Talks & Events

Film still, Deep Blue Sky, Lawrence Weiner, 2003. Image courtesy the artist & EAI, New York.

Film still, Deep Blue Sky, Lawrence Weiner, 2003. Image courtesy the artist & EAI, New York.

Film still, Deep Blue Sky, Lawrence Weiner, 2003. Image courtesy the artist & EAI, New York.

My Vocab

My Vocab

My Vocabulary Did This To Me

My Vocabulary Did This To Me

My Vocabulary Did This To Me

Live Performances

Sunday 23 Nov 2014

Overview

A two-day programme looking at the potential of language in art inspired by the writing of Jack Spicer. Coinciding with the exhibition of Lawrence Weiner’s iconic language works at the SLG, this event invites a selection of artists, writers, musicians and filmmakers to explore the role of words as material, shapes, objects, signifiers, concepts, sounds, rhythms and vocal reverberations. On Saturday a selection of Lawrence Weiner’s films will be presented in the Clore Studio. On Sunday live performances, interventions and films will be presented in the main gallery with contributions from: Ben Cain, Adam Christensen, Dina Danish, Mary Hurrell, Dorine Van Meel and Camilla Wills.

Ongoing throughout the day: 
Ben Cain, Dorine Van Meel and Camilla Wills  

4-6pm
Dina Danish, Mary Hurrell and Adam Christensen 

Download the programme notes here. 

“My Vocabulary did this to me” were, as legend has it, the famous last words of the west-coast poet Jack Spicer; words that suggest a belief in an outside force in the creation of poetry and an agency in our vocabulary which is more than the use of our minds and mouths. More than mere self-expression, Spicer thought the task of the poet was to move out of the way and make room for the interference of something outside of ourselves. He half humorously called these elements “Spooks” or “Martians” and saw poetry as arranging the “furniture” that represents our insides; our passions, memories, knowledge and wits.

This event takes Jack Spicer’s proposal as an incentive to look at the ‘outside’ as a potent force in language and art. The ‘outside’ identified here is not merely an unidentifiable input from beyond, but is an opportunity to channel, through one’s choice of vocabulary, the dynamics and experiences of one’s own background, body, or field of experience. 


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