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Ai Wei-wei, Moon Chest, 2008. Photo: BW










ASAP 6 (Association for the Study
     of the Arts of the Present)
Shanghai Jiao Tong University

27–29 June 2014 [here]

Regions of Avant-Garde Practice: Asia
Jacob Edmond, “Critical Translation”
Earl Jackson, Jr., “‘Asia’ from Variable Proximities”
Barrett Watten, “Negative Globality in the Chinese
11:30 AM–1:00 PM, Friday, 27 June

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Amsterdam reading 1200Reading @ Amsterdam
Perdu/Lloyd Hotel
Oostelijke Handelskade 34
8:00 PM, 30 July 2013

After reading via Skype at the Amsterdam poetry venue Perdu last fall, for a thematic program based on the formal idea of “parataxis,” I wanted to return and present my work in person. I was able to arrange a reading through Samuel Vriezen and Frank Keizer, which due to the renovations undergoing at Perdu, would take place at the Lloyd Hotel, booked as “the world’s first 1-5 star hotel.” The hotel itself has a history and design idea, recounted here.

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I Met (Amsterdam)
Reading @ Perdu
Hotel Lloyd, Amsterdam
30 July 2013
(After On Kawara)

Frank Keizer
Samuel Vriezen
Rachel O’Reilly
Mia You
Wouter Beek
Ton Van t’Hof

nberg matrix


Reading @ Nuremberg
Bavarian-American Academy
Stadtbibliothek Nürnberg
7:30 PM, 27 May 2013

For my reading, I took as a model my 1999 presentation at Kelly Writers House, about which Brian Ang wrote perceptively [here]. In that event, I used stanzas from “Non-Events” as my guide, alternating between a regular progress through the poem as semantic and rhythmic baseline, while adding selections from Bad History and prose from The Constructivist Moment… More

[for Carla Harryman]

The following chronology documents two weeks of intensive travels in the zone of the aesthetic, under the aspect of the political, in Germany. I accompanied Carla Harryman, who had been invited to present a lecture in the closing week of documenta and was a credentialed participant for the preview, for the first week, and then continued on alone through Munich, Nuremberg, Jena, Leipzig, to Berlin. Annotations will be added to the entries, as time permits.

Monday, June 4


Tuesday, June 5

“Auf dem Goetheweg zum Brocken.” Nationalpark Harz, Torfhaus, Lower Saxony.

Grenzmuseum, Sorge, Lower Saxony.

Wednesday, June 6

Weltkulturerbe Rammelsberg, Museum und Besucherbergwerk, Goslar.

“Der Andere Blick: Alltagswelten von Martin Parr, Tim Wood, Antanas Sutkus.” Mönchehaus Museum, Goslar.

documenta 13, Kassel. Preview.

Thursday, June 7

documenta 13, Kassel. Fridericianum.

“On the Kabul-Bamiyan Seminars and Exhibition.” Conversation with Christine Christov-Bakargiev, Chus Martinez, and artists. Ständehaus.

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A scripted, multivocal performance based on excerpts from the ten-volume The Grand Piano will be delivered by eight of the project’s authors: Rae Armantrout, Steve Benson, Carla Harryman, Lyn Hejinian, Tom Mandel, Ted Pearson, Kit Robinson, and Barrett Watten at UC Berkeley and Small Press Traffic, San Francisco. At Berkeley, the event will be moderated by Jasper Bernes; in San Francisco, it will be preceded by a 45-minute group discussion including the audience, moderated by David Buuck, on the values of collective art practice from the 70s to the present.

Holloway Reading Series
Maude Fife Room, Wheeler Hall
University of California, Berkeley
6:30–8:00, Friday, November 18

  • Information here   

Timkin Hall, California College of the Arts
1111 Eighth Street, San Francisco
5:00–7:00, Sunday, November 20

  • Information here   

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I Met (Chicago)
House reading @ Jennifer Rupert/Chris Glomski
4 November 2011, Humboldt Park, Chicago
After On Kawara

Jennifer Rupert
Chris Glomski
Janet Wondra
Gina Buccola
Jeffery Gore
Alison James
Jorge Frisancho
Joyce Colton
Jinny Lim
Peter O’Leary
Michael O’Leary
Jen Karmin
A. D. Jameson
Robin Hursey
Emily Branch
Ryan Kenealy
Bertie Kenealy

Sampling The Grand Piano

@noon, 12 April 2010, with Marie Buck
Department of English, Wayne State University

Today I read samples from The Grand Piano to an appreciative group of faculty and students at Wayne State. The samples followed the position of my section in the volumes, not the volume number. For instance I began with the opening two paragraphs of section 1 from part 2, with an additional paragraph for counterpoint, and then read the third through fifth paragraphs of section 2 from part 1. I think of these reading sequences as compositions in their own right, and so will record the order of selections here:

1. Part 2, pp. 11-12, “On May 1, 1975, I attended a public meeting . . .” to “There was no money, and few agreeable jobs”; p. 17, from “Kathleen Cleaver met with an impromptu group . . .” to “. . . but all I saw there was a modern airport.”

2. Part 1, pp. 13-15, “I remember talking with the editor at UC Press . . .” to “This writing is his tombstone; we survived.”

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Thanks to Aldon Nielsen for posting links to the 2009 MLA Offsite Reading. Here is the YouTube video of my section, one section of Grand Piano 9, preceded by Eric Selland’s reading of translations from the Japanese:


For all the videos of the reading:


Entry 01: Site Construction

From its launch in January 2010, this site will continuously add new content: writings, events, critical and cultural theory, poetics, and links. The site architecture is built from motifs adapted from Herbert Bayer’s 2,000,000 Mark note produced for the Weimar Republic state of Thuringia—a prescient synthesis of social modernity, modern art, and financial disaster. Many thanks to Asa Watten for his artistic and technical expertise in making this project possible!