An extract from Harald Muenz and Mathais Traxler’s mail correspondence during the preparation stages of the CON_TEXT event ‘Haut-Parleurs’ on the 22nd, 23rd, 24th of February 2017 in the Lettrétage. (For further information about the event and its preparation, see here: video, photos, Norbert Lange’s letter to Mathias Traxler about the event).
Translation: Alice Bibbings.
1: So, before I print out the score, I need to quickly get some paper and buy a few things.
2: Attached are a couple of examples of what the Minnesang II-Block might look like.
1: Gah. I just got your email. Lovely – Chopin, Schumann and Tristan!! Are you playing that on the piano?
2: Thank you very much for the interlined Konrad – now everything is much clearer.
Sivuvalo is literary activism at its best. The network/publishing company that works across national borders to promote non-Finnish literature from Finland is a fresh way for literature in a globalized world.
In a globalized world literature and the literary market are yet jetlagged. Slowly publishers and foremost independent networkers, writers and organizers are catching up on a development nobody can call recent anymore. Even big publishing companies that are specializing in the book market recognize the need to transform their portfolio to a broader and more international approach.
But this is still new and untestified ground for the literary world. For literature it can very well be said that it’s inhabited by coteries of increasingly problematic posts – post-colonialism, race, nation, gender, modernism, amongst others – when it goes international. And the hybrid spaces that are created by that carry the weight of weariness from the reader and writer as well. Continue reading “Sivuvalo – literary activism at its best”
Daniela Seel: Let’s start at the beginning – what made you decide to work together? Why were you interested by each other?
Cia Rinne: I think I was very irrational. I liked Gernot a lot from the off and could imagine myself working well with him. The only thing was that, unlike with the other possible partners I could have had, I did not have a clear idea what the two of us could do together. That sort of open-endedness poses a kind of challenge that I really like. The way we work is rather different to how I am used to working – I’m really glad that we met. Selecting our partners was a mixed experience. Meeting the other artists was great but it was also tainted by the fact that we would imminently have to pick out partners to work with, which is always an awkward thing to have to do.
Gernot Wieland: I also think that the conditions set out for us were peculiar. What would have happened if all ten of the artists wanted to work with Cia and no one wanted to work with another author? The chemistry was right between us, that’s all. But I equally don’t know how else you could organise it.
DS: The teams were finalised by the end of 2016; you had to be ready to present by late January. You must have had to move insanely fast?
GW: In the world of fine arts, there are different types of people. You’ve got certain people who like to go to their workshops, throw on their overalls and get cracking that way. I’m more of a “deadline artist” – I get invited to do a project that has a theme and a deadline and I create a piece of work for it. That’s what helps me.
As part of the „WiSU – Wirtschaftliche Stärkung der UrheberInnen in der freien Literaturszene Berlin“ project. The project is a relay station that enables a contact point between authors, editors, organizers of literary events, translators of literature and small publishers, in order to get in touch, exchange information, cooperate, support each other and develop new ideas TOGETHER.