Much of life comes down to the simple things, small in nature but complicated in terms of the inner workings of the mind. Most of my work centers around the effortless red-letter moments of life, where the heart seems to linger. I create poetic snapshots of the past facing the present in a subtle attempt to draw attention to where we are culturally at this moment in our history. My poetry and films harken back to my Texas roots and friends and family in rural Colorado, bringing a touch of surrealism to my small town recollections, highlighting the occasions that seem to bind us emotionally and culturally.
Perkins is also the organizer and curator of the Juteback Poetry Film Festival in Fort Collins, Colorado, which by the way is still open for submissions through August 19.
A new videopoem from Australian poet Brendan Bonsack, who calls it “a short and snappy musing on love, death and white flowers.”
First comes the language. That is the foundation. Then the video poem builds upon that language, goes to war with that language, prompts that language to shed its skin and become something new, albeit still grounded in voice, breath, and the body.
Martha McCollough’s latest videopoem is a bit of a departure from her previous work, reinforcing her reputation as one of the most versatile practitioners of the medium. Whether or not she intended it as a statement on the freshly controversial Laura Ingalls Wilder—the last line would seem to suggest that she did—it’s a great meditation on language and the construction (or destruction) of place.
Happy Independence Day to all my American readers.
In the course of ordering the new book The Tender Between by noted modern haiku poet Eve Luckring, I looked up her website and discovered to my pleasure that she’s also a multimedia artist who has experimented with videopoetry to great effect. So I’m featuring this 12-part series as my sole post to the main site this week, in the hopes that vistors will find the time to watch it. For those with limited time, however, Luckring has also uploaded an excerpt:
The Vimeo description reads:
The Junicho Video-Renku Book is a series of 12 “twelve-tone” video-poems (1:45-3 minutes each) based on a form of 17th century Japanese poetry called renku.
The experience of watching a video-renku is phantasmagoric. From a centipede trapped in a sink to a man singing karaoke to his pet love-birds, The Junicho Video-Renku Book creates a richly layered collage of moving image, sound, and text that journeys through the everyday. Similar to an exquisite corpse, renku is composed as a counter-narrative according to a complex set of rules based on the structural devices of “link and shift”. In addition to many other parameters, the verses of a renku must travel through all four seasons, comment on love, and address both the moon and blossom.
Luckring’s website adds:
The Junicho Video-Renku Book premiered at The Museum of Contemporary Art, Los Angeles and has since been presented at &NOW 2015: Blast Radius, California Institute of the Arts, Valencia, The Wroclaw Media Art Biennale, 2015, Poland and Whitespace, 2017, Atlanta, GA.
This powerful, incantatory filmpoem stars the author-director, Natalie Raymond, and was shot at the Salton Sea in southern California. The Vimeo description:
An experimental narrative at the intersection of poetry & filmmaking, BONES explores the journey through a selfhood decimated by trauma. Based on poems from the book length manuscript missoula,, which was recently named a semi-finalist for Tarpaulin Sky’s 2017 book prize, BONES is about a daughter’s struggle to come to terms with her separate identity. more info: natalieraymond.com/bones
Directed by: Natalie Raymond
Director of photography: FuJui Freddy Tang
Wardrobe: Sanora Park
Audio & Text: Natalie Raymond
Brazilian writer and interdisciplinary performer Mariana Collares says in the Vimeo description:
In October 2013 I made a call to some women at facebook. I had written a poem about the objectification of women and intended to illustrate it through a video, with the participation of other women who had the same thought.
Hence arose the project that i finally conclude with the help and always accurate direction of Marcello Sahea.
I thank the women who dared to participate in the project by sending pictures of their personal files. I also thank those who, even from afar, share this our desire to contribute to the onset of effective awareness on this subject, still so controversial, and now finds its climax through various events worldwide.