Atrocity

by Travis Jeppesen on December 7, 2018

“The Atrocity Exhibition,” an excerpt from See You Again in Pyongyangappears in the Autumn/Winter 2018 issue of The Travel Almanac

Object-Oriented Writing in India

by Travis Jeppesen on October 23, 2018

The writer and editor Skye Arundhati Thomas will be leading a workshop based on Travis Jeppesen’s conception of object-oriented writing as part of the Indian Ceramics Triennale. More information and registration here.

The Bodies That Remain

by Travis Jeppesen on October 18, 2018

Travis’s essay on Flarf appears in a new anthology, The Bodies That Remain, edited by Emmy Beber and now available from Punctum Books.

The Pervert’s Diary

by Travis Jeppesen on October 17, 2018

An essay on George Kuchar, “The Pervert’s Diary,” appears in Mousse. The essay is excerpted from Travis’s forthcoming collection of essays, Bad Writing, which will be published by Sternberg Press in 2019.

Reading tonight at Hordaland Kunstsenter, Bergen, Norway

by Travis Jeppesen on November 7, 2017

Scroll down for English

Travis Jeppesen er Hordaland kunstsenters gjest i november, og gjør en opplesning og presentasjon av sin praksis.

Travis Jeppesen er skribent og kunstner, bosatt i Berlin. Han har skrevet en rekke romaner, blant annet The Suiciders, Victims, og Wolf at the Door. Han skriver kunstkritikk og står bak konseptet kalt objekt-orientert skriving, en slags metafysisk form for å skrive som forsøker å kanalisere objekters indre liv. Jeppesens første store objekt-orienterte skriveprosjekt, titulert 16 Sculptures, ble publisert i bokform av Publication Studio, presentert ved Whitney-biennalen som en lydinstallasjon, og utgjorde utgangspunktet for en separatutstilling ved Wilkinson Gallery i London. En annen utstilling og publikasjon med Jeppesens kalligrafiske arbeid, New Writing, ble lansert ved Exile, Berlin, mai 2016. Jeppesens siste bok, See You Again in Pyongyang, blir gitt ut på Hachette i 2018.

http://disorientations.com/

Travis Jeppesen er en av de utvalgte deltakerne i Hordaland kunstsenters gjesteprogram for 2017/2018 med tittelen “Writing as and Around Art”. Du kan lese om de andre deltakerne her.

Arrangementet har gratis inngang og er åpent for alle interesserte. Drikke er for salg i baren. Velkommen!


Travis Jeppesen is our new artist-in-residence in November, and will make a public presentation of his work.

Travis Jeppesen is a writer and artist based in Berlin. He is the author of several novels, including The Suiciders, Victims, and Wolf at the Door. In addition to his art criticism, he is known as the creator of object-oriented writing, a metaphysical form of writing-as-embodiment that attempts to channel the inner lives of objects. His first major object-oriented writing project, 16 Sculptures, was published in book format by Publication Studio, featured in the Whitney Biennial as an audio installation, and was the subject of a solo exhibition at Wilkinson Gallery in London. More recently, an exhibition and publication of his calligraphic work, New Writing, was launched at Exile, Berlin, in May 2016. Jeppesen’s latest book, See You Again in Pyongyang, is forthcoming from Hachette in 2018.

http://disorientations.com/

Travis Jeppesen is one of the selected participants for Hordaland kunstsenter’s 2017/2018 residency programme “Writing as and Around Art”. You can read about the other participants here.

Free admission and open to all. The bar provides a selection of drinks. Welcome!

Autumn Poem

by Travis Jeppesen on October 15, 2017

 

 

A MAGNET – star

explode bottle

crunch – IN THE

EAR – drummer’s

deafness, a trans-

cendence – YET THE

spark in testacular-

VERITAS – none

the blank file –

AGHAST all bird-

lessness – CAN THE

TIDE – yet we

november ourselves

SIDEWIRE –

blanches out in

the forest deep –

WILD the signs

that ride us, the

WIDOWLESS noc-

turnal – FERRY

corpse she is

the depthtile of

our autumn VILE

–––––––

sens with-

out FORLORN;

 

Fireflies #5

by Travis Jeppesen on October 11, 2017

My piece on Angela Schanelec’s film Afternoon appears in the new issue of Fireflies.

Berlin launch party is at Wolf Kino on October 21st; more info here.

OUTSIDE

by Travis Jeppesen on September 5, 2017

siilkysroom

Siilky’s Room — a collaboration with Winston Chmielinski, in the anthology OUTSIDE, now available here.

Coming this fall…. THE CRITIC AS ARTIST in Reading, UK

by Travis Jeppesen on August 30, 2017

003 (2)

‘The Critic as Artist’
curated by Michael Bracewell and Andrew Hunt

Reading Museum, Blagrave Street, Reading RG1 1QH, United Kingdom

Opening: Saturday 7 October 2017
Exhibition runs: 7 October 2017 to 28 January 2018

Including work by Miles Aldridge, Stephen Buckley, Marc Camille Chaimowicz, Lucienne Cole, Dexter Dalwood, Kaye Donachie, Donna Huddleston, Travis Jeppesen, Gareth Jones, Scott King, Linder, Bertie Marshall, Malcolm Mclaren, Katrina Palmer, Alessandro Raho, Simeon Soloman, and Cally Spooner.

‘The Critic as Artist’ is an exhibition at Reading Museum about and for the Irish writer and dramatist Oscar Wilde, who had been a visitor to Reading prior to his imprisonment at Reading Gaol, and whose ideas and legend remain startlingly contemporary.

Appropriately, the museum in Reading is housed in a building partially designed by Waterhouse which opened in 1883, the year Wilde set sail to ‘declare his genius’ to America. Rather than focus on Wilde’s sensational and tragic downfall, as is too often the case, ‘The Critic as Artist’ examines the author’s theories of aesthetics and art criticism, which advocated freedom from moral restraint and the limitations of society, as well as the creative ability of criticism to reach beyond the limitations of the work of art. These were and remain radical, integral to a developing idea of ‘the modern’ and above all joyously balanced between seriousness, ironic play, provocation, poetry and paradox.

With this in mind, the exhibition is titled after Wilde’s celebrated essay of 1891, in which he lays out the central points of his aesthetic and art critical theories. Wilde subtitled his essay, ‘With some remarks upon the importance of doing nothing’ – championing indolence as necessary to artistic cultivation, and pose, repose and contemplation as elevated modes of existence – very much in the lineage of what Kierkegaard had previously defined as the ‘glittering inactivity’ of the aesthetic state.

Combining the historical and the contemporary, notions of the cult of the beautiful with the role of the critic, symbolist fantasy and the many-layered relationships between life, morality and art, ‘The Critic as Artist’ aims to combine substantial homage and renewed interpretation of Wildean aesthetic theory, while remaining very much in the spirit of his own serious play – the ‘new Hellenism’ of artistic ideas.

For further information and images, please contact Kirsten Cooke, Reading International Assistant Curator on kirsten@readinginternational.org / +44 (0)118 378 8050

Head of a Woman, Pablo Picasso, 1926

by Travis Jeppesen on August 27, 2017

Pablo Picasso. Head of a Woman, 1926

See see it can be no me is free. Bound to one’s own plasticity, staring back to self eye like it’s the sea. No expanse can expand my myness in the sky my eye once holed. Glance shed gray across the day my stony being tries to be, the talk of the worldwide gallery!

Two hairs make one head, flourish side and front perspective gets so embed

dead when closed eye floats all stonelike into ill-defined hairplane. Bye bye.

A magnetic hold, that woman once wrote – and now she kisses herself unmasturbatorily: she is being portrayed. Ovarian sentimentality

Much like night getting a chance to breathe – purely sensual as an idea – yet sensual more like a hovering humidity, a mist not a meat.

Tonal detail turns flesh into mineral. Yet still the intimacy of a threat. Could say the second her giraffes its way into nasal fortitude – yet all stone is sculpture, whether made or found.

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