Thursday, 30 July 2015
Contribute to Shape & Situate zine #7
Want to be a part of the 7th issue of 'Shape & Situate: Posters of Inspirational Women in Europe' zine?
If so, I’m looking for A5-sized black and white posters of inspirational/radical women (or women’s collectives) in or from Europe.
THIS IS GOING TO BE THE LAST ISSUE OF THIS ZINE, SO IF YOU'VE ALWAYS WANTED TO CONTRIBUTE NOW IS THE TIME!!
(Working on this project for the past 5 years has been really great, but there's other projects and publications I want to concentrate on, so after about 147 posters (plus the ones for this upcoming issue), and the encouraging plethora of other women's history art projects that have cropped up, I think it's time to draw a close to this particular zine. So, now is the last chance to get your poster of somebody you admire and wish to document in a S&S zine!)
The deadline for poster submission is October 31st 2015
As always I’ll accept posters of all women whom you as the artist deem inspirational/influential*. However, please bear in mind that the most interesting posters so far have been of women who have not previously been readily documented in our history; Radical, passionate, influential women living, working, educating, and being active in all sorts of fields from all across Europe. Women displaying some kick-ass politics are always welcome in the zine. This may very well be somebody within your community (past or present), or somebody who you personally know/ are aware of. Much radical women’s history has been preserved as knowledge kept by our community itself, and I’d love to help give voice to these small narratives that are so easily lost in the hegemonic and more linear, capital-H version of history.
Some small specifications/rules…
I'm looking for:
- A black & white poster (to be emailed as a Jpeg, or posted to me so that I can scan the original if that's easier for you) email to: m_k_maddison AT hotmail DOT com
- The poster will be reproduced in the zine at A5 size (in case that affects how you'd like to present your work?) A5 paper dimensions are: 148mm x 210mm. 5.83" x 8.27". It’s also worth bearing in mind that I’ve been blowing the posters up and printing them in A3 size for various exhibitions up and down the UK, so if you could make your posters as high-res as possible that’ll help me when it comes to the next exhibition.
- The poster will tell the history of or share information on a radical or inspirational women (or women's collective) in or from Europe in poster-form. I'm looking at women in Europe as a focus with this zine, as very often a lot of projects similar to this one have been so American-heavy and I feel it really omits a lot of amazing women from being discussed (this is not to say that women outside of Europe are not inspirational, obviously). I could write a lot more here about the rationale of the focus of this project, so if you have questions, write to me.
- All the information you want to share about your subject must fit within the confines of your poster so that each page stands alone (as is the nature of any poster with a message), there's no place for annexes!
- The poster should get across to viewers why the subject is inspirational/influential (to you, or to ‘society’, or whatever).
- By 'woman' I mean any self-identified women.
- Where possible, the poster will take as its subject somebody/a collective who isn't already readily documented within our history. I would love for the zine to raise awareness of amazing women (living or deceased) who have largely gone under the radar, or who are/were active within our own communities.
- You don't have to be in Europe yourself to contribute to the zine. It's open submissions from anybody, anywhere.
IMPORTANT: If you’re interested, drop me a line with your idea(s) of who you’d like to make a poster about, so that I can check that there’s no duplications with other peoples ideas and suggestions. Please see the ‘about’ section of the Shape & Situate Facebook page; in the ‘long description’ there is a list of women who have been documented in issues 1-6. [EDIT:] I have also pasted this full list into the comments section below in case that's helpful. Please note that I’ve already received suggestions for issue #7 though, so even if the women you’re thinking about making a poster for is not in the list above it’s still probably best to run your idea past me first. Thanks!
Posters can be made in any/many forms – previously there have been text-based posters, illustration-based posters, letter press posters, photographic posters, cut&paste posters, digitally and/or hand produced posters, etc. etc., all created by a range of people with different artistic experience. One’s ability to ‘draw’ is not a concern of the project. The project is about passing on knowledges of inspirational women not about policing anyone’s artistic ability. I have a strong belief in the creative ability and potential of everybody, and the fact that we all have important and unique knowledge to share. It’s the passion for the women in the zine that’s the important bit.
Any questions, or ideas? Please email me: m_k_maddison AT Hotmail DOT com - or pop them in a comment below.
Many thanks,
With love,
Melanie xox
*Within reason. I’m not into the idea of policing whom people find inspirational, or who ‘belongs’ in a project such as this. But, if you’re gonna send me a poster submission about somebody with nasty-ass views/politics/actions and try and tell me they’re inspirational, I’m likely not to think it suitable for this project, and the submission won’t make the zine. I hasten to add that this has never happened in any issue of the zine before, but if you wanna chat about your ideas before you start work on your poster then please feel free.
Images from the Shape & Situae zine in a day bonanza!
Thanks to Leeds Queer Film festival for hosting the making of a special edition of Shape & Situate, focussing on self-identified queer women. Thanks too to Footprint Workers Co-op for collaborating and bringing the riso and for printing the zine as we made it so that it was ready to take home at the end of the evening. Thank you to everybody who took the time and effort to make and contribute a poster to this issue!
Wednesday, 15 July 2015
Shape & Situate at Leeds Queer Film Festival - special edition as a zine in a day
On Saturday 18th July at Leeds Queer Film Festival 2015, Shape & Situate and Footprint Workers Co-op will be making a Zine In A Day.
We’ll be making a special issue of ‘Shape & Situate: Posters of Inspirational Women in Europe’ zine.
It will be a zine full of A5 posters specifically focused on radical self-identified Queer Women in/from Europe. Women whose actions and contributions are inspirational and influential. Women who have perhaps acted as organisers, activists, agitators, pioneers, educators, or role models in various fields.
We’re looking for posters/zine-pages that tell and share the stories, lives, actions and histories of self-identified queer women.
In particular, if possible we’d love to capture knowledge of local queer women who are/were active in our communities; those inspiring women that we encounter on a day-to-day basis.
We want to question and challenge traditional/hegemonic history which suppresses, ignores or omits.
Help us document queer women and remember the voices of the underrepresented and the oppositional.
How to get involved: Make an A5 poster to bring along on the day, or email your poster to us at: m_k_maddison@hotmail.com. You can also create a poster at the film fest, perhaps inspired by the people you meet or learn about in the films, stories or workshops. There will be dedicated workshop space for this poster making & also to learn about & discuss other creative, grassroots social-history memorial projects.
We’ll be Riso Printing the zine in various coloured inks live at the Film Festival & selling copies/displaying the posters from late afternoon on Saturday 18th June.
Get involved & let us know in a poster who inspires you!
www.facebook.com/shapeandsituatezine www.footprinters.co.uk www.leedsqueerfilmfestival.co.uk
We’ll be making a special issue of ‘Shape & Situate: Posters of Inspirational Women in Europe’ zine.
It will be a zine full of A5 posters specifically focused on radical self-identified Queer Women in/from Europe. Women whose actions and contributions are inspirational and influential. Women who have perhaps acted as organisers, activists, agitators, pioneers, educators, or role models in various fields.
We’re looking for posters/zine-pages that tell and share the stories, lives, actions and histories of self-identified queer women.
In particular, if possible we’d love to capture knowledge of local queer women who are/were active in our communities; those inspiring women that we encounter on a day-to-day basis.
We want to question and challenge traditional/hegemonic history which suppresses, ignores or omits.
Help us document queer women and remember the voices of the underrepresented and the oppositional.
How to get involved: Make an A5 poster to bring along on the day, or email your poster to us at: m_k_maddison@hotmail.com. You can also create a poster at the film fest, perhaps inspired by the people you meet or learn about in the films, stories or workshops. There will be dedicated workshop space for this poster making & also to learn about & discuss other creative, grassroots social-history memorial projects.
We’ll be Riso Printing the zine in various coloured inks live at the Film Festival & selling copies/displaying the posters from late afternoon on Saturday 18th June.
Get involved & let us know in a poster who inspires you!
www.facebook.com/shapeandsituatezine www.footprinters.co.uk www.leedsqueerfilmfestival.co.uk
Tuesday, 30 December 2014
Thursday, 18 December 2014
S&S #6 first glimpse!
Issue #6 of 'Shape & Situate: Posters of Inspirational Women in Europe' zine is back from the printers!
Huge thanks to everybody who contributed a poster, it's the biggest S&S zine yet (27 wonderful posters in this issue)!
They'll be up for sale at www.etsy.com/shop/COTL soon-ish, will soon be added to the Footprint Workers Co-op zine distro, and contributors' copies will be out in the post tomorrow.
Get in touch if you'd like any more info (or visit the new S&S Facebook page for updates)
xox
p.s. Pink Riso forever!!
Huge thanks to everybody who contributed a poster, it's the biggest S&S zine yet (27 wonderful posters in this issue)!
They'll be up for sale at www.etsy.com/shop/COTL soon-ish, will soon be added to the Footprint Workers Co-op zine distro, and contributors' copies will be out in the post tomorrow.
Get in touch if you'd like any more info (or visit the new S&S Facebook page for updates)
xox
p.s. Pink Riso forever!!
S&S zine's Facebook page
Shape & Situate zine now has a Facebook page...
facebook.com/shapeandsituatezine
Head over to there for the latest news!
Monday, 19 May 2014
part & parcel
From my inbox...
Part and Parcel
Venue: The Tetley, Leeds
Date: Saturday 24th May 2014
Time: 12-4pm
Free event, just drop in...
In commemoration of the life of Nelson Mandela, artists Anne-Marie Atkinson and Clare McCormack invite members of the public to engage in conversations about the right to protest and speak out about what you believe. Take part in a shared creative opportunity to produce postcards, letters and artworks that will bring colour, light and hope into the cells of prisoners of conscience around the world.
Nelson Mandela spent 27 years of his life in prison for his part in the struggle against apartheid. Many people around the world continue to be imprisoned for their political beliefs, or for protesting against injustice.
Part and Parcel invites you to learn about political prisoners, some far away and some much closer to home, and create a piece of artwork to send them. This simple act shows solidarity with people imprisoned for their beliefs, connects them to a wider community and acts as a reminder that they are not alone in striving for a better world.
All are welcome. We will provide a variety of materials, as well as templates for those who’d like help to get started.
We look forward to welcoming you.
https:// www.annemarieatkinson.co.uk /
https:// www.claremccormack.eu/
Venue: The Tetley, Leeds
Date: Saturday 24th May 2014
Time: 12-4pm
Free event, just drop in...
In commemoration of the life of Nelson Mandela, artists Anne-Marie Atkinson and Clare McCormack invite members of the public to engage in conversations about the right to protest and speak out about what you believe. Take part in a shared creative opportunity to produce postcards, letters and artworks that will bring colour, light and hope into the cells of prisoners of conscience around the world.
Nelson Mandela spent 27 years of his life in prison for his part in the struggle against apartheid. Many people around the world continue to be imprisoned for their political beliefs, or for protesting against injustice.
Part and Parcel invites you to learn about political prisoners, some far away and some much closer to home, and create a piece of artwork to send them. This simple act shows solidarity with people imprisoned for their beliefs, connects them to a wider community and acts as a reminder that they are not alone in striving for a better world.
All are welcome. We will provide a variety of materials, as well as templates for those who’d like help to get started.
We look forward to welcoming you.
https://
https://
More detail here: http://annemarieatkinson-photography.tumblr.com/post/85855454822/part-and-parcel
Sunday, 18 May 2014
syria speaks on tour
From my inbox...
Syria Speaks is an anthology of uprising literature, art and culture, showcasing the work of over fifty artists and writers who are challenging the culture of violence in Syria with creative resistance.
Syria Speaks is a celebration of a people determined to reclaim their dignity, freedom and self-expression. Join Syrian artists and writers at events across the UK for readings and discussions on cultural resistance in the country.
The Syria Speaks UK tour will feature, together with the book co-authors Malu Halasa and Zaher Omareen, writer Khaled Khalifa, videoartist Khalil Younes, writer Robin Yassin-Kassab.
Tour dates, poster, and more details here: http://www.reelfestivals.org/syria-speaks-uk-tour/
Syria Speaks is an anthology of uprising literature, art and culture, showcasing the work of over fifty artists and writers who are challenging the culture of violence in Syria with creative resistance.
Syria Speaks is a celebration of a people determined to reclaim their dignity, freedom and self-expression. Join Syrian artists and writers at events across the UK for readings and discussions on cultural resistance in the country.
The Syria Speaks UK tour will feature, together with the book co-authors Malu Halasa and Zaher Omareen, writer Khaled Khalifa, videoartist Khalil Younes, writer Robin Yassin-Kassab.
Tour dates, poster, and more details here: http://www.reelfestivals.org/syria-speaks-uk-tour/
making art, making media, making change
From my inbox...
Making Art, Making Media, Making Change!
Call for Submissions for zines, comics and other queer-feminist material to build up a resource collection Are you writing a zine, drawing a comic, or producing posters, flyers and other visual material with a queer-feminist approach? Would you like your materials to be accessible to young people, to get them thinking and to encourage them to become active themselves?
The science communication project "Making Art, Making Media, Making Change!" (funded by the Austrian-Science Fund) aims to introduce young people between 12 and 26 years, especially girls* and young women*, to the wide field of queer-feminist culture and media production. At the same time we invite them to become active cultural and media producers, to ask critical questions about power structures and to open up new possibilities for action in order to initiate social change.
However, getting access to queer-feminist cultural projects or alternative media can often be a real challenge as these materials are rarely collected or documented on a large scale. Information or the publications themselves often remain inaccessible for interested people. That's where we would like to intervene by building up a resource collection of zines, comics, posters and other visual material, that in the near future should be distributed via (school) libraries, youth / girl* / cultural centers, book mobiles etc.
We are looking for a range of materials (zines, comics, flyers, posters and so on) in order to choose from this pool of submissions. One important and central criterion is a clear queer-feminist background, connected to an anti-racist, anti-sexist, anti-homophobic, anti-ableist etc. self-understanding. We are especially interested in material dealing with different aspects of DIY-culture or/and that questions, discusses and criticizes social and political structures, such as social hierarchies and exclusions, gender roles and norms. In addition, we are looking for material that deals with discrimination, such as racism, sexism, homophobia, etc.
Please send your material including your contact details (name and email) and further info about you and your project until
June 30, 2014 to
Stefanie Grünangerl
Schwerpunkt Wissenschaft & Kunst (Universität Salzburg & Mozarteum Salzburg)
Programmbereich Contemporary Arts & Cultural Production
Bergstraße 12, 5020 Salzburg, Austria
We are looking forward to your participation and your exciting material
Elke Zobl, Ricarda Drüeke and Stefanie Grünangerl
(Project team)
If you have any further questions just contact: stefanie.gruenangerl@sbg.ac.at or 0043 (0)662 8044-2385
Further info: www.makingart.at or www.w-k.sbg.ac.
Making Art, Making Media, Making Change!
Call for Submissions for zines, comics and other queer-feminist material to build up a resource collection Are you writing a zine, drawing a comic, or producing posters, flyers and other visual material with a queer-feminist approach? Would you like your materials to be accessible to young people, to get them thinking and to encourage them to become active themselves?
The science communication project "Making Art, Making Media, Making Change!" (funded by the Austrian-Science Fund) aims to introduce young people between 12 and 26 years, especially girls* and young women*, to the wide field of queer-feminist culture and media production. At the same time we invite them to become active cultural and media producers, to ask critical questions about power structures and to open up new possibilities for action in order to initiate social change.
However, getting access to queer-feminist cultural projects or alternative media can often be a real challenge as these materials are rarely collected or documented on a large scale. Information or the publications themselves often remain inaccessible for interested people. That's where we would like to intervene by building up a resource collection of zines, comics, posters and other visual material, that in the near future should be distributed via (school) libraries, youth / girl* / cultural centers, book mobiles etc.
We are looking for a range of materials (zines, comics, flyers, posters and so on) in order to choose from this pool of submissions. One important and central criterion is a clear queer-feminist background, connected to an anti-racist, anti-sexist, anti-homophobic, anti-ableist etc. self-understanding. We are especially interested in material dealing with different aspects of DIY-culture or/and that questions, discusses and criticizes social and political structures, such as social hierarchies and exclusions, gender roles and norms. In addition, we are looking for material that deals with discrimination, such as racism, sexism, homophobia, etc.
Please send your material including your contact details (name and email) and further info about you and your project until
June 30, 2014 to
Stefanie Grünangerl
Schwerpunkt Wissenschaft & Kunst (Universität Salzburg & Mozarteum Salzburg)
Programmbereich Contemporary Arts & Cultural Production
Bergstraße 12, 5020 Salzburg, Austria
We are looking forward to your participation and your exciting material
Elke Zobl, Ricarda Drüeke and Stefanie Grünangerl
(Project team)
If you have any further questions just contact: stefanie.gruenangerl@sbg.ac.at or 0043 (0)662 8044-2385
Further info: www.makingart.at or www.w-k.sbg.ac.
Friday, 25 April 2014
elisha lim interview
"Elisha Lim’s work is a part of the Generations of Queer exhibit at Onsite [at] OCAD University. Curated by Lisa Deanne Smith, the exhibition (which also features the work of Robert Flack, John Greyson and Kiley May) is about storytelling and raising a public voice, exactly as you are."
Love that phrase!! All the info and a short interview with Elisha, including tales of being rejected from art schools then making amazing art work anyway (yesss), here: http://www.ocadu.ca/about_ocad/articles/stories/20140425_ElishaLimGenerationsofQueer.htm
Love that phrase!! All the info and a short interview with Elisha, including tales of being rejected from art schools then making amazing art work anyway (yesss), here: http://www.ocadu.ca/about_ocad/articles/stories/20140425_ElishaLimGenerationsofQueer.htm
Sunday, 13 April 2014
Help get 'Passage & Place' to incarcerated queers
Lex Non Scipta writes: "Loves! Rebels! Brilliant creatives! Abolitionists! Annah Anti-Palindrome and I have just launched a campaign to raise money to publish the Passage & Place anthology. Help us carve out a place that turns up the volume on voices of "free world" and incarcerated queers writing on class, borders, identity, privilege, the prison system, memory, and so much more!"
Indigogo link: https://www.indiegogo.com/projects/passage-place-a-print-anthology-on-home
PASSAGE & PLACE is a multimedia visual arts exhibition, book project, and skillshare series that explores displacement & movement, freedom & incarceration, and home & im/migration at the intersection of queerness.
For the PASSAGE & PLACE print project we have compiled a collection of written and visual artwork from queer and trans folx both inside and outside of prison, that consider and complicate the topic of "Home".
As part of reaching beyond walls, we partnered with the TGI (Transgender | Gender Variant | Intersex) Justice Project/TGIJP and Black & Pink to send the Passage & Place call for submissions to currently incarcerated LGBTQ prisoners.
The anthology will be released in conjunction with the Passage & Place exhibition at the National Queer Arts Festival, 2014.
Indigogo link: https://www.indiegogo.com/projects/passage-place-a-print-anthology-on-home
PASSAGE & PLACE is a multimedia visual arts exhibition, book project, and skillshare series that explores displacement & movement, freedom & incarceration, and home & im/migration at the intersection of queerness.
For the PASSAGE & PLACE print project we have compiled a collection of written and visual artwork from queer and trans folx both inside and outside of prison, that consider and complicate the topic of "Home".
As part of reaching beyond walls, we partnered with the TGI (Transgender | Gender Variant | Intersex) Justice Project/TGIJP and Black & Pink to send the Passage & Place call for submissions to currently incarcerated LGBTQ prisoners.
The anthology will be released in conjunction with the Passage & Place exhibition at the National Queer Arts Festival, 2014.
Tuesday, 25 March 2014
Change of title for Shape & Situate zine
Thanks to very useful conversation with artist Meredith
Stern, the subtitle of 'Shape & Situate' zine will be changed as of the next
issue (#6) to hopefully clarify the scope and meaning of the project.
The zine will now be called, ‘Shape & Situate: Posters
of Inspirational Women in Europe’.
This change in terminology has been made to reduce any
misunderstandings of the project, or of my former use of the term ‘European’. I
wish to distance the project from any connection to the understanding of ‘European’
as an ethnicity or identity. My use of the term ‘European’ has always been a
geographical one, but I understand that it may not have been read as that by
all who have viewed the project, and I do not wish to perpetuate any
misunderstandings that this is a racist project.
My use of the term 'European' in this project
comes from an understanding that Europe is made up of extremely multi-cultural
societies, and that Europe includes a wide diversity of voices,
cultures and ethnicities.
I was not using 'European' as a short hand for
white, or using the term 'European' as a way to erase the ethnicity/race of the
subjects in the zine.
With this project, the term 'European' has always been used in a geographical sense (without, hopefully succumbing to any forms of Nationalism) rather than ethnicity; celebrating the women that live (or have lived) in this continent surrounding me.
With this project, the term 'European' has always been used in a geographical sense (without, hopefully succumbing to any forms of Nationalism) rather than ethnicity; celebrating the women that live (or have lived) in this continent surrounding me.
It is not my intention whatsoever to eliminate or silence
the voices of women of colour from this project. Women of colour have been instrumental to feminisms in Europe,
and I believe it is important that projects such as Shape & Situate
recognize the importance of all women, across all ethnicities, classes,
dis/abilities, ages, and beyond.
The term 'European' that I have ascribed to this project has a meaning of 'people who live in Europe', as opposed to 'people from white heritage'.
By writing this post, I am hoping to blatantly clarify this.
The zine has focussed on European women as a way to document women in our locales and communities who are omitted from a lot of mainstream history. With this project Ihe poster-makers have managed to capture posters from various corners of Europe; for example Belgian, Swedish, Romanian, Norweigan women (etc etc) who I have never personally seen documented in social history art projects previously (as often the history of radical women is kept in localised knowledge banks, which I have been lucky enough to tap into with this project (with the help of the poster makers), and illuminated many darkened corners of knowledge on inspirational women from across Europe).
This was the intent behind making the project about European women solely.
The term 'European' that I have ascribed to this project has a meaning of 'people who live in Europe', as opposed to 'people from white heritage'.
By writing this post, I am hoping to blatantly clarify this.
The zine has focussed on European women as a way to document women in our locales and communities who are omitted from a lot of mainstream history. With this project Ihe poster-makers have managed to capture posters from various corners of Europe; for example Belgian, Swedish, Romanian, Norweigan women (etc etc) who I have never personally seen documented in social history art projects previously (as often the history of radical women is kept in localised knowledge banks, which I have been lucky enough to tap into with this project (with the help of the poster makers), and illuminated many darkened corners of knowledge on inspirational women from across Europe).
This was the intent behind making the project about European women solely.
I was influenced in many ways by projects such
as 'Celebrate Peoples History' and 'Inspired Agitators' (amongst other social
history art projects), but wanted to create a version of these projects that
meant more to me, as somebody from Europe, who was regularly seeing and hearing
more of the important social history from the USA/Canada/The Americas than from
my own (geographical) communites and societies whose history I knew was there,
yet in many ways has so-far been undiscovered or undocumented in global social
history art in many ways.
Women of colour are an important part of this history. I have no intention of creating any ethnic or racial boundaries on this project, just geographical ones (for the reasons noted above).
I'm gutted that after 5 issues of the zine people may have all this time thought that I was creating a zine focussed on white heritage/white ethnicity, when my intentions were anything but;. I'm hoping a change in the title may clarify this.
Women of colour are an important part of this history. I have no intention of creating any ethnic or racial boundaries on this project, just geographical ones (for the reasons noted above).
I'm gutted that after 5 issues of the zine people may have all this time thought that I was creating a zine focussed on white heritage/white ethnicity, when my intentions were anything but;. I'm hoping a change in the title may clarify this.
Saturday, 22 March 2014
zines i'm loving right now
Zine recommendations
Disclaimer – yes, these zines are
both created by friends of mine, and so yes, that’s initailly how they came
into my hands. However, I’m writing about them here, not just because they’re
created by friends, but because reading them has struck such a chord with me
& I want to put my (jumbled and quite inarticulate) thoughts about
them down on a page in case it may inspire anybody else to pick up a copy (they're both well worth your time!).
They are: 'A Man Called Uncle Tim', and 'Poor Lass #3: Family'
The zines are unrelated, but a
big thing that struck me about them both is the strong messages they carry
about documenting family as a form of social-history. That our lives and
experiences, and those of our families, are a rich source of living history
that deserves to be remembered, researched, and documented.
And how what we know about our
families, what we are told about our families, and our experiences of family,
and the stories that they hold, often do shape and situate us.
These two zines are in turn
inquisitive (TMCUT) and exploratory (PL3); seeking to know/understand (TMCUT),
and seeking to share/document/situate (within class structures) (PL3).
(N.B. I’m talking non-chosen
family here (though the principles could apply to all permutations of family).
I also accept and realise that there is a sense of privilege in being able to
talk to, connect with, have a relationship with, and know your family, and also
in the fact that the zine writers have family to write about in the first
place.
I’m also aware that many people
activly work hard to not be tied to their past legacies and family traits,
violence and mistakes that are transmitted
to us through the unspoken & overarching family narratives. History that
they don’t want to repeat out loud, or repeat in themselves. As Annah
Anti-Palindrome has written, ‘While the patterns we learn [through family] may
define us, we are also defined by our processes of unpacking, analyzing and
defying those legacies as well. [I] consciously resist participating in the
destructive patterns I’ve learned over time.)
On to the zines…
////
‘The Man Called Uncle Tim’
(volume 1), by Lindsay Draws (2014) (More
info here:
http://andsomeplyers.blogspot.co.uk/2014/02/the-man-called-uncle-tim-1.html)
Described by Lindsay as:
‘A series of zines about my
uncle who died in 1995 and who I never really knew. In collaboration with
members of my family, I try to understand how he lived and loved in a
polyamorous queer Quaker intentional community in rural Ohio.
Volume 1: Half comic book; half zine. Features oral history with my Grandma and a brief introduction to Quakerism in the US. 32 pages, two colour (blue and black) riso printed throughout with over 30 original illustrations.
Volume 1: Half comic book; half zine. Features oral history with my Grandma and a brief introduction to Quakerism in the US. 32 pages, two colour (blue and black) riso printed throughout with over 30 original illustrations.
Documenting family history in
the way that Lindsay has is *fascinating*. It’s an incredible example of
seeking out and documenting our social and political history, as shown in the
work she has put in to gathering oral histories from her, and uncle Tim’s,
family members in order to know more about the life of her Uncle whose life she
had no real/deep knowledge of until after he died.
Oh, and you’ve gotta see this
one: the artwork/cartoons/illustrations, the double riso coloured printing,
it’s all so well exectued and looks bloody amazing, adding even more to the
enlightening, educational, and fascinating stories that Lindsay has captured
within the zine.
I’m thrilled that Lindsay is doing this
project, and so excited to get to see the second volume of the zine when it’s
finished, as damn if I don’t want to know more about Uncle Tim’s story! (and not from a noseyness point of view –
this doesn’t read like a zine full of sensationalised, “juicy” personal info to
nosey around and gawp at; I’m genuinley interested in the fascinating stories
that are intertwined in the gentle narrative, as told by various members of
Lindsay’s family.)
And also, how, (for
those who it’s safe and possible for), seeking out, and being inquisitive and thoughtful about
personal histories can be a great source of empowering a sense of how we are
shaped and situated. As somebody without grandparents
myself, it’d be ace to see more work/zines/art made by people (where it’s
possible) going and speaking to their grandmas, (or even anybody of a
generation that has come before us) and hear/see the formative history of
family and family circumstances, and discover/analyse the stories we’re told,
as well as those that aren't always immediately visible or talked about or
known, before it's too late.
The zine can be bought here: http://andsomeplyers.blogspot.co.uk/p/shop.html
'Poor Lass #3. Family’, edited
by Em and Seleena (2014) (More info
here: https://www.facebook.com/#!/PoorLassZine/info)
Poor Lass is a collective zine
made up of submissions by working class women on certain themes It’s a precious
collection of personal narratives.
The need and idea behind the
zine was to create a space for working class women to speak their own truths,
and have their voices heard. As one of the editors has said to me recently, ‘I think we all just got sick of
people painting our picture for us, it's like “nah mate that's not how it is!”’
Issue #3 collects personal
thoughts, discussion, stories, and words on Family.
There’s one contribution in this
issue of the zine that particularly stuck out for me, that by Seleena.
The discussion and description
of her family makeup, her background, and her current interations with her
family makes for really interesting, and engaging reading. I won’t spoil it for
you, but it’s full of inersecting stories set largely in the North of England
that read like an amazing capturing of local, social, and familial
history that is important to voice and get captured on a page before it’s lost
to the mists of time; or before it’s co-opted and mis-represented by the trend
for ‘gritty’ working class mainstream (media) documentation that more often
than not miss the point entirely, and end up omitting and silencing people’s
truths and realities further.
She captures the
everydayness of life and family ties, family history, and special stories. But
moreso, for me, the submission stands out as it explores (without perhaps ever
setting out to do so, but more incidentally and innately) how she has come to
be who she is due to those around (and/or no longer, or less frequently,
around) her. It’s about what it is to be here now, knowing what you know,
feeling what you feel, doing what you do, and being who you are with a sense of
all that has got you to that point (for better or for worse).
I felt really giddy reading about Seleena’s family and how
she fits into it all, and her feelings about it all. I’d love her to write a
huge solo zine all about her experiences of
family, and the ways that it’s perhaps shaped and situated her brilliant
self.
The zine can be bought here: http://sugarpaper.bigcartel.com/product/poor-lass-3
Friday, 28 February 2014
Annah Anti-Palindrome, 'Dangling Modifiers'
‘Help me
keep going despite the ache’
‘Recognize where privilege rests inside your bones
Use it to combat oppression
Find your role’
‘Know where you are, know where
you've been
You've got strength, allow it in’
I put this on when I got in from a particularly
wild/manic/frustrating/exhausting day at work and had come home to find Annah’s
package patiently waiting for me on my doormat. Putting her CD on calmed and
quietened and focussed my mind. But more than that, in the quietness it gave me
the space to consider the positivity and empowerment of her delivery and the
songs’ messages. With titles like ‘Keep Going’, and ‘Find Your Role’ the album
filled my head with possibilities and a sense of consciousness-raised.
Listening to this album made me think about community and
the connections I feel to so many incredibly talented, giving, and productive
people I know and am indebted to for filling my life with messages and
affirmations of positivity and mindfulness, even if to get to those places they
themselves have gone through acres of hard-times.
You know sometimes that thing happens when you love
something that your friend has made, and then you wonder if you like it because
you love and want to support your friend and appreciate what they have gone and
done. But then, no, you really hear what they’ve made, and strip away any ties
you may have to their work, and it is actually achingly wonderful.
Doing a comparative thing to Annah’s album would do it a
disservice, but at times it really does remind me of the magic sadness and
hushed poetry of a Mirah album.
Oh, and you’ve gotta know, the physical version of this
album is the most beautifully packaged thing. Opening it feels like an act of
art and love, bound up and enveloped in recycled and co-operatively made
casing, featuring hand-printed artwork designed by a dear friend of ours (Lex
Non Scripta), and liner notes that give considered sense and meaning to the
sounds you hear: the whole thing is a joy to hold in your hands. Like Annah
says in one of her lyrics, ‘Hello thoughtful precision’.
As someone
who knows Annah as much as somebody living on the other side of the world can,
after meeting briefly in the joyful Californian summer of 2009, it’s so good to
re-connect with her and the art that I’m so pleased she’s creating, making and
sharing. It makes me feel like there’s so much potential and joyful talent in
our communities coming from people who are actively seeking to creatively make
things that have positive impacts on the worlds we live in.
‘Dangling
Modifiers’ is a work of art in every way possible.
I was lucky enough to ask Annah a few questions:
Where did you make and
record the album?
This album has been under
construction since 2011. It was recorded in different bedrooms, lofts, attic
spaces, squats & back seats all over the US and Canada (Toronto, Vancouver
BC, Philly, Oakland, Portland Maine, Portland OR, Seattle, Baltimore,
Connecticut, San Francisco, Tennessee, etc.)
You’ve collaborated with a
number of artists and musicians on this album. How important is collaboration
to you, and is community to your art?
Both are
absolutely vital. As artists I believe we have symbiotic relationships to each
other. We inspire each other by existing, by creating, by sharing, and by
bearing witness to each other’s processes. These cyclical and symbiotic
relationships are a driving force for me—experiencing & participating in
other people’s art is what sustains me & my own ability to create. My art
is filled with the echoes and reverberations of other artist's work- the ways
in which they’ve creatively shared themselves with the world.
What does the title, beyond
&/or because of it’s definition, mean to you in terms of what you are
wishing for this album to convey and communicate?
In a literal way, I’ve been
thinking about this concept of the “traditional sentence,” which is supposed to
contain a subject and a predicate. The subject of a sentence serves to assign
specific context to the rest of what's being communicated. The predicate
consists of the verb and all of its modifiers. A dangling modifier, then,
refers to the descriptive word associated with an action, in a sentence that is
void of a subject. For example, in the sentence, “Annah sang loudly,” Annah is
the subject, and “sang loudly” by itself would be a dangling modifier.
In this project I've identified
the “dangling modifier” as a symbol of resistance rather than simply a
grammatical error. I've found that sometimes predicates are more powerful
& all-encompassing when the subject is left blank. The listener or reader
can superimpose themselves into the narrative & assign context themselves.
In other words, the absence of an autonomous subject in a sentence encourages
us to relate to each other through shared, collective experiences. I mean for
the “dangling modifier” to complicate the capitalist obsession with
individuality & individuation.
With that said, I think this album
is very much about the importance of connecting with each other, building,
sustaining and honoring our queer/chosen families.
How long have you been
making music, and what instruments have you played on this album? I remember
you telling my when we last saw each other that you made/reused items as
instruments (I’m pretty sure you told me that you made an instrument out of
your bike), is that still something you’re enjoying?
I've been making noise forever-
and at some point I think it turned into music...or maybe it never did, I don’t
know! Using objects that are referential to the theme of a song in order to lay
down my initial percussion tracks has become an important component of my work.
For example, songs written about my mother are often looped from the sound of
me tapping whiskey bottles together (cuz whiskey was her favorite when she was
alive). This creates a visual component to the song, which (obviously) isn't
legible on recorded CD. In this album I use melodica, piano, xylophone, guitar,
some metal pots & pans, sloshing bathwater, asthma attacks, sewing machines,
snapping twigs, voice-message clips, crickets, and all sorts of other stuff to
make referential sound for each piece.
Malic Amalya has made a
wonderful video for your track, ‘Keep Going’. How did you guys end up
collaborating? Is it exciting for you to see your work entwined in two mediums?
Yes! Getting to see my work
inspire projects in other mediums feels like such a gift! Malic’s film for Keep
Going is compiled of still-shots from the yard of my childhood home. This
visual gesture creates a narrative for the piece that feels simultaneously
attached to my body & out of my grasp at the same time.
We met through mutual friends at a
queer-land project in Arcata, California called “Fancyland”. We had creative
chemistry right away.
Malic's work is breathtaking in
general- check out his other stuff at malicamalya.com.
This album strikes me as
equal parts defiance and compassion. Is that a fair reflection on your
emotional association to your creative output?
Yes, I think so. The compassion
part is pretty overt I think (?). The defiant components are captured in
multiple ways that are probably a little more subversive. For instance, the
bits of static & background noise on each track, the absence of a pop-filter,
the slight changes in timing that happen in the middle of some songs, the
instruments that introduce themselves in the beginnings of a verses and vanish
by the end, are all structural decisions I made in order to challenge the
rigidity of traditional music-theory norms (which are established and
controlled by a very specific class culture).
Could you comment on the
politics of your music making? I see and hear an equal mix of personal, and
radical subject matter on the album. Is it important to you that your politics
are explicit and integral, (alongside the more general political implications
of a queer/femme making kickass art and sharing it with the world)?
Whenever I think of art-activisms,
I think of this quote by Anne Cvetkovich from her book, An Archive of
Feelings. She says,
As a name for experiences
of socially situated political violence, Trauma forges overt connections
between politics and emotion. And music as a medium, can help return the
listener to the pleasures of sensory embodiment that trauma destroys.
I believe that music- and art in
general-have the capacity to mobilize people into radical, political action by
way of accessing the powerful emotional responses humans have when witnessing
or experiencing injustice. While political theory, lectures, texts, etc, can
inspire action from the left side of the brain via analytical, logical,
critical thinking responses, art and music have the power to access the right
side- the emotional/ empathetic/ somatic responses. We live in a society that values
left-brain thinking, but when we act using a combination of both our emotional
and tactical lenses, I believe mass revolution becomes 1,000 times more
possible! I guess in short, this is why I make music.
What other art and projects
are you working on at the moment?
For my
30th birthday I asked the artists in my life to create a piece of work (in
their medium of choice) that’s been directly inspired by my art (music or
otherwise). Since then, I’ve continued to update this forum, artisticsymbiosis.tumblr.com/ Sometimes
these kinds of artifacts/reminders about artistic symbiosis are what motivate
me to keep creating (and keep breathing in general).
I'm also working on a publication
project with Lex Non Scripta (lexnonscripta.com)
called PASSAGE & PLACE. It aims to connect conversations of localized
displacement and gentrification to more expansive conversations around
immigration, imprisonment, community building across intersections, mental
health and spirit, and the ways in which queerness interfaces with these.
PASSAGE& PLACE asks its
participants and audience to connect their own experience to a broader
narrative about the impacts of movement and place-making in physical, liminal,
and metaphorical space in three parts: an art exhibition, a panel discussion of
participating artists, and a printed anthology of visual and written works. The
printed project will incorporate works of art sourced via an open call for
contributions, a curated collection of essays, and letters from both free-world
artists/writers and queer prisoners
And finally, I'm also part of an
independent publishing collective in the bay area called Deviant Type Press.
We're in the process of editing our second publication. For more info, see devianttypepress.net/about-us/
You’ve played on some
crazy-amazing bills and been part of some amazing looking performances over
this past year or so. What’s it like to play shows with a lineup or team of
people that you respect and love?
Getting to play on mixed-media
bills that include artistic mentors and/or members of my broader community
might be some of the most intoxicating moments in my life! I feel so honored
when I get to participate in collective, temporal events w/ people I respect
& care about.
I know you used to (still
do?) make zines. How does it feel to now play venues such as zine libraries and
zine fests (amongst all the other amazing venues, shows and performance spaces
you’ve been at over the past few years)?
At one point in history (namely
during early Riot Grrrl/ pre-internet punk era), zine culture and DIY music
culture strongly relied on one another for survival. I guess I feel nostalgic
for that sometimes.
In some ways I actually think of
my albums as “audio zines.” They tell stories and political narratives in
similar ways.
The existence of both written and
recorded archives that are controlled by the communities they represent, is a
vital form of activism. Zines, like independent music projects, are important
venues through which we're able to share knowledge, tell our stories, critique
the system, and honor our histories without relying on (or risking censorship
from) corporate institutions.
Playing in zine libraries or
info-shops reminds me of these connections- I love it.
You’re part of a community
of people that perpetually get-shit-done, and who dream up and execute some of
the most fantastic politically motivated, important projects. What drives that?
And what’s it like to live that?
Hmm...what drives this? The belief
that being creators of culture is a radical, subversive, important affront to
the white-supremacist, capitalist hetero-patriarchy! ;)
Have you hand-stamped the
album sleeves yourself?
The album covers are hand-stamped
w/ letterpress ink. Lex Non Scripta created this image of me, and I had it made
into a rubber stamp at the Berkeley Stamp Company. They are pressed and
assembled in my bedroom, usually with a pot of coffee nearby ;)
I guess in the same ways that I am
nostalgic for early Riot Grrrl distro & archive tactics, I also feel
strongly about keeping a DIY ethic alive. Central to this ethic, is the
encouragement of individuals and communities to share skills and resources in
order to produce and distribute their art. I'm not against the mass-production
of media materials, though. I recognize that sometimes it's necessary. I think
it just makes sense for me to still play a role in all the components of my
album making since I have the time, space and desire to personalize my work in
that way.
I recently saw photos of
you and others recently smashing the life out of a piano. Could you give a bit
of backstory to that?
It's a secret for a gestating
future project! I'll keep you posted, promise! ;)
What’s next, musically?
I don’t know! Eeee! I hope to
spend some more time “with the page” in these upcoming years. I’m working on a
book called Resisting Palindromes- a publication that I hope will have
audio components to it...I'll keep you posted about that too!
See, hear, read more about Annah Anti-Palindrome, and the new
album, here:
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