MLA Off-Site Reading
Jan 8, 2011
7pm doors / reading 7:30pm

801 East 4th Pl.
Los Angeles, CA 90013

The traditional MLA-offsite marathon reading -- over sixty poets from across the country, reading for 3 minutes each -- brought to you by Andrew Maxwell, Mathew Timmons, Joseph Mosconi, Ara Shirinyan and Brian Kim Stefans.

More complete information, including directions and restaurant/bar suggestions, can be found at http://www.poeticresearch.com.

Readers include:

Aaron Belz
Aaron Kunin
Allison Carter
Amanda Ackerman
Amina Cain
Andrew Maxwell
Andy Fitch
Anna Joy Springer
Ara Shirinyan
Barrett Watten
Bibiana Maltos
Brent Cunningham
Calvin Bedient
Carla Harryman
Catherine Daly
Cathy Park Hong
Christine Wertheim
Clay Banes
Daniel Tiffany
David Lau
David Lloyd
Dawn Lundy
Deborah Meadows
Diane Ward
Douglas Kearney
Duriel Harris
Eleni Stecopoulos
Grant Jenkins
Guy Bennett
Harold Abramowitz
James Meetze
Jane Sprague
Janet Sarbanes
Janice Lee
Jena Osman
Johanna Drucker
John Pleucker
John Tranter
Jonathan Skinner
Josef Horaceck
Joseph Mosconi
Joshua Clover
Julia Bloch
K. Lorraine Graham
Kit Robinson
Linda Lay
Lisa Sewell
Marcella Durand
Mathew Timmons
Matias Viegener
Michael Hennessey
Molly Bendall
Noura Wedell
Patrick Durgin
Rae Armantrout
Rocío Carlos
Rodrigo Toscano
Román Luján
Ronaldo Wilson
Sarah Dowling
Stuart Krimko
Susan Schultz
Ted Pearson
Teresa Carmody
Therese Bachand
Timothy Yu
Vanessa Place
Will Alexander
William Mohr


Fluxfest - Chicago 2011

Please Join us to Perform and Congregate : at the MCA – Chicago, week of Feb. 15th – 20th, 2011.

organized by Keith A. Buchholz and Picasso Gaglione.
A weeklong exploration of Fluxus activity, from it’s earliest scores and actions, to contemporary re-interpretations of classic scores, and Recent works by Contemporary Fluxus Artists.
Held inside the Museum of Contemporary Art - Chicago, Illinois
February 15th – 20th, 2010

Tuesday, 2/15 12:31 P.M.
The New Fake Picabia Brothers ( Picasso Gaglione / Keith A. Buchholz )
Guitar Kick ( Robin Page ) Performers kick a guitar throughout galleries, until guitar is completely dismembered. – Classic performance score by an anchor artist of the british “school” of 70’s Fluxus.

Tuesday, 2/15 6: 35 P.M.
The Chicago Fluxus Ensemble - Classic Scores and Interventions
Founded in 2009 by Hannah Higgins, Simon Anderson and Alison Knowles, The Chicago Fluxus Ensemble has performed multiple times with Fulcrum Point’s New Music Series. ( Simon Anderson, Picasso Gaglione, Jeff Abell, Sally Alatelo, Keith A. Buchholz, Joshua Rutherford, Jessica Feinstein, Kyle White, Darlene Domel , and others. )

Wednesday, 2/16 12:03 p.m.
“ Eternal Networking “
Guided by artists Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Andy Oleksiuk, Adamandia Kapsalis, Neosho, and others, Visitors will have the ability to interact with the Postal Art Network. Supplies for Collage, Stamping, and Postal Mail Making will be provided, along with insights, and guidance into making works which will be sent into the “Eternal Network “.

Thursday, 2/17 12:15 p.m.
3 Durational Works
1. Premiere of “ Time / Space Ritual “ a New work by Keith A. Buchholz, involving the layering of sound and manipulation of found sources through 4 turntables, influenced by Nam June Paik’s Turntable manipulations and Steve Reich’s Tape Loop work. Duration : 60 Minutes.
2. Premiere of “ Magic Mushrooms” a New work by Andrew Oleksiuk, Utilizing Live telepresence, Virtual FLUXUS Performance in Second Life, with special guest performers. Duration 60 minutes.
3. Dragging Suite - Nam June Paik Performed by Picasso Gaglione, Darlene Domel, Keith A. Buchholz, Allan Revich and others, Paik’s Suite calls for the dragging of multiple dolls throughout the space. Comical and Irreverent, this is a Paik work not often seen. Duration 45min – 1 hr.

Friday, 2/18 12:36 p.m.
TRISTIN TZARA - performance by Miekal And, Camille Bacos .
Explores the relationship of Tzara to his hometown, with filmed imagery, and spoken word.

DADA machine FLUXUS ( Darlene Domel, Keith A. Buchholz, Picasso Gaglione, Andy Oleksiuk, and others.)
* Expected guest performers include Melissa McCarthy (Flux- New Hampshire), Reed Altemus ( Fluxus Maine), Jennifer Kosharek ( Fluxus South), Cecil Touchon ( Fluxus-Texas), Allan Revich (Fluxus Canada) as well as other incoming Flux-Folk.
Manic Re - Interpretations of Classic Fluxus Scores, as seen through the direction of Picasso Gaglione.

Saturday, 2/19 12:34 p.m.
Contemporary Fluxus Scores interpreted by their authors and members of their circle.
A sampling of recent work, performed by contemporary artists from the Fluxus community, many of whom are coming to Chicago specifically to perform at these events. Artists from throughout the U.S.and Canada (and possibly Mexico as well), will converge to perform their recent scores.
* A commemorative Zine of scores will be published by Fluxpress in conjunction with this event, and will be distributed free to MCA visitors during these performances.

Saturday, 2/19 7:13 p.m. ( OFFSITE )
The New York Correspondance School of Chicago Dinner
In Keeping with the traditions of Ray Johnson’s New York Correspondance School, it’s Chicago Affiliates will host an informal dinner gathering at a downtown location TBA. Members of the Chicago Fluxus and Mail Art communities as well as incoming performers and guests will be in attendance. The public will be notified of time and place, by flyers distributed throughout the week at the MCA.

Sunday, 2/20 12:33 p.m.
A variety of Classic and Contemporary Fluxus scores, interpreted by Contemporary Fluxus artists.
This performance gives Contemporary performers the opportunity to present works from the 50 year canon of scores, that personally resonate with them. Performances will undoubtedly be insightful, and will run the gamut from irreverent to introspective. ( discussion with the artists to follow. )
* artists will include all involved during the “Fluxweek” and will conclude the weeks activities.

* As part of the weeks activities, Posters, Flyers, Stampsheets, and Booklets will be printed and distributed freely to visitors at the museum. ( Ephemera is an integral part of the Fluxus practice).
December 31, 1999
Ewa Lipska

All the poets will write about it.
Even the illiterate ones.
There will be rumors that it is the last.
That after this, comes only metal-plated fear.
A compass drawing square.

But the night won't be childless.
Taking by surprise the doubting suicides
and gullible priests,
the New Year's infant
will scream at midnight.

The sudden hawk of a wind
will bend the willow.
The compass will indicate
there is no other choice.
The usual drill of the hours.

Your birthday. Despite everything.
A compass drawing a square.

--tr. Robin Davidson and Ewa Elzbieta Nowakowska, The New Century (Northwestern)

Here's a link: http://poland.poetryinternationalweb.org/piw_cms/cms/cms_module/index.php?obj_id=423

Poets, even illiterate poets,
will write, even rumors.
After this, metal-plated fear.
A compass draws a square.

The night won't be childless:
taking by surprise suicides
and gullible priests,
the New Year's infant screams
after midnight.

The sudden wind bends the willow;
compass indicates no choice but the drill of hours.

Your birthday. Despite everything.
A compass drawing a square.


areas of narrative practice

-- externalizing conversations (dialogue?)
-- re-authoring conversations
-- re-membering conversations (identity and perceived identities in relationship)
-- definitional ceremonies
-- unique outcome conversations
-- scaffolding conversations
john oliver hobbes = Pearl Craigie
frank danby = Julia Frankau


We read poems which are quite lengthy which were written before novels were written, and poems which are primarily statements of poetics, novels, plays, etc.,
long poems with models which are long works (poems incl. epics, plays, works of fiction, non fiction, and/or novels),
long poems with sources which are long works (poems, epics, plays, works of non fiction, novels, and/or entire bodies of work by another author).

We read poems inspired by a false vacuum (lack of women's epics).

I think it is right to introduce the POstMOdern long poem when talking about long poems (I like "big poem" since it seems to me that some shorter poems are big), lyric series, and narrative long poem, because I think it is right to include the varieties of contemporary practice in our conversation.

We read poems which achieve length (or amplitude) in various ways: lyric "linking," semiotic development, dialogue, narrative/plot/voice/story, collage, and the like.

In one personal example, my long book (2d&i) was reviewed as including (long poems in and of themselves) poems written as the apparatus of a book (concordance, index, toc) as "a joke about getting beyond the page length minimum," but that's not why I wrote those poems. The new series by the same publisher amps up the length to --- I think? can't find the letter of invitation -- books of more than 1000 pages? In order to exclude books like my much shorter 300+ page book, which I actually personally wrote, in favor of machine-written (once programmed) or improvised variations and translations.

In another example, I wrote some of the only flarfy long poems (six of them) in my critique of flarf and first of my Kitty books, Secret Kitty (free at Ahadada Books, and I am an acquisitions editor there, so...), BECAUSE for no apparent reason poems written using search engines did not take into account 1) what was indexed, and 2) reinscribed lyric-narrative practice (including paucity of long works).


think it is important to begin to talk more about women writing long poems now that -- as opposed to about a dozen years ago, when the list read several -- everyone writes at least one. There was a time when trying out long poems marked the post-MFA experience, where the MFA was spent writing the type of two-page-and-under poems many workshops used as an upper limit, and then collecting the 36-48 poems into a "slim volume." So the second project -- was often a chance to "get beyond" the artificial limits of the classroom.

Even MFA programs have moved past that. There's been some convergence between the book length poem and the book length poetry project, where because of derivation from the same source or operating to exhaust a subject or..., the poems are so coherent they operate as series rather than collections. I think of this separately from novels in verse and the long narrative poem, although I'm not sure why I do. I guess because if I were going to write a novel, I would probably market it as a novel rather than as a novel in verse, because I don't really see the difference.

But there's something more important: the loosening of publishing restrictions and costs -- the support of micropress and small presses for difficult (including long or very long) work changing things. We see Enslin, Ronald Johnson readily joined by people on this list issuing individual poems as chapbooks and pamphlets, and then rolling them into another context -- a book of books.

The book of books is different from the series is different from a string of books. What is a sequel in poetry, and how is it different from another book in a series? Another mystery with the same detective is often not sequential, or time is not as important. But sometimes it is. There are the lifeworks and the just really long works. There are things which compare to the bildugsroman, the things that compare to a photographic sequence or series of paintings, a group show, or a retrospective.

One thing that surprised me at the outset is that the majority of people who write long poems also write very short poems. For me, I know that part of this is an exercise in the freedom one has with poetry, but I also think it says something valuable about being able to "keep it alive" as well as to develop it. I am no longer very interested in the distinction between the lyrical and the narrative because I think it is an idea that has lost its practical applications vis a vis long works.

We are seeing especially women building major bodies of work, including work which is long form, but, typically, the "cone of silence" is being applied to these works,

partly because of length, since writing an unpaid review on a long book which is part of a mostly unreviewed sustained effort involves a lot more knowledge than writing a squib on a short first book but there are things that I don't think are getting serious attention, such as that these books aren't intended to be ripped through at a sitting, or are limited to literature courses because few workshops read a book a week, or..