Julie Carr is the author of six books of poetry, most recently 100 Notes on Violence (Ahsahta, 2010), RAG (Omnidawn, 2014), and Think Tank (Solid Objects, 2015). She is also the author of Surface Tension: Ruptural Time and the Poetics of Desire in Late Victorian Poetry (Dalkey Archive, 2013). A chapbook of prose, “The Silence that Fills the Future,” was recently released as a free pdf from Essay Press: http://www.essaypress.org/ep-19/. She is the co-translator of Leslie Kaplan’s Excess-The Factory, part of which has been published by Commune Editions and in journals widely. Objects from a Borrowed Confession (prose) is forthcoming from Ahsahta press in 2016. Carr was a 2011-12 NEA fellow and is an associate professor at the University of Colorado in Boulder in the English department and the Intermedia Arts Writing and Performance Ph.d. She regularly collaborates with dance artist K.J. Holmes and is the co-founder of Counterpath Press and Counterpath Gallery in Denver. She is currently developing a website featuring forty imagined art installations in collaboration with forty artists. Find her on twitter @CarrCarrjuli
Leah Lovett is an artist, writer and activist embedded at Network Rail. She is currently developing Project Platform 2016 with Lloyd Jeans, commissioning local musicians to produce a song cycle responding to London’s new Crossrail train line. Other recent projects include Light Transmission (2015), an FM radio installation featuring songs about light for the Wellcome Collection and Contra Band (2014), a Google+ Hangouts performance negotiated between two musicians and their audiences in London and Rio de Janeiro, playing music censored in the UK and Brazil during the period of the Brazilian military regime. Leah’s writing is included in anthologies including Ben Campkin et. al. (ed), ‘Cities Methodologies’ (London: IB Tauris, 2016, forthcoming), and Outi Remes et. al. (ed.), ‘Performativity in the Gallery: Staging Interactive Encouters’ (Oxford: Peter Laing, 2014). For more, please see www.leahlovett.co.uk
Low light. 27 prison beds screwed into each wall vertically, so that none could lie down. Bedding and mattress affixed to the frame, but there is gravity. Sags and pulls. A hole in the center of the room. Far down inside the hole, glint of water. Empty water glasses arranged in a circle around that hole, but no way to get the water out. Deeper than anyone’s arm. Too narrow for a body. Alternately really hot and cold in the room. The distance between our “moods” and their artificial proxies shrinks down.
The ambience installation 32
Hanging from the ceiling, heavy sacks of coal, each about the size and weigh of newborns. Sacks are made of red plastic netting so the coal glooms through. The sacks sway slightly; the air stirred by the movement of viewers. As the sacks sway, coal-dust releases. Dust in the collars, dust in the eyes. Taped to the wall, squares of tracing paper: hastily drawn portraits of each viewer. Not that anyone can tell whose face it is. The portraits flutter. In the slight breezes the bodies make, the coughing.
An Installation on Sex: 33
“Everything appears for others eyes” emblazoned in neon across the far wall. An animal is eating out of vision’s range. The walls look wet when the light hits them.
The light is coming from you.