Conceptual Poetics Day 2018
Mariana Castillo Deball


Saturday, May 5, 2018, noon – 7 pm

Miss Read Stage
Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin
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12:15 Michalis Pichler  
against the imaginary border between visual art and literature (Introducing CPD18)


12:30 Mariana Castillo Deball 
Ixiptla 4

‘Ixiptla’ is a journal about trajectories of anthropology, initiated by the artist Mariana Castillo Deball. Published in the context of exhibitions or art events, ‘Ixiptla’ takes the form of a highly visual magazine with substantial essays by anthropologists, archaeologists, artists, and writers. The Nahua ixiptla concept has been translated as image, delegate, substitute or representative. ‘Ixiptla’ could be a statue, a vision or the victim that becomes the god for human sacrifice. The various ixiptla of the same god could occur simultaneously. ‘Ixiptla’ derive from the particle xip: skin, cover, shell; is the container, the recognizable presence, the update of a force embedded in an object: a being there, removing the distinction between essence and matter, original and copy. 

13:00 Nemanja Mitrovic 
The (Im)possibility of Literature as a Possibility of Ethics (Delere Press), ­moderated by Patricia Reed

Mitrovic will read from his new work, in which Blanchot’s reworking of Levina’s concepts will first associate the passage from je to il with the impossibility of death. Second, a perspective will open on art's capacity to offer an experience of fundamental alterity in which the time of time’s absence will be described as the temporality of artwork, but also as the temporality of the other.

13:30 Jeremy Fernando, Jennifer Hope Davy, Julia Hölzl 
[Given, If, Then]: A Reading in Three Parts (Punctum), ­moderated by Patricia Reed

[Given, If, Then]: A Reading in Three Parts is a book project which attempts to conceive a possibility of reading, through a set of readings: reading being understood as the relation to an Other that occurs prior to any semantic or formal identification, and, therefore, prior to any attempt at assimilating, or appropriating, what is being read to the one who reads. The first reading by Jeremy Fernando, “Blind Reading,” unfolds through an attempt to speak of reading as an event. As such, it is a meditation on the finitude and exteriority in literature, philosophy, and knowledge; where blindness is both the condition and limit of reading itself. Folded into, or in between, this (re)reading are a selection of photographs from Jennifer Hope Davy’s image archive. They are on the one hand simply a selection of ‘impartial pictures’ taken, and on the other hand that which allow for something singular and, therefore, always other to dis/appear—crossing that borderless realm between ‘some’ and ‘some-thing.’ The third ‘reading' is a writing on images on writings by Julia Hölzl. A responding to the impossible response, a re-iteration, a re-reading of what could not have been written, a re-writing of what could not have been read; these poems, if one were to name them such, name them as such, answer (to) the impossibility of answering: answer to no call.

14:00 Lars Blunck Duchamps Readymades (Edition Metzel) & Dieter Daniels THE READYMADE CENTURY (Spector Books) moderated by Deborah Bürgel (presentation in German)  

Marcel Duchamp hat in den 1910er Jahren nicht Alltagsgegenstände zu Kunstwerken erklärt. Vielmehr begründete er mit dem Readymade eine radikal neue künstlerische Praxis, die er in hohem Alter nochmals konzeptuell pointierte. Duchamps Readymade rekonstruiert diese andere Geschichte des Readymades und beleuchtet dessen Rezeption und Nachleben in den Werkpraktiken von nachmodernen und zeitgenössischen Künstlern. Marcel Duchamp has not declared everyday objects into works of art in the 1910s. Rather, he founded a radically new artistic practice, which he pointedly conceptualized at a ripe old age. Duchamps Readymade reconstructs this other history of the readymade and illuminates its reception and afterlife in the artistic practices of late-modern and contemporary artists. The Readymade Century examines Duchamp’s readymades from two perspectives, beginning with the genesis and consistency of Duchamp’s concept in the first 50 years of the “readymade century,” 1916 to 1964. The second part, “Readymade Exposition,” describes the history of the readymade’s reception, which extends far beyond Duchamp’s lifetime.

14:40 Jurczok 1001 
Spoken Beats Spoken Word-Performance (Edition Patrick Frey)

Jurczok ist Spoken Word-Künstler, Sänger und MC in Personalunion und gehört zu den Spoken Word-Pionieren der Schweiz. Bereits seit 1996 tritt Jurczok mit Texten auf. Er dehnt seine Worte zu einem geschmeidigen Sound, spricht sie rhythmisch an der Grenze zur Human Beatbox, rappt sie, loopt sie und begleitet sie mit mehrstimmigen Gesang. Mit eigenwilligem Humor und einnehmendem Charme. Spoken Beats nennt sich dieses virtuose Format, für das Jurczok mehrfach ausgezeichnet wurde. Zahlreiche Auftritte, u.a. am Poesiefestival Berlin, Günter Grass-Haus Lübeck, Kimmel Center Philadelphia, Kaufleuten Zürich. Im März ist das gleichnamige Buch mit einer Sammlung seiner Bühnentexte in der Edition Patrick Frey erschienen.

15:00 David Desrimais 
Language and Image in the Digital Age (Jean Boîte Éditions)

If I need to summon this online feeling and there is no electricity, what can I do? What are the textures, the smells, the weight we could to associate to digital feelings? Here the feeling serves as an element of preservation, and the physicality of things as a way to think perennial in digital.” Based on each participant digital practice and knowledge, and crossed with David Desrimais (Jean Boîte Éditions) know-how, this workshop is a round-trip from digital to analog feelings, and back. On the forunds of recent history, we’ll go browse few case studies (notably some detailed stories about two books: Google, Vol.1 by King Zog and Theory, by Kenneth Goldsmith), our expectations about AI and uncreativeness... Aiming to one expectation: what’s next in our need to produce artifacts that are bridges from screen to bookshelves.

15:30 Simon Morris 
DO or DIY (Information as Material)

DO or DIY, a two-part essay, concerns itself with the history of self-publishing (first part), looking back at some of the monuments of literary history, to then take its charge from the epigraph, ‘Institutions cannot prevent what they cannot imagine’, and look forward, as it relates to publishing, to the political praxis of the 21st-century’s digital future.

16:00 Sharon Kivland 
A Lover’s Discourse – Un discours amoureux (MA BIBLIOTHEQUE), a reading with Adeline Mannarini

Kivland read unsolicited ‘encounter’ emails as if they were intended for her alone in a sincere desire for a real love relation, until their repetition bored her. She posted them on Facebook, while she sought their form. Her friend A. C. wrote to tell her how much he was enjoying her lover’s discourse. The form became clear: after the French edition of Roland Barthes’s Fragments d’un discours amoureux (“Tel Quel”, Seuil, 1977).

16.30 Sean Ashton 
Living in a Land (MA BIBLIOTHEQUE & Eros Press)

Living in a Land is a novel written almost entirely in the negative, consisting mainly of things the narrator has never done, no longer does or will never do. Given that what he has not done is more diverse than what he has, there is much ground to cover, and he approaches the task with arguably greater zeal than a conventional diarist. A study of the conceivable versus the actual, the personal versus the universal, idiocy versus logic, black versus white, circles versus squares, renting versus buying, Living in a Land is a chronicle of a mind fighting its own oppositional nature, a portrait of a hypothetical man.

17:00 Hannes Bajohr 
Halbzeug (Edition Suhrkamp)

Wo alles Text ist, weil alles Code ist, gibt es kein Werk mehr, nur noch Halbzeug, vorgefertigtes Rohmaterial. Bilder, Filme, Töne, Wörter – im Digitalen ist alles offen dafür, wieder und weiterverarbeitet, transcodiert und prozessiert zu werden. Hannes Bajohrs Lyrikband beweist, dass aus recycelten Texten scharfsinnige Gedichte entstehen können. Inspiriert von der Avantgarde der Moderne, bedient er sich der Technik des 21. Jahrhunderts: Mit Hilfe von Algorithmen hat er u.a. die Romane Kafkas, Bundestagsprotokolle oder Klimaschutzberichte fragmentiert, transkribiert und neu geordnet. Seine Gedichte eröffnen so einen ganz anderen Blick auf Rezeption und Autorschaft im Zeitalter der Digitalisierung.

17.30 Annette Gilbert 
It’s the idea that counts

Following the supposed de-materialization (Lucy Lippard) in conceptual art, Anette Gilbert will examine the possibility of immaterial literature in conceptual writing. She will talk about examples such as The Invisible Book (Elisabeth Tonnard) and CRUX DESPERATIONIS issues, which include only imaginary works.

18.00 Karl Holmqvist 
You Blew up my House

Manifesto for the 21st century. A spoken word reading that mixes pop culture with song lyrics and political slogans.

18.30 León Muñoz Santini 
In the body that is not here. 14195 causes of death (Gato Negro)

Exhaustive list of all causes of death registered by the Ministry of Health of Mexico.  Meticulous and exhaustive taxonomy of decease; classified by type, gender, family and circumstance.  Instrument usually used to prepare a death certificate. An eloquent part of the bureaucratic codification of life and death.  In the context of a country, México, where over the last years people disappear by thousands —mainly for necropolitical and corrupted necroeconomical reasons—;  for which even having a cause of death is a denied Right, this book is a humble form of denunciation and homage.