Would you like your visual art featured on the Simulacrum Press homepage? Simulacrum is looking to change up the artwork on its homepage by displaying a piece by a different creator from time to time.
All you need to do to submit is:
- Send up to 3 JPEG images of your artwork (at least 300dpi) to simulacrumpress at gmail dot com
- Make sure they are sent as attachments, not in the body of the email
- Include the titles of the works & a brief artist’s bio
- If you would like to include an artist’s statement, feel free
Deadline is August 15th, 2018.
No, there is no monetary compensation, sorry.
Volodymyr Bilyk’s Lisa Simpson Poems is a 40 page chapbook in which each page has been recovered from various discarded books. Produced in an edition of 50.
Originally intended to be paired with photographs for a project that fell through, the poems in this chapbook were delivered to the editor superimposed onto images of Lisa Simpson–hence the title. Moving to text as ambient image, Bilyk’s poems have been placed on pages from discarded books. The poems themselves are difficult to describe. The writing process which Bilyk employs–an ongoing metamorphosis of certain, now unrecognizable, texts–gives us poems which thrash language with itself. Remaining composed, the poems bleed images.
Voloymyr Bilyk ‘Lisa Simpson Poems’ (Domestic/Canada)
Volodymyr Bilyk ‘Lisa Simpson Poems’ (International)
Tonopah and TidewaterRR (for Harry Partch) is an 8.5″x11″ trifolded pamphlet with colophon by J. Mulcahy-King. It has been produced in an edition of 65 copies.
Utilizing the Chinese tonal system, J. Mulcahy-King has composed a piece with only the letter O. Mapping the articulations on a grid to correspond with instruments invented by Harry Partch, Tonopah and TidewaterRR is a sustained shifting utterance in which each shift indicates the movements of trains along the referred to line.
J. Mulcahy-King, Tonopah and Tidewater (for Harry Partch), [Domestic/Canada]
J. Mulcahy-King, Tonopah and TidewaterRR (for Harry Partch), [International]
Latenza is a 8.5×14″ broadside by Francesco Aprile. It has been produced in an edition of 50.
In Latenza, Francesco Aprile’s glitch work harnesses the moment between desire’s push and the point of arrival, redefining that very point of arrival where the fulfillment of action has already gone too far. Considered in the field of visual poetics might this be an echo of the space between word and meaning, thought and writing? Suspended in the between where mood dominates, there is a sense of moving toward an ambient poetics.
Francesco Aprile, Latenza, [Domestic/Canada]
Francesco Aprile, Latenza, [International]
ADDDA is a 12×17″ print by Sacha Archer. The last of three works printed in Tianjin, China, ADDDA has been produced in an edition of 25 copies.
Chosen from an ongoing series of collages by Sacha Archer, ADDDA continues Archer’s exploration of compositional techniques as applied to concrete poetry. In his collage work, the animal (and representational) is always trying to push through–sometimes more, sometimes less evidently. In these works, and ADDDA is no exception, there is a persistent tension between the letter, form and gesture.
Sacha Archer, ADDDA, [Domestic/Canada] FOLDED
Sacha Archer, ADDDA, [Domestic/Canada] UNFOLDED
For international orders please email simulacrumpress at gmail dot com and we can determine the shipping cost.
Dawn Nelson Wardrope’s chapbook, The Penman, a Serious Writer is a 13 page, perfect bound chapbook of visual poems. The second of two full colour chapbooks which were printed in Tianjin, China while editor Sacha Archer was “on vacation” (the first being Jaap Blonk’s on tractatus one), Wardrope’s chapbook has been printed in an edition of 50 numbered copies.
Within the pages of The Penman, a Serious Writer, Dawn Nelson Wardrope has crafted a series of visual poems which take the form of vortexes and organic movements. Juxtaposed with these are poems which echo the traditional line in their linear layout, but which, anchored resolutely in the visual, radiate a pulse and aura where punctuation and the letter, dislodged from the sentence and the word, do all the heavy lifting.
Dawn Nelson Wardrope is a visual poet. Her work comes to us in many different forms. A concrete poet, a collage artist and a mail art enthusiast, Dawn is the author of Remnants of the Red Ribbon Sect and Fisherwoman. Much of her work has been published in magazines such as Sonic Boom (cover artist also), Angry Old Man, Experiment-O, Utsanga, Otoliths, Timglaset and Renegade. Her work is widely seen on Facebook where she publishes regularly.
Dawn Nelson Wardrope, ‘The Penman, A Serious Writer’, [Domestic/Canada]
Dawn Nelson Wardrope, ‘The Penman, A Serious Writer’, [International]
Simulacrum Press presents it’s 9th publication, on tractatus one, by Jaap Blonk. A 7×7″ perfect bound chapbook of 24 pages in full colour, on tractatus one has been printed in an edition of 55 numbered copies.
Looking back to his days as a young student, Jaap Blonk, in his on tractatus one, revisits Ludwig Wittgenstein’s Tractatus Logico-Philosophicus in a series of visual meditations which focus on the first statement of that text. Within on tractatus one the reader finds that much debated statement, “The world is all that is the case” in a number of permutations from which Blonk has produced stunning visual translations via mathematical sequences.
‘on tractatus one’ by Jaap Blonk (Domestic/Canada)
‘on tractatus one’ by Jaap Blonk (International)
Tanka Vol. 1, by Eileen R. Tabios, is Simulacrum Press’s second March chapbook publication. Tabios’s Tanka, Vol. 1 is a tall, slender chapbook of 20 pages, saddle stitched and printed in an edition of 75 numbered copies.
In Tanka, Vol. 1, prolific poet and reader, Eileen R. Tabios, investigates the classical Japanese tanka form. Presenting a scope of work, from her early engagements with the form to increasingly stylized experiments, a progression of possibility opens in the arena of stricture. Where in the initial section we find the poems following the traditional form (as it manifests when romanized), for the following sections Tabios utilizes her MDR (Murder Death Resurrection) Poetry Generator to set the stage for reconfiguration, then excavation.
‘Tanka, Vol.1’ by Eileen R Tabios (Domestic/ Canada)
‘Tanka, Vol. 1’ by Eileen R. Tabios (International)
Simulacrum Press releases it’s first chapbook of the month of March (of which there will be two). Sacha Archer’s 2068 is a pocket sized chapbook produced in an edition of 55 numbered copies each running 52 pages (printed on one side).
Time and the poem. Time and life. Whichever way you come at it, time molds the state of matter, it’s perceived value, it’s relevance. Does the poem increase in value with time—is the poet aiming for immortality? 2068 uses the time limit of expiration dates to observe the poem under pressure. How does the poem on page change when it has expired, when it’s only content is it’s allotted life-span? And when it has expired—has it? Also, inevitably, 2068 is a mirror of our own mortality.
Sacha Archer is an ESL instructor, childcare provider, and writer, as well as being the editor of Simulacrum Press (simulacrumpress.ca). His work has appeared in journals such as filling Station, h&, Politics/Letters, Queen Mob’s Teahouse, NōD, Timglaset, Utsanga, Matrix, Uut Poetry and Otoliths. Archer’s first full-length collection of poetry, Detour, was recently published by gradient books (2017), followed by Zoning Cycle (Simulacrum Press, 2017). His most recent chapbooks are, Philosophy (Simulacrum Press, 2018), The Insistence of Momentum (The Blasted Tree, 2017), and upROUTE (above/ground press, 2017). He has a chapbook of visual poems forthcoming from Inspiritus Press entitled TSK oomph. He reviews, interviews and writes what he pleases at sachaarcher.wordpress.com. Archer lives in Burlington, Ontario.
2068 can be purchased here.
Simulacrum Press enthusiastically let’s loose on the world Daniel f. Bradley’s Running credit checks with no shame now. Printed in an edition 45, this colourful, saddle stitched chapbook spans 38 pages.
With it’s title lifted from the lyrics of Nelly’s Ride with Me, Daniel f. Bradley puts forth Running credit checks with no shame now. Using ‘the’ as a sign post, Bradley navigates a mass of lines encountered on the information highway to compose a driving poetic sequence framed by a question of ownership, possession, and the hierarchy which arises from these. Punctuated by Bradley’s continuing refusal to claim copyright, the spirit of open sharing dreams a mobility where borders/limits are a tool of creation, not of restriction.
‘Running credit checks with no shame now’ by Daniel f. Bradley (Domestic/Canada)
‘Running credit checks with no shame now’ by Daniel f. Bradley (International)