Instagram Story Viewer

꥟ ✽ [[ CONCENTRIC MACROSCOPE by Kelly Krumrie is now available as an ebook for your ereader on @asterism_books // for eight dollars // please enjoy and thank you for your ongoing support ]] ✽ ꥟

The April issue of The Eco Update is here!

🐝 Urban Parks Are Refuges For Bees
♻️ Plastic, Soil, and Biodiversity
📷 Nature Photo of the Month
✊ Notes From A Radical Ecologist
📖 Eco Fiction Review: Concentric Macroscope (@cropcirclepress)
🔗 And more at the link in our bio!

📷 by @hdbernd

‘’ [[details from Mike Corrao’s BEING TOWARDS DEATH]] // [[it’s poetry month and ofc every month is poetry month…]] ‘’

‘’ [[details from Mike Corrao’s BEING TOWARDS DEATH]] // [[it’s poetry month and ofc every month is poetry month…]] ‘’

‘’ [[details from Mike Corrao’s BEING TOWARDS DEATH]] // [[it’s poetry month and ofc every month is poetry month…]] ‘’

߷ [[CONCENTRIC MACROSCOPE moodboard! Writing on Rebecca Horn by our very own @colettefabiennee]] ߷ [[Go see some art this weekend and order yourself a copy of Kelly’s new book]] ߷

“Rebecca Horn was deeply fascinated by bodily movement and explored it throughout her work in kinetic sculpture. In all of her visual studies of movement, Horn herself is adorned by her structures. They become one, completely meshed, as though these compositions have always been a part of her anatomy. And they are beyond an extension of herself — her sculptures are who she is.

Horn spent a year in a sanatorium after experiencing severe lung poisoning, during which she lost her parents and lived in complete isolation. This period profoundly informed her interest in motion and the human body. White Body Fan consists of a woman, most notably and frequently Horn, wearing two white hand orbs. They’re strapped onto her in a way where only she can control their motion, and only when her arms are raised do the orbs open up and rise, like wings on a bird taking flight. There is always choreography, a sequence of movement, a language that takes on the form of motion.

This particular documentation of White Body Fan is especially curious, too. The work leaves the studio and enters the natural world. At this point, the fate of White Body Fan would be entirely up to the universe at large, controlled by the winds above and pebbles below. But the only entity in control is Horn herself, because the fan is attached to her. The landscape is vast, somehow both lived in and completely deserted. There’s some proof of life outside of her with what appears to be footprints, but it remains unclear if that evidence of movement comes from her or something unknown to us. By wearing the White Body Fan, she is in control of movement, but also of what is seen and obscured, what we’re allowed to know, and what is hidden from us. Horn (and many others) described her work as “part-human, part-other.” White Body Fan allows us to step into that other world, to see what the hybrid is and can become.“

߷ [[CONCENTRIC MACROSCOPE moodboard! Writing on Rebecca Horn by our very own @colettefabiennee]] ߷ [[Go see some art this weekend and order yourself a copy of Kelly’s new book]] ߷

“Rebecca Horn was deeply fascinated by bodily movement and explored it throughout her work in kinetic sculpture. In all of her visual studies of movement, Horn herself is adorned by her structures. They become one, completely meshed, as though these compositions have always been a part of her anatomy. And they are beyond an extension of herself — her sculptures are who she is.

Horn spent a year in a sanatorium after experiencing severe lung poisoning, during which she lost her parents and lived in complete isolation. This period profoundly informed her interest in motion and the human body. White Body Fan consists of a woman, most notably and frequently Horn, wearing two white hand orbs. They’re strapped onto her in a way where only she can control their motion, and only when her arms are raised do the orbs open up and rise, like wings on a bird taking flight. There is always choreography, a sequence of movement, a language that takes on the form of motion.

This particular documentation of White Body Fan is especially curious, too. The work leaves the studio and enters the natural world. At this point, the fate of White Body Fan would be entirely up to the universe at large, controlled by the winds above and pebbles below. But the only entity in control is Horn herself, because the fan is attached to her. The landscape is vast, somehow both lived in and completely deserted. There’s some proof of life outside of her with what appears to be footprints, but it remains unclear if that evidence of movement comes from her or something unknown to us. By wearing the White Body Fan, she is in control of movement, but also of what is seen and obscured, what we’re allowed to know, and what is hidden from us. Horn (and many others) described her work as “part-human, part-other.” White Body Fan allows us to step into that other world, to see what the hybrid is and can become.“

߷ [[CONCENTRIC MACROSCOPE moodboard! Writing on Rebecca Horn by our very own @colettefabiennee]] ߷ [[Go see some art this weekend and order yourself a copy of Kelly’s new book]] ߷

“Rebecca Horn was deeply fascinated by bodily movement and explored it throughout her work in kinetic sculpture. In all of her visual studies of movement, Horn herself is adorned by her structures. They become one, completely meshed, as though these compositions have always been a part of her anatomy. And they are beyond an extension of herself — her sculptures are who she is.

Horn spent a year in a sanatorium after experiencing severe lung poisoning, during which she lost her parents and lived in complete isolation. This period profoundly informed her interest in motion and the human body. White Body Fan consists of a woman, most notably and frequently Horn, wearing two white hand orbs. They’re strapped onto her in a way where only she can control their motion, and only when her arms are raised do the orbs open up and rise, like wings on a bird taking flight. There is always choreography, a sequence of movement, a language that takes on the form of motion.

This particular documentation of White Body Fan is especially curious, too. The work leaves the studio and enters the natural world. At this point, the fate of White Body Fan would be entirely up to the universe at large, controlled by the winds above and pebbles below. But the only entity in control is Horn herself, because the fan is attached to her. The landscape is vast, somehow both lived in and completely deserted. There’s some proof of life outside of her with what appears to be footprints, but it remains unclear if that evidence of movement comes from her or something unknown to us. By wearing the White Body Fan, she is in control of movement, but also of what is seen and obscured, what we’re allowed to know, and what is hidden from us. Horn (and many others) described her work as “part-human, part-other.” White Body Fan allows us to step into that other world, to see what the hybrid is and can become.“

߷ [[CONCENTRIC MACROSCOPE moodboard! Writing on Rebecca Horn by our very own @colettefabiennee]] ߷ [[Go see some art this weekend and order yourself a copy of Kelly’s new book]] ߷

“Rebecca Horn was deeply fascinated by bodily movement and explored it throughout her work in kinetic sculpture. In all of her visual studies of movement, Horn herself is adorned by her structures. They become one, completely meshed, as though these compositions have always been a part of her anatomy. And they are beyond an extension of herself — her sculptures are who she is.

Horn spent a year in a sanatorium after experiencing severe lung poisoning, during which she lost her parents and lived in complete isolation. This period profoundly informed her interest in motion and the human body. White Body Fan consists of a woman, most notably and frequently Horn, wearing two white hand orbs. They’re strapped onto her in a way where only she can control their motion, and only when her arms are raised do the orbs open up and rise, like wings on a bird taking flight. There is always choreography, a sequence of movement, a language that takes on the form of motion.

This particular documentation of White Body Fan is especially curious, too. The work leaves the studio and enters the natural world. At this point, the fate of White Body Fan would be entirely up to the universe at large, controlled by the winds above and pebbles below. But the only entity in control is Horn herself, because the fan is attached to her. The landscape is vast, somehow both lived in and completely deserted. There’s some proof of life outside of her with what appears to be footprints, but it remains unclear if that evidence of movement comes from her or something unknown to us. By wearing the White Body Fan, she is in control of movement, but also of what is seen and obscured, what we’re allowed to know, and what is hidden from us. Horn (and many others) described her work as “part-human, part-other.” White Body Fan allows us to step into that other world, to see what the hybrid is and can become.“

[[••An excerpt from the beginning of Kelly Krumrie’s CONCENTRIC MACROSCOPE••Have a pleasant weekend everyone••]]

Someone at Crop Circle has a birthday today (@colettefabiennee ), and @kelseyniziolek drew a beautiful new addition to this horoscope series. The wheel turns and turns and we have several exquisite books we’re looking forward to sharing with you soon (a photo book…a novel-ish…a novella…a book of poems…) // Happy Aries season!!

✧ [[Sophie Nunberg on Kelly Krumrie’s CONCENTRIC MACROSCOPE // “From a mysterious work site of humming pylons, a message must be formed, transmuted then broadcast. Inside the disquietingly calm mind of an unnamed protagonist, she finds her message is veiled and unveiled, raveled and unraveled, until it is language that governs all. As the hum of the pylons grow, memory and supposition collide, past and present breathe on each other’s necks. A mesmerizing, labyrinthian novel by Krumrie where form and content emmesh, eagerly consuming each other, all in the name of transmission.”]] // [[CONCENTRIC MACROSCOPE is shipping now and available for order via Asterism.]] ✧

𖢌 [[March 25th at 1PM EST, tune in to Montez Press Radio to hear LINER NOTES: CONCENTRIC MACROSCOPE by Kelly Krumrie and Square-D // Mix inspired by Krumrie’s new book from Crop Circle Press... crackling with monkish eroticism and quantum uncertainty // along with a wild range of tracks, Kelly reads from her book // the set will also include samples of historic recordings of the audio components of the CCCP’s Duga-1 “Steel Yard” over-the-horizon early-warning radar system in operation, as well as recordings of spy communication “numbers” stations of the DDR and other unknown data transmissions…]] 𖢌

✥⍟ [[incoming signals]] // [[the sacred early stages of Kelly Krumrie’s CONCENTRIC MACROSCOPE]] ⍟✥

𑗎𐮜 Happy World Poetry Day. Mike Corrao will be at Lost Avenue in Portland on April 10th to celebrate BEING TOWARDS DEATH with the homies Kaya Noteboom, David Seung, and Veronica Martin // Thank you to Jeff Alessandrelli for organizing. 𐮜𑗎

᪣ 𖥞 CONCENTRIC MACROSCOPE is out now 𖥞 ᪣

᪣ 𖥞 CONCENTRIC MACROSCOPE is out now 𖥞 ᪣

᪣ 𖥞 CONCENTRIC MACROSCOPE is out now 𖥞 ᪣

Kelly Krumrie (@syntacticon)
Concentric Macroscope available now from @cropcirclepress.