A fine art giclee print to represent each season of the year brings 60 Lovers To Make And Do into full colour.
Kickboxers and Art Collectors from our Kickstarter can select one of these. Newbies can email for details (£75 +vat).
Kickboxers and Art Collectors from our Kickstarter can select one of these. Newbies can email for details (£75 +vat).
*For the full experience, stumble into your house at 2am after looking at these.
We are proud to announce a dazzling forthcoming book.
Artist and poet Sophie Herxheimer re-imagines Emily Dickinson’s self-imposed seclusion as an act of empowerment. In a series of collage poems, Sophie’s words and images re-present a paradoxical poet, fixed in space, yet ranging freely in imagination and innovation.
This is a homage to the human spirit, which can shine light into the world and in its complexity accompany the simple power of the Sun. Sophie’s collages are preceded by a selection of Emily’s poems. This unique binding interweaves two pamphlets, and talents, into one volume of dazzling poetry.
Your Candle Accompanies The Sun,
My Homage to Emily Dickinson
by Sophie Herxheimer
40pp full colour
hand-stitched with a unique duo-pamphlet binding
11″ x 8″
Some of you will remember the delicious Clotted Sun loose leaf book we made with Chris McCabe. His recent editorial collaboration with Victoria Bean, The New Concrete (Hayward Publishing), has led to another similarly satisfying project with us; an edition of 15 deluxe solander boxes containing a copy of The New Concrete and five giclée prints by five instigators from the original Concrete Poetry movement.
Our Epson Pro 7890 inkjet technology and several digital remastering techniques made this a perfect expression of the anthology’s theme – the revitalising effect digital technology has had upon the idea of concrete poetry. The beautiful bespoke black boxes we made are in themselves an edition, as we lined them with a black foil debossing of ‘Paradise’, a print from our Unknown Soldier series which looms in the back of the box like a secret track. This accompanies our Grand Eagle print which is included in the anthology itself.
Victoria took the boxes to America recently where they were acquired for several illustrious collections. If you are interested in finding out more with a view to purchasing one you should contact Victoria directly. It’s a great opportunity to get both a landmark anthology and an exhibition in a box.
I love making solander boxes. There’s a moment when they become synergetically taut as the glue, cloth and board lock together. They are the pinnacle of my craft.
Five metres from a slipper bath filled with ice and cocktails, discussing Modernist Art with Paul Mason, Jenny Broom, Aysulu and Anna (from British Council Russia) we found we had experienced the same epiphany as Paul at the Tretyakov Gallery that day. We had been confronted by an alternative narrative of the origins of Modernist figurative painting; confronted by a different version of Malevich’s Black Square than we had previously seen mediated by magazines and text books.
The black pigment of the square was parched so that yellow and red oblongs were visible through the cracks. Where the black persisted the surface texture betrayed numerous oblongs underneath that crossed the threshold of the famous square.
The didactic square from art history turned out to be the completion of numerous false starts and revisions towards simplicity. That’s a very different story. Black Square was preceded and followed by masterpieces we’d never seen. Marc Chagall on an epic scale was a revelation for many of us at the table. Exhilarated, we began flicking through everything we know between Beveridge and Woolf, wondering if we had been sold a partial version of Modernist art history.
This encounter with The Square was emblematic of our whole experience of Moscow. The painting and the place, when mediated, are both abridged. The Black Square loses its texture and presence, just as Russia becomes reduced to its foreign policy and Putin fridge magnets. My ignorance of Russia’s view of itself, which is the result of Russian politics and British media, prevents me from understanding the spectrum of their fears and ambitions. The red and yellow oblongs under the square remind me of the striking diversity of peoples within the Russian Federation. Their government very consciously celebrates this, and a new park will feature all four terrains found within the Federation. However, this cosmopolitan theme was already commonplace under the USSR, evident in the regenerated park at VDNKh where pavilions were built from the materials and styles of different distant Soviet Republics. Today, Russians from some of these races find actual social mobility within the Federation does not live up to the ideal. How familiar. Yet what I found embarrassing is that such an important tension within Russia was news to me. And is this any surprise when on Russian TV their politicians do normal things, like look at their smartphones, but British media employs the same old newsreel shorthand of earnest white faces bobbing on a sea of little communist claps. Russian ‘alternative media’ does no better, piping out mirror image foreign policy to Anglo-American discontents who are still hoping for one accurate news source. Its fanbase would do far better to visit Russia and get a sense of its diversity, contradictions and tensions over Georgian dumplings.
The British Council delegation we belonged to was assembled to represent the UK as guests of honour at Non/fiction Literature Fair during the UK Russia Year of Language and Literature 2016, and satellite events in bookshops, museums and galleries. Over dinner Jonathan Coe made the kind of fascinating, nuanced observations about innovation in contemporary fiction you would expect from an accomplished novelist who is also B.S. Johnson’s biographer.
Like A Fiery Elephant executes the manoeuvre of engendering sympathy and admiration for B.S. Johnson, at times an unpleasant person, salvaging his life and his art without employing the unsatisfactory excuse that they are distinct. He did the same for a Russian audience in the UK Pavilion, briefly a revivalist tent where the majority pledged to read some Johnson. I hope they also read Coe’s new book, Number 11.
Jim Crace, author of Harvest, was another inspiring personality. He has what my Russian friend calls ‘a face accustomed to smiling’ and his conversation alternates between humility and encouragement. Much like Paul Mason, who is always animated, active, alert to whatever political events are unfolding and the fact that news can appear from anyone anywhere at any time. He often interrupts himself mid-sentence to greet a new arrival at the table, “Hi, we haven’t met, I’m Paul.” There were many more people like this. These Islands produce some impressive people sometimes, and we were enjoying all this from ‘the kids’ table’, with Emma Healey, whose novel Elizabeth Is Missing I enjoyed greatly, delightful children’s author and publisher Jenny Broom, and comic artist Tom Gauld. The latter two and ourselves also spent some time working with students at the British Higher School of Art and Design; Russian students, primarily, taught in English in Christopher Rainbow’s groundbreaking BA Illustration department.
British Artists were a bit late to Modernism. It was a reaction to what was happening over there. Less a response to Modernity, than a plaintive “why can’t modernity happen here?” emerging from a stuffy sitting room. What better subject for my lecture at the British Higher School than the link between one of Moscow’s most enthusiastic citizens, Kandinsky, and London’s avant garde. Edward Wadsworth praised and reported On The Spiritual In Art in BLAST! for the advancement of abstract painting in Britain. I also told the story of David Bomberg at the Ballets Russes, and London’s rejection of Italian Futurism. The students contrasted Marinetti’s machine worship with our blasé use of technology, contemporary interest in the hand made and ecological design. They were brilliant students.
Next day I led a day-long collaborative workshop in which we would design a system of simple cut-out glyphs that we could use to screenprint sounds commonly used in both English and Russian. I had sent a lesson plan to prime them for my arrival, but so well prepared were these excellent students that we had done the pre-lunch part of my plan by eleven. Just as well, as I’d not realised how long lunch would be. Three students had pretty much fully realised alphabets of their own before we began, so we had plenty to work with, but it must belong to all of us. We worked through strategic questions. Would our glyphs refer to Cyrillic or Latin or ignore them? Would they be diagrammatic? Would they, like Kandinsky’s art, be forms that refer to gut feelings or the elements of art? In pairs, we made cut outs representing different sounds that had been distributed. In response to these questions we critiqued our results. Finally, my lesson plan long exhausted and pedagogical improvisation taking its place, we extracted elemental flourishes we could all agree on, then used these to make a final stab at our assigned sounds.
We stopped short of creating modifying punctuation marks. And just as well, as I suddenly realised I was no less than four hours late for my next engagement and I had lost my voice. (Which is normal for work like this. Often that phone in your hotel room will ring soon after you enter it, knackered, and someone who has been looking after you and that you are yet to meet will ask you a question that you cannot answer about where you are supposed to be). Yet our process of refinement could easily have gone on to create a very minimal set of shapes with modifying dots and circles to create a universal phonic set. How Modernist is that!
A screenprinting workshop was built for us within the British Pavilion. While talks and signings happened we contributed to the general hubbub as we worked with our groups of students to improvise screenprints; composing, choosing colours, binding sheets. The drying prints bobbed overhead while the public witnessed and contributed to our process of creation and execution. A favourite exchange was with a man who works in a screenprinting factory who couldn’t believe we could print with so little equipment. “How are you doing this!” he kept asking, as if we were magicians.
The dry prints were made into a massive book, five foot-long pages in each line, like the five metrical feet of Shakespeare’s Iambic Pentameter; ti-TUM ti-TUM ti-TUM ti-TUM ti-TUM. Here is a decoding of the concrete poem we wrote as we went, which became a kind of picture story about love, with two characters, or souls, living on a mountain in the spring. A betrayal leads to quarrelling, one soul leaves for the sea. Sorcery, dreams, comfort eating and finally forgiveness and reconciliation. How Shakespearean is that!
весна душа гора душа весна
мечта весна мечта весна мечта
весна душа гора измена весна
измена мечта измена мечта измена
гора душа хула душа коралл
душа гора хула коралл душа
гора немой немой немой коралл
гора ворожба мечта измена коралл
еда мечта немой мечта еда
мечта еда немой мечта еда
весна ворожба прощай измена весна
весна душа прощай душа весна
прощай душа гора душа прощай
село село маяк село немой
spring soul mountain soul spring
dream spring dream spring dream
spring soul mountain treason spring
treason dream treason dream treason
mountain soul reviling soul coral
soul mountain reviling coral soul
mountain dumb dumb dumb coral
mountain sorcery dream treason coral
food dream dumb dream food
dream food dumb dream food
spring sorcery forgive treason spring
spring soul forgive soul spring
forgive soul mountain soul forgive
country country lighthouse country dumb
Of course, in the original, the colour panels are like a tapestry creating rhythm through repetition and their position in space in a way that text on a page alone cannot. The panels are more like characters moving on a stage than tiny printed words. It concludes with a nod to Mayakovsky (маяковского), no stranger to recording tempestuous love affairs in print, in the form of a lighthouse (маяк) set in a landscape.
Representing Britain. The British Council (and Literature) made this easier, representing as they do the best of British. One Russian cab driver welcomed Brexit as a sign that white people everywhere can now federate at arms length in championing their ethno-national interests. Most Muscovites were far more cosmopolitan in their views. But international opinions I heard brought one moral dimension of Brexit to mind; envy.
The thing about coveting your neighbours wife, or their ass, is that the fantasy never includes the process by which it could come to pass. Fantasy demands the suspension of logistical realities. A person may think they’d be happier if they were married to the woman next door, but once the work of obtaining an ex-wife, breaking up the neighbours’ marriage, traumatising the kids, moving house, alimony and so on and on – it can hardly be the same dream in the end. Many, though not all, of British referendands displayed this kind of self-delusion about what we would get in terms of money, resources and trade outside the EU. Politics isn’t merely about declaring ones own wishes, but pursuing a civil society that includes those on the breadline and EU citizens now at home in the UK; those with the least say by volume and set to lose the most. Should the United Kingdom remain.. Can the United Kingdom remain united.? Apparently not.
This is a lesson from literature, from Shakespeare, where for centuries actors have committed the same mistakes, lusts and treasons, imagined the same delightful ends and fallen short with foolish means, staged twice daily so we don’t have to. What is the point in rehearsing tragedy when all the world insists on being a stage? And, in this era of global citizenship, will geriatric Britain be content with dishing out Cowerdly put-downs it believes give an air of sophistication, when in fact they betray British insecurity? The UK merely tolerated for the money it generates? Or conceals? Yet Britain, for now, is still admired for its culture; our biggest “export”. Is culture, like most exports, rarely consumed by the natives?
One Official, dressing wisdom as wit like a Shakespearean fool, made a speech in which they declared that we will unite the world through art. Solidarity! I agree. Building society is what art is really good at, delineating a territory for objective human cooperation and appreciation.
Our delegation’s experience would be valuable for all. Our Government can support the pioneering work of the British Council by cancelling costly visas, Russia could begin by making holiday and trade visa concessions to Moscow and St Petersburg. This would allow a groundswell of humanity to take root and bypass the old discredited, divisive diplomatic channels.
My lasting impression is that Muscovites and Londoners can scarcely ever have been so similar as we are now, and we must not let the populist opportunists and the politicians who pander to them keep us apart.
We are among the British artists and writers being despatched to Moscow next week to represent Britain as Guests of Honour at Non/FictioNo.18 Literature Fair, including Sebastian Faulks, David Almond, (and several people I think I know are going, but don’t seem to be announced yet). This is a key part of the UK-Russia Year of Language and Literature 2016.
Our commission is two-fold. At the Fair we will be creating a live screenprinted book in a workshop built and embedded for us into the UK Pavilion. Our fellow artists will be BA Illustration students from the British Higher School of Art and Design, Moscow, led by Christopher Rainbow. We will create a concertina-ed concrete poem visualising the iambic pentameter of Shakespeare’s verse. This tome will be donated to a British library, and a British folio will be created for Russia in exchange.
In preparation for this, I will be teaching a seminar in Modernist Art History at the School that draws out links between Malevich, Kandinsky and European art movements, with a special focus on David Bomberg, Edward Wadsworth and the Vorticists. I will then lead practical workshops with the students in which we will collaboratively create a new set of glyphs for visually expressing sounds common to English and Russian. It is these glyphs we will use to print words suggested by the Moscow Public:
Музыка шекспировского стиха
Henningham Family Press и Британская высшая школа дизайна
3-4 декабря, 12.00 – 18.00
Любовь питают музыкой; играйте
Щедрей, сверх меры, чтобы, в пресыщенье,
Желание, устав, изнемогло.
Двенадцатая ночь, Акт 1, сцена 1, 1-3
В пьесах Шекспира на протяжении четырех столетий сохранялся определенный стихотворный размер. Каждое предложение – это пять повторяющихся волн: «ти-ТУМ, ти-ТУМ, ти-ТУМ, ти-ТУМ, ти-ТУМ». Это пятистопный ямб, и он – главная мелодия английских стихотворений.
Британские художники Дэвид и Пинг Хеннингемы вместе со студентами курса иллюстрации Британской высшей школы дизайна на основе шекспировской строфы создадут прямо на Ярмарке non/fictio№18 книгу методом трафаретной печати. Получившееся произведение, как и многие пьесы Шекспира, будет посвящено «делам сердечным».
Мы приглашаем вас помочь студентам Британской высшей школы дизайна подобрать слова, которые будут соответствовать этому ямбическому ритму: слова о любви, зависти, страсти, обмане – о том, что составляет любовь по Шекспиру – на русском и английском языках.
A Line Of Five Feet
The Music Behind Shakespeare’s Verse
Henningham Family Press and British Higher School of Art and Design
December 3-4, 12.00 – 18.00
“If music be the food of love, play on,
Give me excess of it; that surfeiting,
The appetite may sicken, and so die.”
Twelfth Night Act 1, scene 1, 1–3
There is a rhythm that has carried Shakespeare’s plays for four hundred years. Each sentence sits on five undulating waves, ti-TUM ti-TUM ti-TUM ti-TUM ti-TUM. This rhythm is called iambic pentameter, and it is the music of English verse.
British artists David and Ping Henningham, together with BA Illustration students from the British Higher School of Art and Design, Moscow, are celebrating Shakespeare’s verse here at non/fictio№18 by creating a screenprinted book on site. Their book, like so many of Shakespeare’s plays, will be about “affairs of love”.
You are invited to suggest words to the students that follow this iambic rhythm. Russian or English words about love, jealousy, passion, trickery – any words suggesting Shakespearean love.
A 72-page A4 full-colour glossy magazine splashed on every page with photos from the live show and packed with brand new art and articles on earning a living.
Only £3.50 & FREE delivery within the UK.
Performance combining hectic game-show silliness, satirical bite and economic critique – David Collard, The Times Literary Supplement
East London has become a prime example of the divide between the UK’s richest and poorest. It’s also where a group of artists are teaching people about income inequality. – Helen Amass, The Times Educational Supplement
“The times I’ve felt most employed, society has deemed me unemployed.” Eddie Farrell
Investment Manager turned activist Clive Menzies explains how the rich transfer wealth from all of us to the top 10%
Artist Marion Macalpine reveals a new and unreported threat to hospital estates.
David and Ping collage texts* and imagine a resurrected R Buckminster Fuller crashing an East End Artists’ studio. “Energy Is True Wealth! Survival for all, not just the fittest, is now a fact!”
AND Julie Rafalski shares out the commonwealth pie. Ladies Of The Press subvert lifestyle magazines to sell you back to your Self. Sophie Herxheimer collects life stories. Janice Macaulay‘s treasure trove of thrifty tips. Julie-Rose Bower dismisses the CV. Four pull-out posters Smash Hits stylee. Orwell vs Osborne on a living wage, Salary Amnesty and more!
Inside the venue, it’s hectic, a little ramshackle, with a DIY, handmade aesthetic. It’s as far as you can get from the white cube art gallery experience. Although the art world may be driven by money, you feel a little uncouth if you actually ask how much something is. Here the mechanics of making and spending money are in the foreground and in your face. You’re being asked to think about wealth and value, and how these are not objective facts but constructed ideas. – Anne Black & Katherine Dike, galleryELL
*Utopia or Oblivion, 2008, Lars Muller Publishers
Critical Path, 1981, St Martins Press
The World of Buckminster Fuller (DVD), Robert Snyder, 2010, Microcinema International
R. Buckminster Fuller, Everything I Know
The Times Educational Supplement, Britain’s leading education periodical, has published a feature on ‘Letters Home: The First World War Poetry Kit’, a book we published in collaboration with The Poetry Library;
The aim was to create a resource using inspirations that the children might not have got to hear about until university – and that’s if they got lucky.
Chris McCabe in The Times Educational Supplement
TES Resources FREE Download: Letters Home
There are three ways for you to get hold of this book:
Everyone who does the Letters Home session with the Poetry Librarians at the Southbank Centre takes their copy of the book away with them.
For more info look at their VISITS page.
Contact: info [at] poetrylibrary.org.uk and request to book LETTERS HOME.
This PDF version if adapted for smartphones and tablet computers. It is free to download and share.
Please note that the Surrealists game and the DNA kit could not be included.
Download: Letters Home Tablet PDF
You can order a batch of the printed books including the Surrealist postal game, die-cut DNA 3D concrete poetry kit, and holographic foil on cover.
Pack of 35: £85 (zero VAT)
Pack of 70: £158 (zero VAT)
Contact: david [at] henninghamfamilypress.co.uk
Please allow at least 7 days for delivery
Delivery not included
Letters Home aims to give an introductory guide to these movements as well as providing prompts for writing exercises, including the writing of visual, Imagist and sound poems, the creation of typefaces and collaborative writing through the forming of a sculptural poem. We’ve tried to make the introductions extremely straightforward, so that children can learn through doing it. The instruction for inventing a typeface is simply: ‘This time, draw your own letters from the alphabet that are full of energy’.
One of the nicest things outcomes of Letters Home is that the children want to take the publication away with them. The publication is beautifully designed by the Henninghams with silver debossing on the cover. I don’t think it’s a case that the shiny foiling is the only reason for the children’s attachment to it. By the end of the session they have a sense that the meaning of the words – and their look and feel on the page – are closer than they’d ever imagined.
Chris McCabe in The Times Educational Supplement
The exhibition of An Unknown Soldier at the Royal Festival Hall that ran from November to January has now come down, but it will have a legacy in the Poetry Library for a few years yet.
We have collaborated on a book of exercises in writing Modernist poetry with Librarians Chris McCabe, Lorraine Mariner and Pascal O’Loughlin. This all ages resource (6+) introduces some of the movements in poetry that the First World War helped introduce to the world, such as Apollinaire’s Calligrammes, Imagism, Vorticism, Surrealism and Dada. It will primarily be used to guide school groups or individuals visiting the Saison Poetry Library off the more familiar paths through war poetry, but hopefully it will have legs far beyond the Royal Festival Hall.
Most of the letter games reference the enormous amount of correspondence between Home and Front; 2 billion letters and 114 million parcels. In keeping with our exhibition, inspired by the recent use of DNA on letters home to identify casualties, the book culminates in a game we devised that takes the rules DNA uses to build our bodies to build a strand of visual poetry that can be split and rewritten by a group. The negotiation and collaboration involved is intended as a contrast to the abuse of language and power that war entails. Just like a human body is built through the writing and reading of base-pairs, solidarity in a body of people is achieve through the honest use of arts and language. The pieces punch out of a die-cut sheet and are assembled as part of the collaborative writing process.
If you are interested in using this resource at the Poetry Library you can just pop in and ask for it, they are free and the Librarians can help. Bigger groups can arrange a visit with Chris McCabe via the form on the Library website. If you are interested in acquiring a batch of these for educational use offsite you can also contact us here directly, or Chris McCabe at the Library.
The Letter Games use simple steps, chance and basic word pairings that enable people of all abilities to do the book solo or as part of a group. So next time it is cold and rainy, remember you have been invited to take your children, spouse or literary best friend up to the Poetry Library and ask them for a Letters Home booklet:
Royal Festival Hall
London SE1 8XX
photographs: Harpreet Kalsi