MiDEA studio – Atelier Hollace M. Metzger

2011 Schedule

1 March – U.S. Painting Commission #5

15-21 March – in Normandy

22-27 March – in Paris

28 March – in Madrid

29 March – in Brooklyn, NY

1 April – “INV3RSES” @ Theatre Durance, Saint-Auban, France (poetry, vocals)

1-22 April – in New York

1-30 April – recent work featured in NAU NUA Art Magazine

19 April – “INV3RSES” @ Ballet Preljocal, Aix-en-Provence (poetry, vocals)

20 April – “INV3RSES” @ Ballet Preljocal, Aix-en-Provence (poetry, vocals)

21 April – “INV3RSES” @ Ballet Preljocal, Aix-en-Provence (poetry, vocals)

22 April – “INV3RSES” @ Ballet Preljocal, Aix-en-Provence (poetry, vocals)

21-23 April – in Cleveland, OH

25-27 April – in New York, NY

28 April – in Boston, MA

21 May-8 June – in Reims

5 June – Cleveland, OH (group art exhibition)

15 June – 17 July - in Reims

18 July - New York Independent Artists’ Council music/art collaboration, Paris/New York

18-20 July – in Paris

21-29 July - in Normandy

26 July - Interview / Review with author Christina Westover (San Francisco)

7 August – in Reims

15 August - rep. @ New York Poetry Festival (NYPF), Governors Island

21 August - collaboration #2-II with TRAUM Films (Berlin)

25 August - featured in PERIPHERAL SURVEYS literary journal

1 September - featured in NAU NUA Art Magazine’s “Exhibitions Special”

7 September - in Paris

22 September - collab w/ Martin Philadelphy ‘TRENSCH’ album release (Austria) [ info ]

5-11 October – Ireland Road/Reading Tour

7 October - Live interview & Reading on Galway Bay FM Arts Show

8 October – “INV3RSES” @ Teatro Municipale Valli, Reggio Parma Festival, Italy (poetry, vocals)

9 October - Performance in Dingle, Ireland

9 October – “INV3RSES” @ Ballet National de Marseille (poetry, vocals)

10 October - “INV3RSES” @ Ballet National de Marseille (poetry, vocals)

11 October - “INV3RSES” @ Ballet National de Marseille (poetry, vocals)

12 October - “INV3RSES” @ Ballet National de Marseille (poetry, vocals)

11 October - Performance in Dublin, Ireland

12 October – in Paris, Group art exhibition

December - featured in NAU NUA Art Magazine’s “Art Inspired by NAU NUA”

2012 Schedule

TBA - guest feature on ‘TBA’ album release, Rarenoise Records

January-February - Production with Jean de Oliveira & Henry Hugo

January 27-31 – multi-Collaboration in Paris

February, EST - Poetry ‘BOOK V’ scheduled release

April - EP production with Micka Luna, Barcelona

April - featured in NAU NUA Art Magazine‘s International “Literature Special”

May, EST - guest appearance on premiere Nugath album release, Berlin

29 May-30 June - Biennale d’art  Contemporain de Cachan

16-24 June - Dublin Biennale of Contemporary Art 2012

July - featured at NAU NUA Art Magazine‘s “VIRTUAL 2012″ concert

30 September – 18th Biennale de Paris

News – J U L Y   2011

The latest…

Two of Metzger’s poems from the book Why the WilloW (2010) will be included collaborations in September’s forthcoming premiere solo album release by Martin Philadelphy, “TRENSCH“. The album will also feature poetry by another Brooklyn poeta, Jane LeCroy, and the talents of Chris Janka (bass) and Gustavo Costa (percussion) in addition to Martin’s own soulful lyrics and poetry. The “TRENSCH” Tour will commence in Austria with the album release in September. >> A previous, real-time text/vocal response to Philadelphy’s music by Metzger, “Thursdelay”, was also included in the 2010 album “I Hear You” (Giant Dwarf: Philadelphy & Carlstedt + guests Cuzme & Metzger) available through Philadelphy’s website.

This month, Ms. Metzger was also interviewed about her latest book, Eternal Story, by San Francisco novelist Christina Westover. The full dialogue can be read HERE. >> More about Ms. Westover, her book reviews, incredible insight and her latest novel, Precipice, are available through her website.

In addition, the RareNoise Records (London) release of Ashtech‘s new album featuring Metzger (and an impressive list of other surprise guests) is still in production, expected to be released before the end of this year – more news coming soon! Keep up with the latest releases at RareNoise.

After being incredibly moved by their opening performance for Catherine Ringer last May, Hollace has relocated to Reims to continue full-time development of a theatre project with L’Amour is the Answer‘s frontman Olivier Vaillant. The production will be a type of classically orchestrated rock-opera where the main character ventures on a quest for true love, Metzger’s voice and writing accompanying Mr. Vaillant throughout this narrative. More about L’Amour, including their just-released album “BLIND“, HERE.

Please also have a read of the talents of multi-lingual British poet Rehan Qayoom who has just released a new volume of poetry, About Time. The prologue was written by Ms. Metzger as well as the cover of the book donning her painting “Citystorm” (2010). About Time is available through Lulu. >> More about Rehan Qayoom, including his review of Metzger’s latest book Eternal Story, HERE.

Inspired by a recent public grafitti-art project, managed by Parisian artist and long-time collaborator Laurent Plazannet, in addition to his growing list of urban stencil (pochoir) art, Metzger has also created a pochoir t-shirt design in tribute to one of her creative inspirations in New York – John Coltrane. T-shirts available with a 20€/$27 donation to “Urban Cause” to hollacemariemetzger@hotmail.com on Paypal.  Nigel Barnett’s photos of the grafitti project can be seen on Facebook / Picassa. >> More art tagged by PLAZ HERE.

In collaboration with poet Kwame Write from Ghana, Hollace has begun writing her first collaborative poetic work with another poet. The work is scheduled for completion in late August.

In (a new type of) collaboration, Metzger has also begun a new project with film director, producer and writer Jean de Oliviera (Berlin) and Swiss author-composer Henry Hugo. This one’s under lock and key, so that’s that. A previous project with Oliviera, Marta Collica, Metzger and other artists, “5X“, can be viewed on Vimeo.

And yes, Canada and Germany are still dancing to poetic fusion in their club scenes!
Many thanks to Jeff Gold (Montreal) and Hendrik Vogel (Karlsruhe, Stuttgart) for continuing to mix and spin recordings from “TranSynPhony” this spring/summer, beautifully fusing poetry with soulful house music.
Jeff Gold - Hendrik Vogel - TranSynPhony (2010) recordings

Finally, Ms. Metzger will be returning to New York in August to work on her first collaborative EP with composer Micka Luna. After returning again to Paris, she will be exhibiting a collection of her paintings and photography in Paris before returning to the road, touring and reading in Ireland during the month of October, 2011. Venues to be announced shortly on www.HollaceMetzger.com

Thanks for reading!

News – A U G U S T   2010

BOOKS

We  are  pleased  to  announce  the  availability  of  all  Hollace’s  books  in  San Francisco’s  ‘Mission’, the  home  of  fire-eating  poetry!

All  three  books – Observing  the  Labyrinth  from  Heaven, Transcriptions of  Time:  The  Collected  Poetic  Works  of  Hollace  M. Metzger and Why  the  WilloW can now be purchased at:

Need a T-shirt?

Hollace  is now featured in the gallery of modern artists claimed by Parisian artist “PLAZ” as contemporary inspirational figures in modern art, film and literature.  All T-shirts are tagged/painted by the artist, washable and also come in those figure-flattering French female sizes.

The “METZGER” design features a portrait by PLAZ on the back (also featured in the book Why the WilloW) and, on the front, Hollace’s enlarged handwriting which states, “My World Exists” – from the poem of the same title – which is also signed by Ms. Metzger. Check PLAZ’s website for more details and designs to come.

COL-LAB

First, the Jean Montag / H.M. Metzger collaboration of the poem “Twitch” was featured on BBC radio in April 2010. Hollace and Jean are working on a second piece, their alchemy hopefully resulting in Hollace inventing another language again, or something to that effect. Follow Montag on Soundcloud, Reverbnation, Facebook or MySpace.

In addition, continued work for the next album release of UK dub-artist Ashtech is underway…

Next, the Metzger/Hendrik Vogel (Germany) duo were featured in TheBasement podcast showcasing Vogel last May, including Hollace’s poem “Your Eyes Will Change Tonight (and I am not there)”.  The two will also extend their growing list of collabs with a new piece due later this season.  -  Stay Tuned!

Finally, a collaboration for the poem “It’s Tuesday and New York is Alive” with Dynamic (UK) is nearing it’s close and will be featured on this website shortly. This poem captures the essence of New York’s underground passages, chance meetings and, together with the music, the essence of the city’s living movement that makes it all happen.

ART

A recent collaboration of video, music and texts has been completed and is searching for its gallery home… The trio of Jean de Oliviera (Traum Films), Marta Collica (music) and Metzger (texts, voice) have joined into a beautiful five-part film, “5x” and ready for its public debut…

Also, Hollace is nearing completion of her fourth Paris painting commission, a large canvas tribute to Buckminster Fuller, natural & fabricated forms, entitled “We Are All Monkeys”.

Metzger and Paris graffiti artist Laurent Plazannet were featured as selected participants in the May 2010 Biennale de Cachan, with a collaborative canvas entitled “Win Love or Money”.  The two are preparing for their second show together in October.

More news about this year’s solo exhibition in Paris to follow soon!

WORDS

In addition to a double-book review in the next BOWL Quarterly (UK), “Poppies”, here are some new responses to the ‘TranSynPhony’ DVD, Transcriptions of Time, Why the WilloW, The Labyrinth and their respective medias:

“We’re big fans here at Clinicality” - Clinicality Press

“a great inspiration! …your poetry was one of life creations that kept me going.” – Dr. R. Cabral, historian and physicist

“brilliant and luminescent” - Pagan Neil, author

“a truly gifted artist… I think when it comes to art, yours will be a name which goes down in history, and I feel I am witnessing something truly great” – C. Westover, author of Precipice

Proceeded by her review on Amazon.com:

“While reading Transcriptions of Time by Hollace M. Metzger, one has the feeling of witnessing history in the making. Her emotionally descriptive prose proves that she is one of the greatest existentialist writers of our time.

Transcriptions of Time is a journey without a definite destination, an open-ended book, because time is infinite. Brutally honest, the richly colored prose paints living breathing pictures, and makes tangible the intangible.

Written from the viewpoints of various cities, one experiences the feeling of being invisible, insignificant, yet free all at once. It is a tale of remembrance, bringing to mind the various individuals a person comes into contact with in a lifetime. It beckons one to remember the sacred ancient places in this world now hidden by factories and concrete–for they still stand, and magic is all around us.

Hollace M. Metzger reminds us of the moon’s influence–its gravitational pull of one’s soul, one’s body, one’s mind. Like the moon, it is difficult to resist the gravitational pull of Metzger’s poetry.”

Why the WilloW

“I have read your wonderful book, Why the WilloW – So beautiful…” – O. Ohio, artist

TranSynPhony

“Waking up in the morning and hearing your voice is a real gift. Thank you for your art and making the road beautiful and pleasant.” – D. Elorz, actor

Transcriptions of Time

“Just watched “Under Parisian Streets” (video) again and I have to say, I think it is a masterpiece.” – M. Bratton, poet

Observing the Labyrinth from Heaven

“If one looks up “acerbic” in the OED they will find “Observing the Labyrinth from Heaven” in its entirety. Hearing that poem turned my stomach into a sarcastic smile. I felt like I was reliving Huxley’s ‘After Many a Summer Dies the Swan’. – A.D. Wiegert, author

HER CIRCLE EZINE CONTEST

Last but not least, the POSTCARDS FROM PARIS CONTEST has come to a close. Thanks to everyone who bought books, downloads, dvd’s and entered the contest, and Thanks to Her Circle Ezine for the wonderful interview and everything else they are doing over there.

The following contest winners will receive a hand-written postcard from Ms. Metzger.

The runner-up (2) will receive a signed photo-art print.

The Grand Prize winner (1) will receive a signed photo-art print, a “My World Exists” T-shirt and a signed copy of Why the WilloW.

1 – Carolina Littinay – Rome, Italy

2 – Lutz Junker – Bottrop, Germany

3 – Eva Hechtova – Ostrov, Czech Republic

4 – Christina Westover – San Francisco, USA

5 – Jacqueline Christine – Portland, USA

6 – Jonathan Siegel – San Francisco, USA

7 – Brittany Kunkle – Saint Louis, USA

8 – Lorenzo Pagliei – Paris, France

9 – Shana Morris – Clarksville, USA

10 – David Elorz – Spain

REVIEWS

Closing, a preview of Garry Frank’s review of Why the WilloW, to be printed in the next issue of BOWL Quarterly :

Why The Willow

a review, by Garry Franks – Beauty of Washing Lines / BOWL Publishers

August 13, 2010

I do not want to emphasise the “modernity” and “now” of Hollace Metzger’s poetry, an American poetess living in Paris, but there is something that roots though her feet and grows branches out of her hands.

First some facts about the Willow Tree. The Willow Tree is cross fertile with many hybrids. The Willow Tree’s Latin name is Salix sepulcralis. It is a cross between the Peking Willow (Salizbabylonica) and European White Willow (Salix alba). The trees roots are remarkable for toughness, size, tenacity to life, with roots readily growing from aerial parts of the plant. It has both male (staminate)  and female (pistilate) flowers which make it diocious.  These flowers are known as catkins, which appear either just before or with leaves in spring. Its fruit is dispersed widely on the wind. The Weeping Willow is planted on the borders of streams so their interlacing roots may protect banks against the action of water. They notoriously block French drains.

On opening this volume, there is a faded black and white photo of a Weeping Willow reflected in water, followed by the title poem (its French version closes this intensely lyrical collection) with its bowing/mirroring;

“The Willow bows

to see itself closer

in its own fallen tears,

puddles on the ground”

(“Why the Willow”)

Hollace is not afraid to use archaic words if they are the best way to accurately record (and sing) the experience;

“As each day

descends to evening

it’s luminous tresses

fill with color

before sleeping.”

(“Why the Willow”)

In ”Lava” Hollace is listening to John Dowland’s 3rd book of Songs 1603 (“The Lowest Trees Have Tops”) when suddenly death’s

“prison bars…”,

with its echoes of the metaphysical poet Andrew Marvell, do not seem so far away, where the poet must at last face

“our shadowed willow’s eaves.”

(“Lava”)

Poem titles add to the mirror theme of the opening poem. A poem has a title “Looking Glass” which automatically suggests Lewis Carroll “Looking Through The Looking Glass” and his mirror theme of opposites, time running backwards, poetry of Jabberwocky that can only be read if held up to a mirror.

Hollace also alludes in her volume notes to the 2009 animation film ‘Coraline’ an update on the Looking Glass story (Coraline steps through the mirror and is met by evil alternative parents with buttons for eyes), and of course the poem “Whorescope” a running joke on the internet – an instrument like a periscope or telescope- or type of horoscope – to forecast finding of “women” in a particular area of town- but is there also  a deeply intellectual  allusion to Descartes via Samuel Beckett’s “Whorescope” a philosophical egg riddle poem about time and reality about how a philosopher can only have an egg cooked after so many days after being laid –does that then link to the earth as ”ovalyn” (beautiful egg) mentioned later on in the volume –do you know how the roots and branches grow?

Hollace expands (the/a) Looking Glass theme;

“We must seek something

beyond our lost half,

our missing other…”

(“Half-Cent ipede”)

The centipede “mon frère”, her lover, her reader, is addressed in Zen-like love moments of impressionistic poetry ;

“Have you watched the sky

in a day refusing clouds?

Have you, my dear friend,

hunched beneath the oak tree

and watched its shadows

change the redness of apples?”

(“Half-Cent ipede”)

Hollace is not afraid to hold a conversation with an A-listed poet;

“Ginsberg asked flowers

why they ‘seek the sun’”

(“Once Was”)

I scurry to my well thumbed City Lights pocket book of “Howl” via Hollace’s end of volume notes. The answer is;

“The music descends, as does the tall bending

Stalk of the heavy blossom because it has to, to stay alive

To continue to the last drop of joy”

(Allen Ginsberg “Transcriptions Of Organ Music)

Remember the Willow in the opening poem?

“The Willow bows

to see itself closer

in its own fallen tears,

puddles on the ground.”

There are allusions and allusions and echoes and echoes, branches and leaves, branches and leaves, rustlings;

“The ‘Brambly Briars’ bow

to winds that move them”

(“Half-Cent ipede”)

Hollace informs us in her volume notes the phrase “brambly briars” are from 60′s folk group The Incredible String Band’s “October Song”

“Beside the sea

The brambly briars in the still of evening,

Birds fly out behind the sun

And with them I am leaving”

(The Incredible String Band)

Variation and difference, being equal choices, root and grow in <span>WWW</span>. Hollace has;

“…seen beauty

in tree trunks

that chose to grow

in opposite directions”

which naturally and organically leads her to her lover’s face, the other, the missing half, time’s breath-steamed looking glass mirror held her against her face;

“I’ve seen beauty

in your face again,

like yesterday

only differently

than today.”

(“I’ve Seen Beauty”)

Or put in a more painterly, different way;

“Two artists finding colors,

new colours

in an unknown place

of unfamiliar name”

which becomes

“…in this moment in time,

in this precise moment.

I feel more alive

than I ever have been.”

(“Spring in Sceaux”)

You can hear her loving heart knocking through her ribs, rooting in her thinking hand, writing down poetry.

But in the same poem (the defining “Spring” of this four-seasons collection of poems ) she throws her lover and us the ambiguous curve-ball, a downward opposite branch from the same root; the dark side of the looking glass of opposites;

“I am not sure who I’d rather be,

You, wanting to live in time

You know cannot exist,

or me, hoping to find it.”

Where her companion’s finger;

“…terminates at a vase

we taped your dying flower

upright to.”

(“Spring in Sceaux”)

With its allusion to Ginsberg’s “flower of joy” reversed.

Suddenly there is childhood’s nightmarish fairytale atmosphere;

“GIVE ME

five-hour journeys

between trees of an endless

forest, fence posts boasting

their survival under hot

summer sun, outliving

horse’s teeth that anxiously

ate them alive.”

(“Give Me”)

The opening poem’s theme reappears in the same nightmarish hue;

“Leave me

beside myself, in a Pond

where tadpoles find no

reason to grow,

or in a de-frosting winter

puddle widening its eye

upwards towards

approaching golden color”

(“Leave Me”)

but counterpointed chin-up,  with the metaphysical “Dew-Drop” of Andrew Marvell,

“Leave me

beside myself, in a single Drop

of an April’s rain shower,

in the shining bead of Dew

claiming its fortune

on a magnified thistle,

refusing to evaporate.”

(“Leave Me”)

Through the seasons from Winter to Spring the loss of time becomes increasingly plaintive as well as a yearning for Hollace to put roots down like the Willow Tree;

“As I’ve passed through

seven more nights

to your day, the gray-

ness between us,

your youth and my day,

your Toulousian youth

seems carved in stone

whose surrounding willows

I watch grow downwards.

I wish to be a part

from your life.

But, I am apart

from your life.”

(“Man, aged”)

Autumn becomes a time for remembering towards a possible future,

“wood crying sap”

with this unforgettably tender mystical image, which also introduces the egg/fertile earth image;

“This earth we’re on is ovalyn.*

Cubist Zen-cirlce in motion, vibrations-mystical,

Your horseback ride across open-arched field;

Your love found on the curve of Time’s shoreline”

(“Ovalyn”)

*(hybrid word –”ova” egg –”lyn” beautiful)

Hollace’s Autumn takes that disturbing image (to me) of the horses eating the fence post into something more homely, more loving;

“I dine with you, eating wood

chipped from the ladle”

(“Witness to Beauty, Fading”)

Hollace concludes in this volume that there is;

“…neither one singular answer

nor one independent epicentre”

(“Ovalyn”).

Hollace Metzger is still unfinished, her heart knocking through her ribs, her thoughts rooting out of her hand – Poetry.

But for now she is “home”;

“Now, I saturate my eyes

with sight and sound.

The two coexist

as I exist in this.

I am seated on plastic,

weathered chairs

adjacent

to a puddlle of vomit.

I am “home.

This is it.”

(MannheimTo Paris)

Ah, and with a puddle of vomit we are back to here and now, the modernity. And I am, like the reader, the lover, all roots, and knots, and branches.

Here is the French version of the title poem that ends the volume.

Why the Willow

Le saule salue bas

pour se voir de plus près

en ses larmes tombées,

flaques sur la terre.

Sa loupe

révèle un torsefier

auréolé du soleil,

et l’ailleurs différemment.

Plus les saisons passent,

puisent cette tristesse,

plus son miroir

révèle sa beauté.

Et comme chaque jour

descend dans le soir,

ses tresses lumineuses se sont remplies

avec les couleurs d’avant-couchant.

C’est pourquoi il pleure

et pourquoi le saule,

simplement, reste

salut bas avec désir de grandir.

Hollace’s poetry is a dying fall, uprising within, fully engaged with the world, getting to know where she has come from – Where art thou, little bird, going to?

© 2010 Garry Franks, Beauty of Washing Lines

[ a r c h i v e s ]

APRIL 2010

P U B L I C A T I O N S

 

Kaiserin Magazine #7

This past January, some of H. Metzger’s photography work from the Venice Art Biennale was published in the bi-lingual Kaiserin Magazine #07 (Paris). She was the runner-up in their annual photo competition entitled “Inclinations and Addictions” where the inclination, here, was represented architecturally and socially, and the addiction was multi-layered views of seemingly infinite art.

This edition can be found at most major art galleries and bookshops in Europe, the USA and abroad. More about the competition and its winners can be found on the News section of the Kaiserin Magazine website.

 

Antique Children Quarterly

The poem ‘Give Me’, from Metzger’s Why the WilloW, will be published alongside her photography in the March 2010 “Issue 1: SPIT” print version of Antique Children Quarterly (US). This issue will also feature notable writers such as: Guillermo Samperio, Michael Wilding, Paul Krassner, Craig Woods, Asher Benatar, James Miller, Ron Garmon, D.M. Mitchell, Sue Fox, Hank Kirton, Salena Godden, Hernán David Camargo Luque, Adam Narnst, Gregory James Wyrick, Chipmunx, Led Zepeletzky,Gint Aras, Rob Plath, Heather Altfeld, John Paul Jaramill, Vincent Portillo, Troy Jollimer, Kathryn Jackson.

Two other poems from the WilloW, ‘Vodka’ and ‘Finding Piece’, were featured in Antique Children’s official launch and digital release in November 2009, now viewable in the website’s “Archives”:

 

Beauty of Washing Lines Quarterly

The Editor of Beauty of Washing Lines, Garry Franks, will be publishing a double-book Review in the next issue of its Quarterly (April 2010), with H. Metzger as a featured Author, containing Reviews of Transcriptions of Time : The Collected Poetic Works and Why the WilloW supplemented by six unpublished poems.

This issue will be displaying a cover-portrait of the Miss Metzger (contained in the WilloW publication) by Parisian artist Laurent Plazannet, artwork by Suzanne Partridge and writings by other poets of note.

In addition, Ms. Metzger’s abstract paintings will also be featured on the cover of the Quarterly’s proceeding, autumn issue.

 

Pirene’s Fountain Poetry Journal

Also in April, Pirene’s Fountain Poetry Journal (Sydney, Australia) will be publishing the poems ‘Being Pale Next to You’ and ‘Paper Ships’, both following the issue’s theme of “Love” and from Metzger’s books Observing the Labyrinth from Heaven and Transcriptions of Time.

 

Heliocentric Press

Hollace M. Metzger has also accepted a request for publication with nineteen other American poets in the Heliocentric Press Anthology of Contemporary Poetry .

Containing ten poems by each author, the volume is sure to be a collection worth investigating as a cross-section of contemporary American writers. The Anthology will be available later in 2010.

C O L L A B O R A T I O N
& the A R T S

 

DIJKSTRA (Amsterdam)

Netherlandish experimental musician Raymond Dijkstra and H. Metzger will be joining forces soon for their first collaboration. This will be the first time Raymond employs voicework in his compositions thus adding to the mysterious, sometimes haunting tone set by Raymond throughout his numerous releases. Definitely check out Dijkstra’s music when you have a moment. It can conjure up poetry, words, thoughts in anyone’s imagination.

 

DYNAMIC (UK)

British D&B musician Steven Lang / DYNAMIC will be working with H. Metzger on a new collaboration of poetry, voice and music, expected to be completed midyear. You can listen to DYNAMIC’s urban-inspired musical landscapes of movements, moments and mobility here.

 

(another) LANDSCAPE, in Three Parts (Paris)

Landscape, in Three Parts – 2008

Hollace has accepted a private triptych commission to paint the Paris skyline, based on the client’s prior viewing of Vernissage Metzger-Plazannet (Oct.2009) and the paintings ‘Citystorm’, ‘White Noise’ and ‘Landscape, In Three Parts’. The process will employ a poetic rendition of an abstract foreground (including texts) transforming to realism applied to Paris monuments in the background – the Eiffel Tower, Les Invalides and La Défense. The commission is scheduled for completion in mid-2010.

Citystorm – 2009

 

Biennale d’Art Contemporain (Paris)

A collaboration of Ideas, Art and Poetry will be submitted for Phase II review (prize awarding) for the 2010 Biennale d’Art Contemporain. This installation of painting/sculpture includes Ms. Metzger’s poetry, photography, portrait, theme and drafting/detailing applied to artist Laurent Plazannet’s dream-scape of hallucinogen iconography overlayed by a more serious matter, the question of whether humans can obtain Love, Money or – in this new, proposed Game – possibly both.

 

TOHAN (Angoulême)

click to listen

Have a listen to the latest collaboration of Poetry & Music with TOHAN, ‘Incantations at San Tomà’.

From Transcriptions of Time, the poem was written with nostalgia for a place lived in Venice and with belief in new love acheived in a place of the same name in Toulouse, ten years later. With Tohan’s talents and drifting accompaniment to the spoken text, this poem-song also connects senses of ground-ocean-sky and of weightlessness achieved in them.

Metzger|Tohan, Paris 3/2010

 

TRAUM Films (London)

There comes a day when every Artist meets another Artist whose work expresses something that he/she tries to say in one medium, better said in the other’s medium… This seems to be what has happened in this meeting.
H. Metzger and TRAUM Films (Jean de Oliveira) are currently working on a five-part vignette series of poetry/voice and artistic film work which will also employ the musical talents of Italian composer, Marta Collica . This project will incorporate poems from all three of Metzger’s books and experiment with the idea of ‘unfinished thoughts’ and Burroughs’s surrealist “Cut-Ups” tapes (taking it a bit further).