Internationale Poetry-Biennale - Filmfestival - Salon - Netzwerk
- ARTISTS
whiteBOX München / Munich
- Behnaz Amani (IR)
- Patricia Brooks (AT)
- Katja Brunner (CH)
- Gianna Olinda Cadonau (CH)
- Ofelia H. de la Cuba (PE/D)
- Susanne Darabas (RO/D)
- Magda Drozd (CH)
- Karin Fellner (D)
- Heike Fiedler (CH)
- Andrea Fontán (AR)
- Limpe Fuchs (D)
- Stella Glitter (CH)
- Ariane von Graffenried (CH)
- Sabine Groschup (AT)
- Sabine Gruber (AT/IT)
- Madara Gruntmane (LV)
- Geraldine Gutiérrez-Wienken (VE/D)
- Gerlinde Hacker (AT)
- Nazli Karabiyikoglu (TR)
- Birgit Kempker (CH)
- Victoria Kennefick (IE)
- Barbara Korun (SI)
- Augusta Laar (D)
- Daniela La Luz (D)
- Swantje Lichtenstein (D)
- Vera Linder (IT)
- Jannah Loontjens
- Barbi Marcovic (AT)
- Anais Meier (CH)
- Verena Mermer (AT)
- Nora Nadjarian (AM)
- Stella Nyanci (UG)
- Monika Olzak (D)
- Hannah Oppolzer (AT)
- Lynn Parkerson (USA)
- Radmila Petrovic (RS)
- Doro Pointner (AT)
- Phyu Nu Sabal (MM)
- Theresa Seraphin (D)
- Lilit Stepanyan (AM)
- Eva Surma (AT)
- Julia Toggenburger (CH)
- Arpi Voskanyan (AM)
- Anne Waldman (USA)
- Christine Yohannes (ET)
- Barbara Yurtdas (D)
- Nora Zapf (D)
- Literaturhaus Wien / Vienna
- Alexandra Bernhardt (D/AT)
- Martina Claussen
- Andrea Grill (AT)
- Augusta Laar
- Lorena Pircher (IT/AT)
Samstag, 26.10. | 21.30 Uhr
Augusta Laar / Lynn Parkerson / Monika Olszak
Augusta Laar lebt in München und Wien. Schriftstellerin, bildende Künstlerin, Musikerin.
Gründerin und Leiterin der
Schamrock-Salons
und -Festivals der
Dichterinnen und des Schamrock-Filmfestivals female presence mit Kalle Aldis Laar.
Auszeichnungen zuletzt: Kulturpreis Bayern 2022, Anita Augspurg Preis der Stadt München für den
Schamrock e.V. 2021.
Veröffentlichungen zuletzt: Nocturnes – Interverntionen, Wien 2024, Mitteilungen gegen den Schlaf, Wien 2021, Avec Beat, München 2020, Spinning Records, Ledbury/UK 2019, Best Friends. Ausstellungskatalog, München 2019.
Augusta Laar am Samstag 21.30 Uhr bei ⇒ MIDNIGHT POETRY
Featuring poets of the partner organisations of the
EPESEP project
Sie wird am Sonntag
am ⇒ Creative Europe-Symposium EPESEP den Schamrock e.V. vertreten.
⇒ Augusta Laar zusammen mit Martina Claussen in Wien
Die Querflötistin und Saxofonistin Monika Olszak bewegt
sich zwischen klassischer Musik, über Jazz und Neuer Musik
auch in freien Improvisationen.
Dabei sind ihr Sound und Soundeffekte ein Anliegen, die sich einerseits in kernigem „sauberem“ Klang äußern, als auch in Multiphonics, Trillern, Beatboxing,
gesungenen Tönen u.a.
Regelmäßige interdisziplinäre Projekte mit anderen Kunstsparten, besonders im Rahmen der GEDOK München. Als freie Musikerin konzertiert sie in
verschiedenen Besetzungen in Kirchen, Galerien, Theatern und Konzertsälen. Mit ihrem Jazz-Quartett Flute Flash nahm die Flötistin die beiden CDs Flute Flash Quartett und April auf.
Ausgezeichnet wurde die Musikerin durch ein Stipendium des Berklee College of Music/ Boston und durch mehrere Stipendien des Deutschen Musikrats.
Augusta Laar, lives in Munich and Vienna. Poet, visual artist and musician. Studied music in Munich (LMU, Richard Strauss Conservatory). Director of the reading series Schamrock-Salons and the world’s only womens poetry festival the International Schamrock-Festival of Women Poets as well as the Schamrock Film Festival female presence (with Kalle Aldis Laar). Ambassador of Vienna Poetry School at the Festival Internacional de Poesia Medellin 2016 and at the Jack Kerouac School of Diembodied Poetics in Boulder CO 2024. Member of the World Poetry Movement WPM and PEN Center Germany, founding member of Netzwerk Lyrik e.V.
Recent awards: Bavarian Culture Prize 2022, Anita Augspurg Prize of the City of Munich for Schamrock e.V. 2021.
She is represented internationally in exhibitions and at poetry festivals, appearances in Istanbul, Medellin, Riga, Vienna, Venice, Toronto, New York.
Recent publications: Nocturnes - Interventionen, (Vienna 2024); Mitteilungen gegen den Schlaf (Vienna 2021); Avec Beat (Munich, 2020); Spinning Records (Ledbury/UK, 2019); Best Friends (exhibition catalog, Munich, 2019).
Lynn Parkerson is the Founding Artistic Director of Brooklyn Ballet,
a multi-disciplinary dance company, founded in 2002 dedicated to
transforming the ballet landscape and making dance accessible to all.
Her interest in the intersection of poetry, dance, and music is long-standing, when in 1996 she created Nervous, a work for 5 dancers,
with poet Jeffrey Gustavson and sound artist Kalle Laar.
Poet Jasmine Mans collaborated with Lynn presenting Unnatural Surrounding in 2021 for 8 dancers and composer Malcolm Parson at the Brooklyn Academy of Music (BAM) to celebrate
the launch of Nikole-Hannah Jones’ groundbreaking book The 1619 Project. Unnatural Surrounding was performed 8 more
times during Brooklyn Ballet’s 2022 Season. Excerpts of Jasmine and Lynn’s work was live-streamed at Schamrock’s 2022 Women’s International Poetry Festival.
In 2018 Lynn spent 12 weeks in residency at the Villa Waldberta culminating in a collaborative performance of Kunst oder Unfall at Schamrock. The performance was repeated in 2019 in Downtown Brooklyn adding Brooklyn Ballet dancers to the mix. It was at the 2018 Schamrock Festival, inspired by the voices of women poets and curator Augusta Laar, that she herself began writing poetry. Her work has been published by the New York Writers Coalition and in June at the Jack Kerouac School of Disembodied Poetics.
AUGUSTA LAAR
Nachtstück
du bist noch wach
es ist spät und du schreibst
im fenster das nachtstück
aus klirren und wind
als ob deine nervenbahnen
außen liegen
hörbar für alle
du warst es nicht
du warst es
du lebst noch
deine fünf sinne
liegen am flur losgelöst
zucken mit ihren sensoren
warten was als nächstes kommt
hirschkühe in goldbronze
patroullieren für dich
auf der fensterbank
im takt zu Nothing left to lose
du gehst einen schritt zurück
tanzt tanzt
tanzt
Night Piece
you’re still awake
it’s late and you’re writing
at the window the nightpiece
of clinking and wind
as if your neural pathways
are external
audible to all
it wasn’t you
it was you
you’re still alive
your five senses
lie detached in the hallway
twitching with their sensors
waiting for what’s next
doe deer in gold bronze
patrolling for you
on the windowsill
to the beat of Nothing left to lose
you take one step back
and dance dance
dance
The main meaning of “nocturne” is a musical piece. It is the first thing one thinks of, though it can also refer to a painting. Interestingly, “night piece” is usually reserved for a poem.
That being said, I have nothing against using “Night Piece” here. It is a poem, after all! And I chose “nightpiece” (an unusual compound in English) in the second stanza.
Kallisto
der mond gibt sich auf
vergeht
vergeht
kein flüstern
kein laut
ein verlassener
handelsposten
(aus dem videospiel)
wedelt mit der
pulsschlagader
versuchs mal
und starre
durchs fenster
der eismond
starrt zurück
zeit dich
abzulegen
du verschiebst dein
gesicht in den
mond
sprichst als
andere person
du bist nicht alleine
mit dieser zeile
eine krähe stapft
darauf herum
wie ein general
Callisto
the moon gives up itself
fading
fading
not a whisper
not a sound
an abandoned
trading post
(from the videogame)
wagging its
pulse artery
give it a try
and stare
out the window
the icy moon
stares back
time
to shelf yourself
you shift your
face into the
moon
speak as
another person
you are not alone
with this line
a crow is strutting
around on it
like a general
übersetzt von Geoff Howes
LYNN PARKERSON
Oldgirl
The center is gone, - that tangled engine of traumas, resentments, rebellions, circumstances - hard wired, emotional knots, voids, tangling, sparking, short circuiting, spewing energy, ambition, drive.
What’s left? A looking back? A clearing?
I will die un-anointed.
Actually that tangled engine is still there - defunkt, denuded, emitting an occasional spark that sends me back to dreamland, the land of the anointed.
I had my chance and I took it.
We all land on the ash heap after all.
So what now? As the running and the leaping and the bounding becomes the slow walk, the hobble, the deathbed.
What’s so sad about it?
It’s just that I don’t know where to put the dream, the failures, all that is left undone, the successes. Sorting, packing, repackaging, ordering, taking orders, and what about the children?
They, are on a different kind of highway. Watch them speed past, as my tangled engine sputters.
And all around there are people and trees.
Lynn Parkerson - Summer 2022
Ode to American Modern Monsters (oops Masters)
Paris 1977, ballet at the Marias, modern at the Centre de Danse
Me, a natural modern, obviously American - style, concepts - easily translated, actionable. I’m an American modern dancer in Paris. The instructor, an ex-Twyla Tharp dancer, can see that, and we’re comrades and after the class we exchange stories of how we got to this moment in time. At the café she’s rude to the waiter and I’m embarrassed to be an American outside of the dance studio. She pays the check with Daddy’s credit card and complained about Twyla the whole time; that Twyla was a business woman not an artist, that she used and abused her dancers. All Twyla’s ex-dancers say that. This ex-Twyla dancer became a psycho-therapist.
My friend Jeannie, dancing so long with Sara Rudner, gave it all she had, didn’t have good things to say about that maestra, either.
Then there is Martha Graham, the high monstress of modern dance, who is said to have thrown Anna Sokolow down the stairs. Martha actually got physical, was violent, but I have to love her line to a lover she was jilting. “You can leave now. I’m going straight to the top and I’m not taking anyone with me.”
After that came us nice gals - hybrid, hydras unwilling to castrate and castigate. Hence the scene was stolen back by the boys.
May 26, 2021