Tag Archives: Kathy Acker

SARAH SCHULMAN AND MATIAS VIEGENER

In conjunction with the I, I, I, I, I, I, I, KATHY ACKER exhibition at the Institute of Contemporary Arts in London, Sarah Schulman will join Matias Viegener for a conversation about Schulman’s three decades of work and their shared friendship with Acker.

Schulman will also read from her recent novels The Cosmopolitans and Maggie Terry.

THE REALM OF THE RECOGNISABLE—

SARAH SCHULMAN in conversation with MATIAS VIEGENER

Saturday, May 4, at 6:30 pm.

Institute of Contemporary Arts

The Mall, London.

See Lisa Appignanesi on Acker.

From top: Sarah Schulman; Stagestruck, by Schulman; The Assassination of Kathy Acker, by Matias Viegener; Viegener, photograph by Samuel Ace; ICA exhibition announcement (detail), 2019. Images courtesy of the authors, publishers, photographers, and ICA, London.

I’M VERY INTO YOU, STAGED

I’M VERY INTO YOU—the mid-nineties email correspondence between Kathy Acker and McKenzie Wark, published in 2015 by Semiotext(e)—has been adapted and directed for the stage by Sara Lyons, and will be performed as part of Los Angeles Performance Practice’s LAX Festival.

Lyons gathers a local cast of feminist, queer and non-binary underground artists—including Gina Young, Paul Outlaw, Jennifer Jonassen, Provvidenza Catalano, Yves Agustin Armando, Jer Adrianne Lelliott, Robin Podolsky, and Elspeth Weingarten—who embody Acker and Wark from points across a wide gender spectrum. Their feverish digital exchange is interspersed with the ensemble’s own stories of gender slippage and online intimacy, examining how our connections have evolved over the last two decades—through the internet and through expanding queer expression.*

I’M VERY INTO YOU*

Saturday, October 13, and Sunday, October 21, at 6 pm.
Sunday, October 14, and Tuesday, October 16, at 8 pm.
Thursday, October 18, at 10 pm.

Think Tank Gallery, 939 Maple Avenue, downtown Los Angeles.

I’m Very Into You in performance. Photographs by Rolando Sepulveda II/OUTsider.

Book cover image courtesy Semiotext(e).

CHRIS KRAUS AND BRUCE HAINLEY IN ECHO PARK

Last fall, a Boyle Heights anti-gentrification protest prevented Chris Kraus (After Kathy Acker) and Bruce Hainley (Under the Sign of [sic]: Sturtevant’s Volte-Face) from meeting as scheduled at 356 Mission to discuss Kraus’ Acker biography.

Their conversation is back on, relocated to Echo Park.

 

CHRIS KRAUS and BRUCE HAINLEY IN CONVERSATION, Monday, January 22, at 6 pm.

EDENDALE BRANCH—LOS ANGELES PUBLIC LIBRARY, 2011 Sunset Boulevard, Los Angeles.

eventbrite.com/e/chris-kraus-with-bruce-hainley

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Kathy Acker in the late 1980s. Photograph by Mark Baker.

Related image

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AFTER CHRIS KRAUS

“Memoirists are seldom as precise as novelists.” — Gore Vidal*

Chris Kraus, Tisa Bryant, Anelise Chen, and Q.M. Zhang will be at USC this week for a discussion on “hybrid storytelling” and the widespread influence of Kraus’ first book LOVE DICK (1997) since its republication a few years back.

 

I LOVE DICK—

FOUR WOMEN WRITERS ON HYBRID STORYTELLING

Friday, November 3, at 5:30 pm.

Doheny Memorial Library, USC

3550 Trousdale Parkway, Los Angeles.

See “Hybrid ‘I’: Tisa Bryant, Anelise Chen, Chris Kraus, and Q.M. Zhang in conversation,” PARIS LA 16 (2018):

*Gore Vidal, Two Sisters: A Novel in the Form of a Memoir (Boston: Little, Brown, 1970), 213.

Above, from left: Tisa Bryant, Chris Kraus, Anelise Chen, and Q.M. Zhang at USC, November 3, 2017.

Below: Kraus.at USC, November 3, 2017.

BELLAMY ON ACKER

Dodie Bellamy, from “Digging Through Kathy Acker’s Stuff” –

“Memory: Kathy entering a room in a silver bodysuit that looked like a prop from David Bowie’s Ziggy Stardust tour, a tiny spacesuit that would fit a doll’s body. Everyone around her looking normal, in their diminished washed out way….

“Memory: Kathy holding court in a femmy short plaid dress, empire style, tight around the bust then flaring out. Some kind of frou frou at the shoulders. She looked like a clown, but a totally confident, powerful clown….

“The gap between our intentions and the effects we create is what Diane Arbus ruthlessly brought into her photographs—a gap, that whenever I recognize it, opens a pang of love in me. Kathy managed to create exactly the effect she intended, but her clownishness, her bald construction of a person also opened that gap. Aggressive trendiness slips into masochistic vulnerability. Again I think of 3-D glasses—whenever I watched Kathy it was like the red and blues didn’t quite line up. She moves through space, not singular, but a chord of being.”

Dodie Bellamy, “Digging Through Kathy Acker’s Stuff,” in When the Sick Rule the World (South Pasadena, CA: Semiotext(e), 2015), 132.

Dodie Bellamy. Image credit: Numéro Cinq .

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