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5/11/2002

Proposta 2002

Centre de Cultura Contemporania de Barcelona CCCB, Barcelona

International festival of poetry+polypoetry
6, 7, 8 and 9 November 2002

PROPOSTA is an annual festival devoted to contemporary poetic practice, particularly its boldest exponents, and to areas of fusion. It deals with proposals that go beyond the text to seek direct contact with the public, whether by means of oral delivery or dialogue with other disciplines. The festival aims to present an overview of the current situation of poetry; to this end it includes live performances, lectures, film showings and the publication of a catalogue bringing together all the information about the festival.

PROPOSTA is an annual meeting point for thought and dialogue that brings an open mind to poetry and creation in general. Furthermore, after its first two outings the festival has become a point of reference on Europe's poetic scene and, most importantly, a showcase for new proposals for both creators and the general public in Barcelona. It is a literary festival that goes beyond the narrow vision that reduces poetry to the book it is written in.

PROPOSTA, now in its third year, introduces a new feature, a link-up between the word and new technologies, at the same time continuing in its desire to present new authors from other countries (Christophe Fiat, Jörg Piringer) and to explore the territories that border on poetry, particularly this year the relation between music and poetry. The opening, with Enric Casasses and Pascal Comelade, is the most outstanding example. There will also be two outstanding participations, that of Bob Cobbing, cutting-edge poet and experimenter in the United Kingdom, and Sten Hanson, a pioneer in voice processing using tape recorder and computer.

Sections
Opening. Getting the festival under way.
Intermedia. Live performances.
Lectures. Theoretic approaches to the poetic.
Writings of excess. Poetry, network and technology in the age of access.

Participants
Enric Casasses + Pascal Comelade
Bob Cobbing + Hugh Metcalfe (United Kingdom)
Sten Hanson (Sweden)
Michael Lentz (Germany)
Christophe Fiat (France)
Biagio Cepollaro (Italy)
Jörg Piringer (Austria)
Víctor Sunyol
Ferran Cuadras
Eugenio Tisselli, Ester Xargay and Carles Hac Mor
Bernard Baud
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PROGRAMME

Wednesday 6 November

Opening
Auditorium of the CCCB, 10.00 p.m.
Enric Casasses + Pascal Comelade

Thursday 7 November

Exhibition
2nd floor of the CCCB, from 8.30 to 10.00 p.m., free admission to the exhibition Cosmopolis: Borges and Buenos Aires.

Writings of excess
Foyer of the 2nd floor of the CCCB, 10.00 p.m..
Live performances by:
Bernard Baud
Eugenio Tisselli, Ester Xargay and Carles Hac Mor - One hundred billion poems, by Raymond Queneau

Friday 8 November

Lecture
Bookshop of the CCCB, 8.00 p.m.
Ferran Cuadras: 'Text-sound art': voice, language and sound creation. Referents.

Intermedia
Foyer of the CCCB, 10.30 p.m.
Live performances by:
Michael Lentz (Germany)
Sten Hanson (Sweden)
Christophe Fiat (France)

Saturday 9 November

Lecture
Bookshop of the CCCB, 8.00 p.m.
Víctor Sunyol: Rewriting and writing (a personal itinerary around the practices of Oulipo)

Intermedia
Foyer of the CCCB, 10.30 p.m.
Live performances by:
Biagio Cepollaro (Italy)
Bob Cobbing + Hugh Metcalfe (United Kingdom)
Jörg Piringer (Austria)

Opening
The festival will be opened by two outstanding figures on Barcelona's underground circuit, the poet Enric Casasses and the musician Pascal Comelade. These two highly personal voices have worked together for years, the complicity of friendship fusing them to perfection.
Enric Casasses (Barcelona, 1951) is one of the vital voices of present-day Catalan poetry and the best-known of the poets who, in the eighties and nineties, fuelled Barcelona's countercultural poetry scene that became a real culture of poetic oral delivery. He is one of the figures responsible for the fact that poetry has opened up and that we are now listening to poetry once again. Furthermore, awards such as the Carles Riba Prize (Calç) and the Ausiàs March Prize (D'equivocar-se així) have brought him critical recognition.
Pascal Comelade (Vernet, Roussillon, 1955), without leaving the Roussillon of his birth, has projected his impossible melodies for pianos and toys around the world, often accompanied by the Bel Canto Orchestra. His music is the product of a wide range of research and interest, from experimentation to traditional music. He is also the author of the Enciclopèdia logicofobista de la música catalana (Llibres del Trabucaire, 1993). Collaborations with P. J. Harvey and Richard Pinhas complete his extensive discography.
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SECTIONS

Intermedia
Poets present original work. 6 live performances:

>Bob Cobbing (Enfield, England, 1920). After the war, he embarked on a poetic body of work in which he explored the possibilities of the typewriter. This produced his non-texts, comprising the superposition of a single poem typed various times on a sheet of paper which is moved and positioned differently. In 1954, he started to investigate with phonetic poetry and performances, often involving other musicians and readers. He has worked with poets such as Ernst Jandl, Henri Chopin and François Dufrêne. Despite his advanced age and problems of health, he keeps up his usual pace of performances, mainly on London's countercultural scene. In recent years he has worked with the guitarist Hugh Metcalfe with the group Birdyak, often accompanied by the soprano sax of Lol Coxhill and dancer Jennifer Pike. Bob Cobbing has been the most vocal, visible and unassimilable presence in British sound and visual poetry of the last fifty years. Open to all possibilities of the live performance, in 1954 he began to explore the form and texture of words and has never ceased his investigation. He has worked with tape recorders and computers, but it is his multiple, personal expressive resources that make his readings so characteristic.
Due to problems of health, Bob Cobbing is unable to be with us at PROPOSTA 2002. The performance will comprise recorded elements (Bob Cobbing) and live elements by Hugh Metcalfe (guitar, electronics, gas mask...).

>Sten Hanson (Klövsjö, Sweden, 1936). One of the pioneering poets in the interaction between text and electronics. He has worked with experimental music, literature and art since the early sixties and has given live performances around the world and performed pieces for radio and television. He was quick to realise the importance of the tape recorder in renewing poetry and the capacity of the text-sound to break with the isolation often experienced by an author of a minority language. As of 1968 he was at the forefront of Fylkingen, a leading entity in the diffusion of text-sound that brought together many of the Swedish poets and composers working in the field.
Sten Hanson denies any debts or traces, in sound poetry as it began to develop in the fifties and sixties, of foregoing trends such as Futurism, Dadaism and Lettrism. Like Henri Chopin, he argues: 'Sound poetry came into being as the result of new working instruments and new media: the tape recorder, electronic recording studios, the vinyl record, the radio.' Nonetheless, he believes it is essentially a means of returning the body, its rhythm, orality and the non-semantic communication of speech to poetry.

>Michael Lentz (Düren, Germany, 1964). Currently resident in Zurich. Writer, musician and performer of experimental texts and sound poetry. He is one of Germany's most renowned sound poets of the moment, as well as being a leading specialist in the study of sound poetry in the second half of the twentieth century. He has been awarded many prizes and grants and, since 1989, has been a member of the ensemble of composer Josef Anton Riedl. Last year he was awarded the Bachmann Prize, one of Germany's most prestigious, for his book Muttersterben, exciting the admiration of German critics. He is also the author of Lautpoesie/-musik nach 1945, a masterwork compiling the history and evolution of sound poetry since 1945, undoubtedly the most meticulous and detailed approach to this practice that moves between two worlds - poetry and music. He has also organised international sound poetry meetings.

>Biagio Cepollaro (Naples, 1959). Currently resident in Milan. He was one of the promoters of Gruppo 93, the group to have generated most debate in the literary world and a degree of renewal in poetry in Italy in the last decade, and founder of the magazine Baldus along with Mariano Baino and Lello Voce. Between 1985 and 1997, he wrote the trilogy De requie et natura, comprising the books Scribeide, Luna persciente and Fabrica, on the theme of the artificial nature of urban landscapes and the multiple languages that inhabit them, from literary to mass, dialectal and technological languages. He has been included in the major anthologies of present-day Italian poetry and has taken part in lectures and poetry festivals all over Italy and the rest of Europe.

>Christophe Fiat (Besançon, 1966). Writer and performer. One of the most outstanding poets of the new generation of French sound poets. Best known for his spectacular stage appearances with an untuned electric guitar and a broken voice in which he reads his circular poems that are often about figures in mass culture such as the porn actress Tracy Lords, Lady Di or King Kong. In 2001 he set up the magazine Mission impossible and this year he took part with Thomas Hirschhorn in Documenta in Kassel. At PROPOSTA 2002, he will present his performance New York 2001.

>Jörg Piringer (Vienna, 1974). Sound and visual poet and musician. Founder of the Institut für transakustische Forschung (Institute for Transacoustic Research) and member of Das Erste Gemüse Orchester (The First Vegetable Orchestra). Studied at the Schule für Dichtung in Wien (School of Poetry) of Curd Duca and Sainkho Namtchylak, among others. His poetic work combines the energy of slam poetry and the possibilities offered by electronics. He has created works of video and interactive poetry.

Writings of excess
One of the new features of this year's PROPOSTA is this space devoted to hypertextual experiences in the age of access - literary experiences on the edge that employ new technologies for their propagation.
Writings of excess is also the title of a project that sets out to explore this terrain, whether by means of the net or using publications, with the participation of young poets such as Albert Balasch, Josep Perelló, Robert Juan-Cantavella, Eugenio Tisselli, Llorenç Bonet, Dídac P. Lagarriga and Eduard Escoffet. This event is its presentation.

We present two projects:

>Eugenio Tisselli (Mexico City, 1972) has developed Midipoet, software that enables interaction between text and image. Together with the poets and writers Carles Hac Mor (Lleida, 1940) and Ester Xargay (Sant Feliu de Guíxols, 1960), he presents the version for this program of One hundred billion poems, by Raymond Queneau.

>Bernard Baud's work is the result of close collaboration between two collectives working in Barcelona, Fiftyfifty.org and Oozebap.org. Baud writes and breaks down vowels into an entirely digitised world. He takes influences from all over the place (textual forms, stories about the Mafia, sci-fi, interviews) and projects them. A text made up of words, pixels, waves

Lectures
>Ferran Cuadras 'Text-sound art': voice, language and sound creation. Referents.
Ferran Cuadras (Tarragona, 1967) has been responsible since 1998 for Arsonal, Centre per a la Difusió de les Arts Sonores, an initiative that aims to promote and disseminate the work of a wide range of sound artists by means of the sale and distribution of recordings and publications. He has directed various studio sessions about some of the manifestations of what is known as sound art. In this lecture, he will present the borderline world of text and sound experimentation, an itinerary from sound poetry to sound art.

>Víctor Sunyol Rewriting and writing (a personal itinerary around the practices of Oulipo)
Víctor Sunyol (Vic, 1955) is one of the most personal artists on the present-day Catalan poetry scene. Starting with Ni amb ara prou (1984), his practice, based on the impossibility of saying and a mistrust of language, has taken up its position at the limits of language and the place beyond as the only possible place, and at the borderline between voices, genres and methods. And poetry written in subversion, in experimentation, challenging models, forms and methods. His discourse is also marked by multiple collaborations with visual artists.
He has given workshops in literary creation and creativity, and has also published articles and addresses on the subject. In his poetic practice, we can observe incursions into Oulipian practices, involving plays on words and meanings. In this area, he has published Màquines per a escriure. Recursos per a l'animació a la creativitat escrita (1992), El buit i la novel·la. 50 assajos de buidatge novel·lístic (1994) and Lowly pore -mostrari- (2000). Some of the texts and operations presented in the latter constitute the basis of his intervention, halfway between lecture and reading.

Oulipo
Oulipo (ouvroir de littérature potentielle, workshop of potential literature) was a group set up in 1960, comprising writers and lovers of arithmetic and plays on words. It set forward a form of literature based on experimentation and research in language using the most varied of methods and games. Rather than a literary movement, it was a kind of group of researchers into the possibilities concealed within language. Its objectives were twofold: firstly, to seek out and recover precursors of this way of understanding literature (Quevedo, James Joyce) and secondly to discover and study entirely new possibilities. Potential literature aimed to be a search for new structures that writers could use as they chose. Some of the foremost authors in the group were Raymond Queneau, Georges Perec, Jacques Roubaud and Italo Calvino. Queneau, one of the group's founders, wrote two seminal Oulipian works: One hundred billion poems and Exercises in style (one story told in 99 different ways).
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Organised by
propost (projectes poètics sense títol)
Centre de Cultura Contemporània de Barcelona

With the backing of
Institut de Cultura de Barcelona
Barcelona City Council-Youth Plan
Goethe Institut - Inter Nationes
Institució de les Lletres Catalanes
Spanish Ministry of Culture - Directorate General of Books, Archives and Libraries
Instituto Italiano di Cultura di Barcellona
Arsonal, Centre per a la Difusió de les Arts Sonores

For more information:
Tel. 93 306 41 00
propost@propost.org
http://www.propost.org/proposta2002

Free admission to all activities, except the opening reading (admission: 5 euros or 8 euros with the catalogue).
Festival catalogue and other related material on sale throughout the festival and at the CCCB's bookshop.

CCCB:
Centre de Cultura Contemporània de Barcelona
Montalegre, 5
08001 Barcelona

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