Behind the scenes tour of 59 Rivoli

by HRM on April 23, 2012

Film by Sam Gordon

59 Rivoli, legendary six-story squat in central Paris, is home for the next location of the Paris launch party. Here, film-maker Sam Gordon talks to Kate Beaver, volunteer at 59, about how this building evolved from a bank, to a squat, to one of the most visited and vibrant arts centres in Paris.

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Moby-Dick inspired cyanotypes by Andrew Seguin

Hand To Mouth

1. Why did you decide to illustrate Moby-Dick, and what was the process like?

Moby-Dick is one of my favorite books and I reread it every few years. In 2009 I was reading it again and I had this vision of creating a version of the novel stripped of everything but its punctuation. Because Moby-Dick is so baroque and dense, I wanted to see what I could learn about it by pursuing its opposite: sparity. As a poet as well as an artist, I became fascinated by what Melville’s punctuation — or any writer’s, for that matter — might tell us about his style. Visually, I thought it would be like a musical score.

I started to make my version of Moby-Dick by scanning its pages, erasing all of the words in Photoshop, and then making the remaining images of punctuation into negatives on an inkjet printer. Those negatives I printed as cyanotypes, which are a form of photographic print — light-sensitive iron salts are hand-coated onto watercolor paper, a negative is placed on top, and then it’s exposed in sunlight and developed in water. They dry to a deep, intense blue.

The first prints were beautiful — like constellations of the English language’s margins — but after making a few of them, I felt they were lacking something. So I decided to add to them. I scanned images from old dictionaries and illustrated versions of Moby-Dick and fashioned those disparate parts, including the punctuation images I had already created, into collages on my computer. I then made those collages into negatives and finally printed them, last summer and fall, as cyanotypes. Those are what you see here. Most were printed on my fire escape and developed in my bathtub.

Reading

2. What is your background as an artist?

I’ve always loved making things. But a pivotal moment was my twelfth birthday, when my dad gave me a 35mm camera. I’ve been a photographer ever since. I started making cyanotypes about four years ago, as a way to expand my artistic practice — cyanotypes are photographs, but the process is cameraless, so it’s more akin to printmaking. I never went to art school, though. I took photography classes in college and in graduate school (I have an MFA in poetry), and I’ve gone to a number of workshops since then. I’ve always made a point of making new work and learning new processes on my own.

3. What are you inspired by right now?

The poems of João Cabral de Melo Neto and Gustaf Sobin, John Chamberlain’s car-part sculptures, and the blooming crabapple and cherry trees here in New York.

The Chase

Tails Away

Tashtego

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HER ROYAL MAJESTY: ISSUE 12: THE EXOTIC

by HRM on April 11, 2012

Featuring First Story Ever Written by Alice Munro
Alice Munro

Left: Alice Munro (née Laidlaw) when she was still a student at UWO Centre: Alice Munro, photo by Jerry Bauer, has authored nearly 20 books Right: Cover of issue 11 of Her Royal Majesty"

Come one, come all, come celebrate the launch of the 12th issue of Her Royal Majesty. On May 11, 2012, there will simultaneous launch parties across the world. Take your choice between seven sites of revelry: Paris, London, Berlin, New York, Toronto, and Montreal.

These launch parties will unite the international community created by Her Royal Majesty, a Paris-based magazine founded in 2008 in Nova Scotia. Come celebrate literary and visual arts with performances, readings, live music, live painting, printing presses; we’ll drink, talk and be merry. It will be a golden, global evening.

Harriet Alida Lye

Harriet Alida Lye, Editor in Chief, and guest at the Paris launch of issue 11 at Le Carmen

Appearing in issue 12 is the very first short story ever written by Alice Munro – one of the greatest contemporary writers – in 1950, when she was only just beginning her career. The story has not been re-printed since its publication in her undergraduate journal. Her Royal Majesty is devoted to publishing new excellent artwork by talented emerging artists. Each issue is curated around a particular theme – this one is The Exotic.

Contributing artists and writers interpret The Exotic in a variety of ways: being a foreigner, encountering the unexpected, jungles, travel, strangeness, endangered species, missionaries. Alice Munro’s story, “The Dimensions of a Shadow,” is about a teacher, new in town, who walks home on the last day of school, alone with her imagination and fears.

This story will be read aloud by a young writer or actor at each party. Upon arrival, guests will receive a print of a hand-painted playing card (made by Rosy Lamb, see photo) in exchange for a donation to cover the costs of the event. If you receive the Queen of Hearts, you get a print by the artist.

THE LOVERS, by Matthew Rose, published in issue 12

THE LOVERS, by Matthew Rose, published in issue 12

MAY 11, 2011: LAUNCH OF ISSUE 12
PARIS: 59Rivoli. Contact: Harriet Alida Lye
LONDON: London Review Bookshop.
BERLIN: Idrawalot Gallery & Showroom. Contact: Lacey Haynes
NEW YORK: Contact: James Williams
TORONTO: Placebo Space. Contact: Rose Lipton
MONTREAL: Drawn & Quarterly. Contact: Will Fitzpatrick

James Franco, Robert Hass, Sheila Heti, Anne Marsella, Ibrahim Abdel Meguid and Alice Munro all have or will be published in Her Royal Majesty. Issue 12 features work by Anne Simpson, Matthew Rose, Stuart Dischell, and more. We believe in pairing more established artists and writers with young, emerging talent.

Her Royal Majesty is printed biannually and our website is updated twice a week. While the journal publishes only creative content – fiction, poetry, paintings, photography, etc. – our website focuses on the critical side of art with reviews, interviews and essays, as well as art that cannot be printed, such as videos and music. Our website was named one of the top 10 magazine websites, alongside The New Yorker, Vanity Fair, and Harper’s Bazaar.

Pre-order your copy of issue 12 now, buy it at one of our seven launch parties on May 11, or in one of the excellent bookshops where we’re stocked.

You can find the hand-numbered journal (1-500) at:
Shakespeare & Company, Paris
Galerie Yvon Lambert, Paris
Do You Read Me?, Berlin
Atlantis Books, Santorini
Type Books, Toronto
McNally Jackson, New York
St Mark’s Bookstore, New York
Drawn & Quarterly, Montreal
Eyelevel Gallery, Halifax

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Kiki in the Metro #5

by HRM on April 4, 2012

Come Back, Metropolis - by Kyra Simone

Come Back, Metropolis

People come and go from cities in waves. You wash in or out of whatever place in whatever season, perhaps marking your arrival by the comrades you come in with, missing or liberated from what you’ve left behind.

Then there are those who return to places we’ve already known, where past lives have been played out and left buried in memory, to be suddenly revived or reinvented. After nearly two years sojourning in Paris, I’ve recently resettled in my old town of New York. I ride the train with the stops and connections of another city still hanging in my mind, the geographies of all my places melding into one confused landscape.

As winter in the city plunges closer to the end of its erratic cycle – a day of snow, then a day of sun – I try to weave myself back into the infamous crowd, passing among the bare trees and war-time faces, squinting against the wind as we all hunger for spring. I often think of “The Cop and the Anthem,” the O. Henry story from 1904, which tells the tale of a New York city hobo who tries to get thrown in jail just so he’ll have a place to sleep for the winter. And as we lumber on through this season of longing, flashes of black and white still permeate the crowd. The original archetypes steady the stream, forever in the background against the rush for new colors.

They were together and not together, statues at the helm of the first train car headed for Coney Island. He sat himself down as soon as there was an empty seat, not even thinking of first offering it to his wife. She stood far away from him against a pole by the door, her long young face the only bare part of her showing. The train sped towards the lettered avenues away from town, on to the circus beach, trashed with mermaid memorabilia and scoops of ice cream lost in the sand. The man and his wife rattled on in silence, both staring off in different directions, completely unconnected, though the fact of being married to each other made them the most intimate they were allowed to be with anything.

The woman grew duller as one’s eye traveled down her body, beginning with the hint of color in the silk scarf tied around her head, printed with a single pink flower over her ear. Then came the bit of fur at the collar of her matronly coat, which continued to the floor over legs wrapped in dark stockings, held still at the base with mouse-footed flats. She usually walked alone in the street, alone with her five identical children, the same face made in diminishing order, trailing along behind her like a set of Russian dolls. They all kept silent as they went, a mute people dressed in God’s uniform, moving like animals emerging from the forest, stunned by all the strange lights on the road.

He sat with his legs apart, surely being pondered by someone in the crowd, for the inconspicuous locks of hair at the sides of his face, or the white ropes at his belt, only worn in obedience of his religion. How could they know he was waiting to be plucked up to the heavens, to be dangled over divinity by his own twisted knots. He looked a full decade older than his wife, while others of his kind seemed like boys beside the womanly bearers of their children. They all worked in the big stationary shop in Brooklyn, versions of the same man appearing behind shelves and counters throughout the store. It was only late in the evening that any of them were revealed as themselves, laid naked with their wives, if only in the shadows. But lately, when he combed his fingers through the woman’s hair, it only felt like so many stacks of paper shredded through the day…her eyes, the eyes of a customer he knew well.

The train carried on through a wasteland of patchwork buildings and broken signs in the distance, moving slowly over the track like an old roller coaster, as it shrieked up to street level and then dipped below the surface. A pigeon flew into the dark of the tunnel before them, as if abandoning its life above ground. And it was known in a moment. Someday, they would stand on the shore of a lake, both turning grey with fistfuls of crumbs, theirs the only hands the swans would feed from.  The woman would still be hidden in the same black coat, still apart from her husband seated in the only chair, reaching into his pockets and wagging his cane. The birds would surround them like some celestial arrival, fanned out from the smallest specks to the greatest beauties, all flocked on the shore before they took flight.

But here, in the crowd, on this last day of snow, the long ride home only brought silence upon them, whatever thoughts of whatever things floating off in whatever directions. Tomorrow the woman would wake to a roaring wind, and mistake it for the waves of a distant sea.

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Inanimate

by HRM on March 28, 2012

video by Nathanial Bellows

Nathaniel Bellows is interested in narrative – he is a writer, musician and illustrator – and uses his work to explore the realms of memory, particularly the mysterious process of recollection. Remembering one image or event can evoke a variety of seemingly unrelated things, each existing in the subconscious by its own elusive rules. What are the associative patterns the mind invents to render our past in such unexpected and beguiling constructions?

This short video features some of these preoccupations: one thing morphs into another, without definable pattern or sequence, yet all the components of a story might be here, waiting to be assembled and interpreted by the viewer.

Nathanial Bellows

Nathanial Bellows

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ISSN: 2116 34X