Listen to the Cranbury vs Calvert Interview by clicking this link right here!
An exhibition of Concrete Poets
One of the finest exhibitions of Concrete Poetry in the literary history of the west coast is almost at the end of its run at the Gallery Atsui in Vancouver’s legendary downtown eastside.
The work is on the walls until Tuesday November 3rd and if you’ve even half-thought that you would like to check it out, you’d better get down there and check it out.
It’s a part of this emergent moment in Vancouver literary history. It’s a budding flower from the mind of curator Steve Calvert.
Steve and I recorded an interview one night a few weeks ago. Listen to it here.
We met at Lucky’s Comics for the release of Marc Bell’s new book Hot Potatoe, by Drawn and Quarterly. Lucky’s was packed and we spent a little while talking with friends before walking down to the Main Restaurant. We sat in the back room with a pitcher of beer and talked for an hour and a half.
It’s a really great conversation but be forewarned: It contains some explicit language including my long tangential riff on pataphysics at the end. A lot of fun.
Steve will be in the gallery on Saturday and Sunday from 1 to 5pm so drop by if you can or contact Steve Calvert for inquiries: calvair [at] gmail [dot] com
You won’t regret it, unless of course you don’t see the exhibit in which case you probably will regret it.
Numbered edition of collectors’ prints from each artists will be available for sale, through Gallery Atsui.
For those tempted by the poetic austerity of the quote I have pasted below, may I recommend that you read Steve’s Introduction to the Angels in the Angles. This is the fantastically imaginative, creatively abstruse, indelibly specific piece of writing that I was referring to during my riff at the end of the interview posted above.
As artists adapt to the growing insecurity of our national institutions, creative communities are presured to galvanize and grow stronger, more independent, industrious, and interdependent, developing means of production and trading networks in cultural and cosmopolitan pockets far and wide. In the absence of federal support, producing autonomously, even anonomously, we work for a future milieu which does not yet exist. Rushing in to fill the vacuum, exchanging ideas with a non-linear, open source, transhistorical temperment, we braid our conceptualizations beyond translation, openly hostile to that trust which has forsaken us… this utopia has been dreamed before.