Three fronds spar with cloaks flexed
Flea-tipped stems fall in bounty.
Grand went them, flew dead.
Glens of the bay
step and tremor slate greens
mends a hep, tender freight gleans.
Few scows land on the sand's cue.
The blue prow's grandstand grew-
drew its bough,
canned and bland and overdue.
"Old man," Ellis chimes,
"A Sampan of shell-bus-prime
outran then fell to muss and grime."
"Were woe, clog and rust plenty heard?"
"Sir, though fog just then sees the bird.
And her dust", spoke Ellis Frog,
"gusts when it flees dirt."
Shoes crept tender,
then see specks, stunned.
A zoo wept,
bestirred when she wrecks her tons.
Been three wren on the fence- Dove.
Caught the tack of dun,
They catch the flack and run.
Love fraught with clack spun.
The shore sought the knack of the sun.
But a grin's wrath flays,
shoves- is a gun in a chin:
soot and strep, a wheeze,
a glare, curled, sand in the eye, tar!
Bide ill's freeze with fur in a hut, fire lit.
Sing brave in a frock by a vat of pome,
wise of a shrew's creed- course.
Rip and shred like a peach and ten plums-
light like a tin carafe half emptied.
Prep roots for the shove of trees
where hurled grand ("Fie!") scars be.
Shrill spurs chide.
Fleas strut- a twit's song- the knaves!-
Gnats in loam pocks, flies-
a crew breeds with force:
the floor, the doors.
Nips to bled- a leech to men hums,
A crone- slate locks pour- mothers.
Grown to eighty-four- her druthers.
Pone, a plate: "More!", she smothers.
Her flex (her guise):
her grin pleas when tense.
Vexed, she whirs, cries, spins her keys, then vents a hex.
Spurs, flies pin trees, men.
Thence wrecks, sir- dies.
The plan dim above- blurred-
whims null of were.
Can his skull's love stir as his limbs run?
Gulls and doves whir as the hull's slim side nears the shore.
3. East Yard
Tear as a gull hops over land!
Mitts (his were like fins),
dare his skull to sop troves in a blur,
fanned the pits, death's frizzy chin.
Aisles of dun, vines of string,
flowers, trees and dove dread a smile.
Run, mine king!
Scour for fleas,
glove dead cells and bile.
Shun the spine which clings and cowers.
He fled to dwell a mile under,
a line brings a tower to flee
of red gell in a vile,
spun thine ring.
An hour, see a head
swell, a ton of brine
flings a shower.
A sea bled its spell.
Steer your rakes,
wield your four fists (a sieve),
stir, veer, shake and reel.
Oars and chest give fur.
Sub-grist down bends through.
Damp spheres span the pit.
A hub of twists drown and blends new ramps,
clears then sits: a spry, squat, mowing shove.
Mothers straight and good gather,
pry through clots slow
as doves and others wait.
Should blathering, sly tots tow their druthers?
(bate could slather).
Why ought he row, mother?
Gates could climb and give that den less time.
That, men stress.
Prime stats when pressed- slime's rat.
Then yes, the shy know fate:
Wood dies and rots low,
What feints, once stood.
Dug dry seeds, far wended plots of peas.
Kneel and crawl in specks of dew, wan and slow.
Spray ants; block and nab the crass hags in fives-
a strong rinse, a tide.
Fling stones with deft skill,
chives from the sad squish of land.
Greens from slots; plants bred and reared.
A spritz lapped, sun-sprayed.
Shut, shall thus yet spur a perk
of straight Scotch poles thrice sweet in pairs.
A yard spurs from sleep.
Knell and strike the palm- a toast!
In time, that glen does tug a shy creed
(scars but mends amidst not seen squeals)
A fall has in fact been a flex.
A true dawn glows: its rays a lance.
Stabs pass in zags and thrive.
Hawks throng, hints eyed.
Flown, wings thrill of theft and dive.
A sum of tads¬- a dish- is grand.
The fiend plots, the ants spread
and nearly quit, trapped.
Slimy rats then buzz, eyes smug-
they feed, are ends for rotting peas.
A meal mauled by chins
in treks of chew, supped.
Brawn mowing prey prance
like crabs in grass- snag and dive-
each lock and prong, mincing hide.
Sagging hives- a coo-coo's song of wincing strides.
A zone of spring, a cleft hill thrives and hums,
had fish and fizz-
a band of genes squat in slants and fed.
Set as err in murk-
a state of spliced souls in heat and glare
blurs the scarred deep.
Cells spike a common coast and climb
fat in the pen, lugs of plys and reeds- a year of tens- a lot.
a lawn grows and strays.
A chance for slabs of lass and ragged lives,
a crock of wrong tints- dyed.
A tone rings shrill but strives and drums.
A clanned splish is canned and cleaned.
Groans of kings, still left live-
though numb and mad-
5. Chop Shop
For the sake of the spree bring a scarless skin.
A blooming few, filing quickly past the pack,
going then- hurling buoys- to the hunt.
A ton to tend and comb
then whole to set till morn.
Writ of crime: coning, cheating skulls.
like bad burning strep, erring parts, pens frozing numb.
Fleas, louses, hawk prongs clucking.
Tarred scags planning trips in boats.
Run rend the stolen chrome, men!
Breaks, three sides- the thing is tin...and charred.
The fumes flew miles.
Ajar, dragging the fan strips the coats.
Smart were the hens who chose to hum.
"Seize the grouse," says the strong squawking duck.
Nicked jacks towed, sworing earls.
Ploys blunt and grit slime spatting
that lulls pawns and beats the sylest cad.
Reading / Performance
Sat. May 6, 2006
Reading / Performance
READERS WITH AN ACCENT
Stephanie Taylor - Lesung "Readers with an Accent"
Stephanie Taylor liest aus Gedichten, die im Zusammenhang mit ihrer künstlerischen Arbeit entstehen. Taylors Bilder und Projekte entstehen aus Text-Erfindungen, aus Sprachverknüpfungen und Zufallsnarrationen. Die Lesung wird begleitet von Dias und musikalischen Arbeiten.
Taylor arbeitet in assoziativer Weise mit Texten, und Bildern: aus einem Wort wird ein Satz, aus dem Satz eine Geschichte, und aus der Geschichte werden Poster und Zeichnungen. In der Ausstellung Poor Man´s Expression zeigt sie eine Version der Arbeit
OTHON Jean-Marie Straub/Danièle Huillet F 1970
Mit Einführung von Stephanie Taylor
Verfilmung eines Spätwerks des französischen Dichters Corneille (1606-1684). Handlungsort ist Rom im ersten Jahrhundert am Ende der Regierungszeit des Kaisers Galba und der Machtkämpfe um seine Nachfolge. Der Film von Straub Huillet nutzt den historischen Stoff, um ein immer wieder aktuelles Problem aufzuzeigen: dass Politik nur von wenigen gemacht wird und viele beherrscht. Durch eine strenge, nahezu asketische Bildgestaltung und einen sehr eigenwilligen Umgang mit dem Text der Vorlage widersetzt sich der Film auch auf formaler Ebene einer herkömmlichen »Lesart«, wobei er die Sehgewohnheiten des Publikums mitunter erheblich brüskiert.
Die Verbindung zwischen dem Film und der Arbeit von Stephanie Taylor entsteht über den Umgang mit Bild- und Textebene. Stephanie Taylor notiert zu OTHON:
"Les yeux ne veulent pas en tout temps se fermer ou Peut-être qu'un jour Rome se permettra de choisir à son tour" (Othon)
"Philosophy is written in this grand book? I mean the universe? Which stands continually open to our gaze, but it cannot be understood unless one first learns to comprehend the language and interpret the characters in which it is written. It is written in the language of mathematics, and its charcters are triangles, cirlces, and other geometrical figures, without which it is humanly impossible to understand a single word of it; without these, one is wandering about in a dark labyrnth."
1623, Il Saggiatore, Galileo Galilei
Othon portrays a world cut with filters of accent, in which actors read rather than act. As Bresson writes in Notes of a Cimematographer, "Model. Preserved from any obligation toward the art of drama." Accent is portrayed as character. A song of recitation: intonation shifting melody within the parameters of its constraint. Each scene is a book page accompanied by a photograph, still and enduring and passive.
With the absent burdens of movement and emotional expression, sound sequences of the text become a melody audible because extracted from an otherwise distracting environment. Semantic meaning at moments evaporates amidst an even beat of syllables. A world divisible by units of sound in the audible world and geometry in the visible world occasionally cannot hold itself together. Meaning (in the form of plot, genre or character) is vulnerable to dissolution in the face of archaic wording or persistent repetition. An accent may change a tone sequence enough to produce estrangement in the form of a syllable parade recognizable as nothing more than sounds.
As for the presentation, I am planning on doing a reading which will relate to the above writing. It will be more poetic than expository. I am considering giving a small introduction in which I read the finished version of the above text before readinng some past writings.
Stephanie Taylor / READING