Jeremiah Day – Simone Forti – Fred Dewey

LUDLOW 38 KÜNSTLERHAUS STUTTGART GOETHE INSTITUT NEW YORK December 2 – December 19, 2010 Jeremiah Day

December 2, 6pm – Ludlow 38 Opening reception 6pm; Performance and Readings 7:30pm Jeremiah Day – 1-2-3-4 Simone Forti – from Oh, Tongue Fred Dewey – A Polis For New Conditions (Part 1)

December 3, 7pm – Emily Harvey Foundation, 537 Broadway, 2nd Floor Jeremiah Day/Simone Forti – Improvisation Fred Dewey – A Polis For New Conditions (Part 2) Simone Forti – Improvisation Jeremiah Day – Lowndes County: Prologue Simone Forti

December 4, 4pm – Ludlow 38 Simone Forti – New Writings Jeremiah Day and Fred Dewey in conversation – Lowndes County > > New York: Art and Public Life

Note: Seating for all events is limited and will be handled on a ‘first-come’ basis. Fred Dewey

Ludlow 38 is sponsored by MINI and Friends of Goethe of Friends and MINI by sponsored is 38 Ludlow

Publication supported by FRDewey Projects FRDewey by supported Publication

Simone Forti’s participation supported by The Box, Los Box, The by supported participation Forti’s Simone

Arcade, London; Mondriaan Stichting, Netherlands Stichting, Mondriaan London; Arcade,

Amsterdam; Projects, Bruijne de Ellen by supported participation Day’s Jeremiah

Thanks to ICA – Will Holder, Richard Birkett, Isla Leaver-Yap Isla Birkett, Richard Holder, Will – ICA to Thanks LUDLOW 38 December 2 – December 19, 2010

Thanks to The Box – Mara McCarthy, Hillary Graves Hillary McCarthy, Mara – Box The to Thanks

May 9, 2009 footage courtesy of ICA, London, camera by Jason Hall Jason by camera London, ICA, of courtesy footage 2009 9, May

May 15, 2010 footage courtesy of The Box, Los Angeles, camera by Naotaka Hiro Naotaka by camera Angeles, Los Box, The of courtesy footage 2010 15, May

38 Ludlow Street York New Linco, at Printed

New York, NY 10002 Richter Ann by designed Publication

Project curated by Axel Wieder and Tobi Maier Tobi and Wieder Axel by curated Project Impressum:

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including the governance of anything in that that in anything of governance the including o te bet f agaelnug a a object— an as language—language of object the So,

clare the ownership of all her public conditions, conditions, public her all of ownership the clare metaphor. On the page it has a similar, stranger effect. effect. stranger similar, a has it page the On metaphor. problematic, the challenges we face. face. we challenges the problematic,

- re-de to solely body governing her as men without speaking, the jumps, the gaps—produces gaps—produces the jumps, the speaking, without This sums up our our up sums This things.” all to and parliaments,

- select original her restore Gloucester propose here—in the performance, the silences, the moments moments the silences, the performance, the here—in “Unreality is death to to death is “Unreality historian: a Romantic, a

creation as part actually of his own being. I I being. own his of actually part as creation moving and speaking. What feels like emptiness emptiness like feels What speaking. and moving were from Londoners. One is from Thomas Carlyle, Carlyle, Thomas from is One Londoners. from were

own nature. Man is so stolen and cheated of of cheated and stolen so is Man nature. own mance, it’s language, it’s text, but it’s structured in in structured it’s but text, it’s language, it’s mance, A., two quotes I realized realized I quotes two A., L. from me, with brought

“we are the created conditions of our our of conditions created the are “we - perfor a of product a is page the on text The did. your problems here. So I did some research. I also also I research. some did I So here. problems your

one I made with Simone, or the book from they they Dublin from book the or Simone, with made I one that is the heart of our problems in America, and and America, in problems our of heart the is that

torn down and the banality driving it. The poet says: says: poet The it. driving banality the and down torn would see this if you looked at one of our books, the the books, our of one at looked you if this see would ert Walpole. He created the political party gimmick gimmick party political the created He Walpole. ert

local paper, Olson details addresses the town being being town the addresses details Olson paper, local sults of decisions. The body in effect edits text. You You text. edits effect in body The decisions. of sults - Rob Sir ago, centuries two here minister prime a

On December 28, 1965, as part of a series to his his to series a of part as 1965, 28, December On - re the spaces, in-between movements, in-between book stores, and came upon a little 1906 book on on book 1906 little a upon came and stores, book

in-between, but literature, or poetry conventional not first day here I was in Charing Cross, at the used used the at Cross, Charing in was I here day first

been all over. over. all been as editor/publisher, was a way to capture text that is is that text capture to way a was editor/publisher, as I’ve come quite a long distance to London. On my my On London. to distance long a quite come I’ve

brary, he would go to Boston, he went abroad, he’d he’d abroad, went he Boston, to go would he brary, was interested in, as director of a poetry center and and center poetry a of director as in, interested was I want to conclude with two quotes, since since quotes, two with conclude to want I

- li the to go would He living. walking, just then man, and transcriptions of performances by Simone. What I I What Simone. by performances of transcriptions and

- post as first day, every city the through walk would he London, May 9, 2010 9, May London, a series of poems poems of series a Tongue, Oh, mentioned, Holder to explain the economy. I think this is a big plus. plus. big a is this think I economy. the explain to

the fisherman, and they remembered Olson because because Olson remembered they and fisherman, the Arts, Contemporary of Institute That leads me to a second thing, the book Will Will book the thing, second a to me leads That listening to Larry Summers or Gordon Brown trying trying Brown Gordon or Summers Larry to listening

viewed the truck driver, the post man, the local grocer, grocer, local the man, post the driver, truck the viewed late to: moving, talking, thinking, imagining. It’s not not It’s imagining. thinking, talking, moving, to: late

- inter and Gloucester through went film the of rector Edited transcript from talk. from transcript Edited the gestures, words, images, appear to us. to appear images, words, gestures, the - re can room this in us of one any strategy a in ly

EWEY D D RE F - di The people. to history, its place, of actuality the to motion drives how things emerge. They, the person, person, the They, emerge. things how drives motion - important most but thinking, in research, in based

lege, his history in Gloucester. He connects metaphor metaphor connects He Gloucester. in history his lege, emerges is edited, in moving, live, in public, here. Their Their here. public, in live, moving, in edited, is emerges birds, they had an economic discussion. This is is This discussion. economic an had they birds,

- Col Mountain Black of rector as government, S. U. They were busy writing today, preparing for this. What What this. for preparing today, writing busy were They Jeremiah and Simone talked about the fish, the the fish, the about talked Simone and Jeremiah

how things are organized. He had background in the the in background had He organized. are things how research, in a sense, emerges in the writing process. process. writing the in emerges sense, a in research, I was thinking about this, I was thinking about that. that. about thinking was I this, about thinking was I

text or a historical text, but to metaphor. Looking at at Looking metaphor. to but text, historical a or text This D.C. Washington, Massachusetts, Dublin, Alabama, my mind, all kinds of thoughts are going through it. it. through going are thoughts of kinds all mind, my

son didn’t go to, let’s say, a thesis or a sociological sociological a or thesis a say, let’s to, go didn’t son what she’s reading and thinking, Jeremiah the same in in same the Jeremiah thinking, and reading she’s what formance, but I’m sure in your mind, certainly in in certainly mind, your in sure I’m but formance,

- Ol bring. possibly can you discipline every need you A., Vermont, Italy, Italy, Florence Vermont, A., L. in her around is what - per dance a like looked This faculties. human the

research, that to understand one place, place exists, exists, place place, one understand to that research, tographing, before their performances, Simone with with Simone performances, their before tographing, synthesis or wholeness, but bringing together all all together bringing but wholeness, or synthesis

scape thinker John Stilgoe said of Olson’s work, of his his of work, Olson’s of said Stilgoe John thinker scape - pho or drawing writing, research, of amount mendous gaps, through movement and, I don’t want to say say to want don’t I and, movement through gaps,

- land Ferrini, Henry by This, Is Polis Olson, on film a In - tre a do Simone and Jeremiah movement. through through metaphor, through meanings, between ship

and he had many interesting things to say about this. this. about say to things interesting many had he and etry. That poetry unfolds through the body, speaking, speaking, body, the through unfolds poetry That etry. - relation non-one-to-one a through living, of this,

poems, poems, Maximus the called work a wrote Gloucester, - po of form a metaphor, of form a It’s sense. ventional of sense a restore to attempt an is formance,

spent a great deal of time researching his town of of town his researching time of deal great a spent - con any in rhetoric or definition or declaration a from - per live in here, happening What’s involved. tion”

A great American poet Charles Olson, who who Olson, Charles poet American great A a meaning that comes out of movement that is not not is that movement of out comes that meaning a - “ques certainly there’s although dialogue, mere

nesses, these open-ended spaces they set up. There’s There’s up. set they spaces open-ended these nesses, ing to each other. The role of art is different from from different is art of role The other. each to ing

formance, as you saw. It’s a poetics. a It’s saw. you as formance, - empti these gaps, these are Simone and Jeremiah of talk- is primary The on. so and together, come pear,

- per the in editing of way uncanny this and formance, A great deal of what I find extraordinary about the work work the about extraordinary find I what of deal great A - ap it, record this, about speak to moving, we’re

- per investigation, research, involves It radical. quite more poetic or metaphorical structures and formations. formations. and structures metaphorical or poetic more about where we are, where we came from, where where from, came we where are, we where about

Jeremiah and Simone are exploring, that I think is is think I that exploring, are Simone and Jeremiah mally be called declarative or definitive statements and and statements definitive or declarative called be mally ing to mean anything, we need research, to think think to research, need we anything, mean to ing

things accessible to all of us, of crucial strategies. crucial of us, of all to accessible things the book or page. But there’s this third form, one that that one form, third this there’s But page. or book the - nor might what between gaps the sense, literal a in is, - go is this of any If poeticizing. face-to-face, other

remiah and Simone to be examples, exemplars, of of exemplars, examples, be to Simone and remiah chasm between what we think of as spoken word and and word spoken as of think we what between chasm always been interested in, with poetry and language, language, and poetry with in, interested been always screen. It’s about a return to speaking to each each to speaking to return a about It’s screen.

­ Je consider I here. tonight, happened what at look ken word, let’s say in slams and so on. There’s a a There’s on. so and slams in say let’s word, ken A lot’s happened since. But one of the things I’ve I’ve things the of one But since. happened lot’s A against rhetoric, propaganda, that tyranny of the the of tyranny that propaganda, rhetoric, against

of research into our lives and our history, it’s a way to to way a it’s history, our and lives our into research of - spo there’s Then dead. lifeless, book, a in point—as This relation to language and world stands stands world and language to relation This

ferent tongues assemble, is a place to form some kind kind some form to place a is assemble, tongues ferent we have all suffered through such classes at some some at classes such through suffered all have we A. L. in period dinary

- dif have to tongues, with speak to ability the speech, tween people, in a space. Poetry is thought of—I think think of—I thought is Poetry space. a in people, tween - extraor that to back go us of three The met. Jeremiah commoner, we, Gloucester, be commons.” commons.” be Gloucester, we, commoner,

I think the notion of the tongue, language and and language tongue, the of notion the think I - be and among speaking moving, living, between A., where she and and she where A., L. in classes contact doing been moners, for ownership of commons, he the the he commons, of ownership for moners,

renews language, why we turn to it. The relationship is is relationship The it. to turn we why language, renews to late-90’s. Because of that I met Simone, who’d who’d Simone, met I that of Because late-90’s. to - com of principle the reestablish to words,

miracles.” all public space, to the renewal of language, why poetry poetry why language, of renewal the to space, public started working with Jeremiah at the center in the mid- mid- the in center the at Jeremiah with working started than the precincts of the city’s limit. In other other In limit. city’s the of precincts the than

“to speak all tongues, to do do to tongues, all speak “to 12: Book Lost, Paradise And this goes directly to the role of poetry in in poetry of role the to directly goes this And A. to here, temporally and spatially. I I spatially. and temporally here, to A. L. from journey or larger unit of topography or environment, environment, or topography of unit larger or

saint of your great city of London, John Milton, from from Milton, John London, of city great your of saint roque, in Los Angeles,1995–2009. It’s been a long long a been It’s Angeles,1995–2009. Los in roque, No longer any appeal to eminent domain, domain, eminent to appeal any longer No

Then, much further back, from a kind of patron patron of kind a from back, further much Then, is in a sense dismantled, problematized, energized. energized. problematized, dismantled, sense a in is - Ba Beyond center, poetry and literary a ran I body and the total electorate’s judgment. judgment. electorate’s total the and body 5/5: Day – Forti – Dewey – Forti – Day 5/5:

SF: It’s good to think way past the Earth, way you and after you. JD: So they offered to give it back. They said to past. After you and after you and after you and af- the Indi- Way past. ter you and up there and up thereon the side ans, they said, these things Way past. of this big high rise building a big flat place you can have them back. And then the tribe where you can where you can buy time on it which is sort of, well they JD: Brecht had said that there would be noth- and there was like this huge poster the mad are trying to get a casino ing left. That there would be nothing left but the hatter looking down on the whole scene, and now. But there was a smart wind. There would be nothing left of the cities just this glow of pleasure just with no context guy in the tribe, and he said but the wind that blew through them. And I just pleasure. Just pleasure. Pleasure with to Har- guess that’s not true really. glazed eyes, just pleasure. And this guy goes, vard, you know, you guys Brecht had said that the wind would blow Ahhhhhhhggggg!! And… can keep them, you can through the rubbles of the cities. And that’s not keep the things there, and true because we’re here. In Berlin they had to, JD: My friend wanted to have the Sa— he want- we’ll just come and we’ll they picked up all the rubble and they put it into ed to have the Santa Monica Mountains tat- visit them. piles then they made parks with the piles. And tooed on him. He wanted to have that ridge so then they built buildings again, they built big that he would remember something. And I, I SF: Those spicy bushes! There’s buildings to try and show guess I guess I thought for a one kind of bush that, you can off that they survived. long time I thought that that breath it and you get so revived. They had this one build- would help to remember some- It’s kind of tender, its not all spiky ing on the East side, they thing. It would help to remem- and dry and stiff. Its very tender built a long street. It was ber… to remember where and it has this scent that just… like the Soviet Champs Ely- you needed to go just knocks you out. see. And my godfather saw it, when he was a teenager, SF: Good to… look way JD: And so somehow then he was driving there, and past the earth. they come and do their cer- he said so it’s, there are emonies there at Harvard. these big beautiful build- JD: and then I started to think And so they’ve gone and ings covered with tile. that maybe that would be con- Earl Mill, the Chief of the fusing, you know? You thought Indian Tribe goes up from SF: And that was during the you should go there, but— like Cape Cod, and he visits during the East, East Ger­many. you have an idea inside you a- the things, the regalia, there, and he brings the bout how its supposed to be and kids there, and…. And so they’ve taken over JD: Yeah, so that would then you try and put that on you, Harvard for a few hours, they take them back. have been like ’62, ’63. And you try and put the idea of how so he was driving there, its supposed to be on you. And SF: I wanna go home to the Santa Monica and the buildings are cov- its not its not really like that. And Mountains. ered with tile and they’re I try and imagine the mountains like glistening. So its this End long street and the build- SF: the thing about San- ings are covered with tile. ta Monica, the Santa And my godfather, he was Monica Mountains visiting and his father had rented a, he had rented like a big American se- JD: the water rising JEREMIAH DAY AND SIMONE FORTI dan to drive around Europe in. Edited transcript from improvisation. SF: is how it smells when you get up there SF: You could get one? The Box, Los Angeles, May 15, 2010 JD: and the Badlands, Mt. Rushmore and those JD: I don’t know, maybe he had it shipped over. Uranium mines, Pine Ridge Indian Reservation I don’t know. It seems unlikely that he could have rented one. SF: the bushes are spicy! And at dusk

SF: So he must have… driven it… from? JD: and the Badlands, that used to be the bot- tom, it used to be the bottom of a giant sea JD: From Connecticut. SF: they let out all this fragrance SF: From Connecticut? How did it get from Connecticut to ? JD: and so the surface of the Badlands, this kind of rumpled-like broken surface, that looks JD: Well he put the car on a boat, he put the like another planet looks like Mars or something. car on a boat and then you go to Germany with it I guess. He wanted his family’s sedan with him SF: There’s some rattlesnakes out there. You on the holiday, I guess. look where you step, you stay on the trail. One time a snake right across, wvoooo! SF: And he went into East Ger- many with it? JD: That surface is the accumulation of all these sediments of things that have JD: And he went into East fallen. things that were once on Germany and this street— the surface of the sea or de-

scending down through this , 2002-4, Jeremiah Day Jeremiah 2002-4, ,

SF: Oh they must have loved it. great sea that’s not there any- Die You Til Live more. And you can im- JD: and the shops. They agine them descending like slow- really did enjoy the trip— ly and then coming to rest.

SF: I mean the Germans see- SF: Why does it slide? ing it. JD: And those things that come JD: Oh, the Germans see- to rest then form the basis of ing a big sedan? this other place. And there’s all these things happening there SF: What color was it? SF: Heating up in the sun, JD: I imagined always as just a snake lying in the a kind of maroon. sun.

SF: Mar-oon. You can just, the JD: and there’s kind of a sui- word: maroon. cide problem on that reserva- tion there at Pine Ridge. JD: So this big street, the Soviet Champs Elysee— SF: Taking in the heat. They’re cold blooded. SF: Mah—roon. They don’t make their own heat, they just lie on the ground, take in the sun. JD: —apparently they had built it up but didn’t develop anything around it or behind it. So on JD: This other reservation, this other Indian res- both sides besides of the street there was just ervation— Harvard had all of their things. Har- still the rubble. vard had all of their regalia, their feathers and bones, they had these things. And no one, I SF: Hm... Vroom! don’t even know if people talk about how they ... got them, which was the process by which they Ouehahtobedahbaa! Ffstbabdebaaaah! Oo- accumulated these things. But at a certain point eyah, oooh! Yahah, ooh! (Yelling, smiling) Ooo- they did recognize that the way they had them ah! And the cars were coming down off the there in the museum just wasn’t, wasn’t right freeway they were coming off. And this guy, he somehow, had his he was like a crust, like a crust, a crust SF: A snake, to be a snake! You can smell when of a man and he was like aaaaah to the cars, something’s coming. aaaah watching them oh—after you. And after

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