O table. This spins in hesitancy and radical not-knowing out of and out from a line by and from Tyehimba Jess a line in and from his book length poem Olio. This line is an echo and a rebuttal on the face of it a syncopation but in its effect grit that jams the cogs of a remorseless machine. A syncopation a stress other than that predictable expected thud that hammer that makes the skull ring with its inexorable regularity. A pulse a throb that introduces a body as that which is not merely exemplary and that/which is unmistakeable in its specificity. This resonates and grows within and outwith a fracture found and visited and revisited in a fragment of Sappho a broken tongue a body made in/ and dis/ articulate a body remade again and again in and for other eyes and other minds for predilection according to agenda measured out by identity. This is not a simple and clean clean and direct line as Eunsong Kim angrily acutely sharply elliptically reminds us
how simple and clean this love of money
how clean and direct the story of money
There is money for sure and there is debt so much debt but not that false image of the generational burden they lyingly threaten us with a taint on the lineage. There is threat we live with and under and against it. This ponders articulate disarticulation what Christina Sharpe calls the anagrammatising of language and story and received lineages.
to refashion your lineage in a moment of danger
Michael Archer is a critic and writer. He is Professor of Art at Goldsmiths where he is Programme Leader for BA Fine Art.
Anne Carson, Economy of the Unlost, Princeton University Press, Princeton, 1999
Tyehimba Jess, Olio, Wave Books, Seattle and New York, 2016
Eunsong Kim, Gospel of Regicide, Noemi Press, 2017
Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition, University of Minnesota Press, Minneapolis and London, 2003
Yopie Prins, Victorian Sappho, Princeton University Press, Princeton, 1999
Christina Sharpe, In the Wake: On Blackness and Being, Duke University Press, Durham and London, 2016
Dates & times
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|22 Jan 2018||5:30pm - 7:00pm|
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