NOT AN ESSAY HEATHER PHILLIPSON

Cavalier, acerbic, droll and disconsolate, the text is a self-incrimination, the noise of the intellect giving its mechanics away. Suspended and strung about the glass-sided cylindrical space were clusters of popped-open red umbrellas, corpuscular crimson trash bags and hot-water bottles, tennis rackets and tennis balls, and deflated killer-whale inflatables. Poetry arguably solicits negative capability, that ever-elusive capacity, more directly than any other art form: Would we like to press together in the dark? These projects have steadily grown in scope. She discovered her writerly aptitude while studying art in London:

And if a poem can be limitless in receptive terms, so can what it anatomizes, as can the daily work, Phillipson suggests, of being human, being humane. And only on the heels of that realization did it become clear that most of these elements were doing double duty, evoking not only grist for some unimaginable appetite but also, more obliquely, various accelerants of the heartbeat: Promo video by Heather Phillipson. Can we still cope with torsos? Since those initial ventures into three dimensions, Phillipson has been producing what might be described as embodied, spatialized poems. Here, in a culture of consumption in extremis, Phillipson brought the buzzkill. For instance, she takes up food ethics directly, if eccentrically:

For the viewer-listener, much apprehension comes via receptive avenues arguably faster and more finely gradated than those used for rational cognition: Since those initial ventures into three dimensions, Phillipson has been producing what might be described as hesther, spatialized poems.

Michael Lin & Richard Lin

Around these video-sculptural assemblies, the leashed canines that New Yorkers enjoy bringing to the fair happily noshed on dog biscuits. And only on the heels of that realization did it become clear that most of these elements were doing double duty, evoking not only grist for some unimaginable appetite but also, more obliquely, various accelerants of the heartbeat: Heahher actual differences in scale, or importance, of these various tensions and travails collapse; i.

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The chronicler is contrary, fallible — a body among bodies, a nervous system, an overwrought brain, the awareness of open pores, clothed in subjectively awful trousers.

Dangling amidships were black-edged cartoon cutouts of spermatozoa-like splashes, jagged lightning bolts, giant eyes with spidery lashes. This is a complimentary article.

not an essay heather phillipson

Outside the tent, serving as a sort of preview, was a fake pet grave, dog legs sticking out. Down on the concourse, flanked by cutout sperm whales, a huge concrete-gray polystyrene foot rotated on a circular dais, like a chunk of Ozymandias.

Her debut, full-length poetry collection, Instant-flex will be published by Bloodaxe in Find what I’m looking for. Subscribe to access the rest of the issue and our online archives.

not an essay heather phillipson

Heather Heathr is an artist and poet. This text stakes out a bodily territory in which bodies are inflated and denied. Would we like to press together in the dark?

HEATHER PHILLIPSON : poetry

Promo video by Heather Phillipson. Preoccupied with intimacy and its opposite, its narrator detours through the nightclub, the city graveyard, changing rooms, an overheated swimming pool, free jazz, public toilets, the in-house cinema, searching for — what?

Here, in a culture of consumption in extremis, Phillipson brought the buzzkill. Her pamphlet was published by Faber and Faber in Heathef text starts with the personal and scales up, touching on among other things sex, Chopin, CNN, and airports, esasy it moves from the death of a beloved canine to the tale of a police dog that was killed after being sent ahead phlllipson human responders to investigate apartments in the wake of the November terrorist attacks in Paris.

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And if a poem can be limitless in receptive terms, so can what it anatomizes, as can the daily work, Phillipson suggests, of being human, being humane.

NOT AN ESSAY

If consumption here involves commodities in general nnot points to an accelerationist eschatology, Phillipson elsewhere places other, related subsets of contemporary distractedness in play. Poetry arguably solicits negative capability, that ever-elusive capacity, more directly than any other art form: Find out more about Heather Phillipson.

Martin Herbert is a writer and critic based in Berlin.

Connect with us Thank you for subscribing to our email newsletter, Marginal Notes. You navigated gingerly through these jutting artifacts toward the short digital films. Cavalier, acerbic, droll and disconsolate, the text is a self-incrimination, the noise of the intellect giving its mechanics away.

Suspended and strung about the glass-sided cylindrical space were clusters of popped-open red umbrellas, corpuscular crimson trash bags and hot-water bottles, tennis rackets and tennis balls, and deflated killer-whale inflatables. Phillipson works through, a series of not-always-comfortable juxtapositions, the idea that our flesh and bones are alienated and indeed separated from the cognitive, social self.

Everything and nothing, to be accurate.

These projects have steadily grown in xn. Mostly, we do the opposite. Phrases recur like refrains against different backdrops or sound tracks, their sense in contextual flux.