‘Aviarium’ is a study of birdlife. In these fourteen poems, each focusing on a particular species of bird—from the hummingbird to the bone-eating vulture—swift and simple gestures are elevated: a folding wing; entrails descending down a canopy. Published by Fivehundred places, founded in 2012 by Jason Dodge. On the cover of each book is a dead scissor by Paul Elliman.

If I am a Silueta is from Melissa Buzzeo’s poetic memoir in progress. These poems have the sense of being taken from an ongoing stream, flowing onto each other and repeating to wild, cumulative affect. Body and psyche are tangled and aching, angry and tender. The silueta is the shape used—in recent memory—by Ana Mendieta, and present in sculptures of women found across many cultures back to the ancients. Collaborating across millennia, the silueta is both goddess and every-woman—the body is emptied, out-lined, echoed in presence and absence. Published by Fivehundred places, founded in 2012 by Jason Dodge. On the cover of each book is a dead scissor by Paul Elliman.

A young girl is licked raw by a panther’s tongue; a 116 year-old man checks his answering machine; genitalia are morphed and re-imagined. The stories of Thirteen Intimacies are uncanny in the truest sense: strangely familiar. ‘Intimacy’ becomes corporeal, metaphysical, animal, all at once. Katie Farris’s prose pieces, sometimes categorised as ‘flash fiction’, are known hybrids of fairytale, mundanities, myth and biology, emerging from a writer who straddles many disciplines. Published by Fivehundred places, founded in 2012 by Jason Dodge. On the cover of each book is a dead scissor by Paul Elliman.

Come Correct interrogates the origins and edges of writing and the writer. Writing becomes marks, scratchings, imitation, physical sensation, infection- and is continuously propelled. “I cancelled/class to write this poem I a little bit counted chickens.” This is at once coming from a transgressive linguist, writing poetry alive with diverse ‘englyssh’ which flows through deeply thought quotidian moments. Published by Fivehundred places, founded in 2012 by Jason Dodge. On the cover of each book is a dead scissor by Paul Elliman.

In her work, Aleksandra Domanović (b. 1981 in Novi Sad, Yugoslavia) takes a probing look at a wide range of phenomena of contemporary society, among them cultural techniques, scientific and technological developments, history and culture, popular culture and the shaping of national and cultural identity. Her work often has its starting point in the examination of the past and present of her home country, the breakup of Yugoslavia after the end of the Cold War, the collapse of the Soviet Union and the struggle for a new national and cultural identity.

For her exhibition Calf-Bearer in Bonn, the artist expands on one of her themes – Bulls Without Horns – and looks at current scientific developments in bioengineering, namely research carried out by Alison Van Eenennaam at the University of California in Davis who works on the breeding of certain genetic traits in cattle, for example the lack of horns. The artist not only presents the protagonists of these experiments in colour photographs, she also translates the underlying ideas into sculptures, which she produces by means of computer modelling, 3D printing and casting in synthetic plaster. Made of Corian, her votive stelae are transformed and abstracted depictions of the sixth-century BC Greek sculpture of the Moschophoros (Calf-Bearer) found in1866 on the Acropolis of Athens in the so-called Perserschutt, the bulk of the architectural and votive sculptures destroyed by the Persians in 480 BC.

Published on the occasion of Jason Dodge’s 2017 exhibition at the Schinkel Pavillon, Berlin.

From the press release “We are pleased to announce the final instalment of our exhibition series Porzellan und Vulkan with the exhibition Jason Dodge and Paul Thek. In the Schinkelklause several of Paul Thek’s major drawings will be displayed, while on the upper floor of the Schinkel Pavillon Dodge will present a sculptural installation. Dodges installative work and a program of poetry readings will draw conceptual reference to the work of Paul Thek and his engagement with rituals of diverse kinds.

The paralells between Thek and Dodge’s work in material and meaning are unmistakable. In addition to the visual exhibitions, the collaborations include readings by poets Dodge has published, and a workshop from Thek’s teaching notes for his 4D class at Cooper Union 1978-1981—all of these elements contribute to the interweaving between the artistic disciplines and embellish the notion of collaboration.”