Repetitive Poems by Catherine Vidler is an elegant collection of 4 visual poems, each in full colour. Measuring 8.5 x 5.5″, Repetitive Poems is printed on card stock and bound with a single fastener in a limited edition of 45 chapbooks.
With Repetitive Poems, Catherine Vidler gives us her love of colour and meticulous forms, honing in on the effects of repetition applied to geometric forms. Repetition, of course, is an important poetic device, harkening back to the earliest oral traditions–repetition, yes–but repetitive? Repetitive connotes monotony, something these powerful crystalline logos refuse.
‘Repetitive Poems’ by Catherine Vidler [Domestic/Canada]
‘Repetitive Poems’ by Catherine Vidler [International]
Edward Kulemin’s Cash Register Poems are presented in a simple 3×5.5″ single stapled bundle. 9 pages, full colour, printed on one side–replicating the common sight of end of the night receipts collected and stapled at our favourite stores.
This collection of asemic writing brings us into the heart of our purchasing centered lives where our movements leave a paper trail. Kulemin, having picked up this paper we accumulate, has reengaged these non-creative sites of record with invigorating graffiti–in this case the language of exasperation, and hope.
‘Cash Register Poems’ by Edward Kulemin (Domestic/Canada)
‘Cash Register Poems’ by Edward Kulemin (International)
May Bery’s work Confinement/Trespass has been published in an edition of 30 broadsides (18×24″). Following the signs, the work has been folded similarly to a road map.
Using a map of Richmond, Quebec as a starting point and canvas/page, May Bery has intervened in and interrupted the placid function of the map with her asemic paragraphs and bold borders. The paragraphs create isolated language zones which in turn echo Arabic, mathematical signs (the universal language), and noise. Confinement/Trespass does more than suggest the tie of language to identity and identity to belonging–it asserts the presence of peoples, the feeling of trespass and the fact of diversity.
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.
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
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