Christodoulos Makris

For the second installment of 'a heap of language', an ongoing event series organised between Paper Visual Art Journal and the School of Visual Culture at the National College of Art and Design (NCAD) , I will lead a 'Transcription Writing' workshop where participants will engage with public language towards making and publishing new work. 4pm, Wednesday 29 May 2019, Goethe-Institut , 37 Merrion Square East, Dublin 2. Places are limited, and registration is required ( you can register here  - update 23/5/19: booked out ). The workshop will involve a short walk with the transcription activity taking place outdoors, in a covered space. - 'a heap of language #002: radical publishing'  also includes a number of contributors speaking about radical (artists', small press, activist, and samizdat) publishing, followed by the launch of a publication assembled by current students of the MA/MFA Art in the Contemporary World, collaboratively produced in respons

I am very pleased to have two pieces in EUROPOE , an exciting and remarkable anthology of contemporary European poetry published by Kingston University Press. Compiled and edited by SJ Fowler , and published to coincide with the 2nd European Poetry Festival, EUROPOE showcases 60 of Europe's most innovative poets, the vast majority writing from an avant-garde standpoint. A "modern and thoroughly European means of experiencing literature," EUROPOE is also an initiative and a document resisting Brexit and the forces bringing it about. "Celebrating the grand resurgence in literary and avant-garde poetry that has marked the 21st century in Europe, poets from over forty nations present works developing the lyric, sonic, visual, abstract and conceptual traditions. A volume that seeks not to offer a taxonomy but a brief glimpse of the brilliance of so many poets working at the forefront of the language arts, this is a book unified by a fidelity to that which is truly c

Transcription Factor is a chapbook by  Gregory Betts ,  Chiamaka Enyi-Amadi ,  Julie Morrissy  and myself. Published in April 2019 on  derek beaulieu 's No Press  (Banff, Alberta, Canada), Transcription Factor consists of four poems all written collaboratively by the four of us. Each poem was produced through a four-stage (re)writing process, and the overall project was in response to 'Hox', an original sound composition by Barry O'Halpin for the 'Text / Sound / Performance' conference at University College Dublin (25-27 April 2019). Transcription Factor was published in 100 copies, all of which were disseminated to delegates and other conference attendees, and was performed by Gregory, Julie and myself at the wonderfully communal Riverrun reading (Poetry Ireland, 26 April 2019). photo: Lucy Collins From the chapbook blurb: "The following four poems were written collaboratively by Gregory Betts, Chiamaka Enyi-Amadi, Christodoulos Makris, a

A new short poem with title 'Gloss' is one of the lead contributions to Volume 6 Chapter 7 (May 2019) of Visual Verse . Visual Verse is an online anthology of art, poetry, short fiction and non-fiction. Every month the editors publish an image by a contemporary artist and invite writers to submit pieces of 50-500 words written in the space of one hour in response to the image. Three writers are commissioned to write 'lead' responses which appear on the first day of the month. This month's texts are in response to  this image by by R Coad , and my piece is accompanied by further lead contributions from Rebecca Tamás and David Hayden. Submissions to Visual Verse are accepted until the 15th of each month. Up to 100 additional responses are published from open submissions every month. My thanks to editor Preti Taneja for the commission.

I am very pleased and excited to announce publication of my new book this is no longer entertainment . The book is published by Manchester's Dostoyevsky Wannabe press on its Originals imprint. My thanks to Richard and Vikki at DW for making the book part of their very cool list, for their brilliant design work and their overall support. *   *   * About the book: this is no longer entertainment is formed entirely out of untreated anonymous or pseudonymous text found in the open comments sections of media websites and other digital platforms. It was composed by filtering this un-authored writing through a process of immediate, instinctive selection and reframing, which is inevitably modulated by the author’s interests and emotional temperature. The poem’s composition roughly covers the period 2014-2017; a period marked by a range of notable social-political shifts and events. In its use of avant-garde compositional methods as parallels with experimental documentary filmma