Tom Konyves su “L’esorcismo contrario” – IULM 2018

“The success of this work is in the determined representation of the “event” (the exorcism) as indirect: the breath of the speaker(s) is the only trace of their presence at the event – the candle responds to the breath, “referring back” to the event taking place. The work is successful because the “selection” of the image – a candle responding to the breath of the speaker – establishes the indirect presence (visual absence) of the speaker but also (as a sign) contains numerous additional meanings; of life, of the impermanence of life, as well as memory, memorialization of the dead, light, the light of knowledge (but also the incompleteness of knowledge), etc. All this is contained in the premise of the exorcism event, which refuses to be represented in the conventional “cinematic” narrative.”
Tom Konyves, Approaching Videopoetry: Origins, Constraints, CategoriesEvaluating Videopoetry: Selection, Modification, Juxtaposition, IULM, Milan, 6-7 giugno 2018.

Il video è stato finalista al Premio Treviglio Poesia nel 2012.


Archivio apocalittico, farsesco ecc., lulu.com, Morrisville 2017, (It). ISBN: 978-0244939878 (lùmina, critical edition)
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The love song of A. N. Chamberlain

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Federico Federici (director); Glenn Miller, Alexander Platz Ensemble (music); A. N. Chamberlain, T. S. Eliot (text).
The post war trauma. In memory of Walter Viviani and all the victims of World War II. Supervised cut-up from the The Love song of J. A. Prufrock by T. S. Eliot and the British Declaration Of War (Radio Broadcast, 3 September 1939).
Shown at the plattform:[no budget] Film Festival, Tübingen, 2013

I am Lazarus, come from the dead
I am speaking to you
from the Cabinet Room
at 10 Downing Street.
I am no prophet.

After the cups, the marmalade the tea,
I have heard the mermaids singing, each to each.
You can imagine what a bitter blow it is to me
To wonder, “Do I dare?” and, “Do I dare?”

I have to tell you now, this morning, Continue reading “The love song of A. N. Chamberlain”