Damon Krukowski: NOT TO BE PLAYED

exhibitionslideshowtemplate-Damon
Installation view
Installation view
Installation view
Acetate record containing Ezra Pound reading Sestina: Altaforte May 17, 1939
Installation view
Keith Fullerton Whitman
Keith Fullerton Whitman
Keith Fullerton Whitman
Opening reception

exhibitionslideshowtemplate-Damon

Installation view

Installation view

Installation view

Acetate record containing Ezra Pound reading Sestina: Altaforte May 17, 1939

Courtesy the Woodberry Poetry Room

Installation view

Keith Fullerton Whitman "Ezra Pound Redactions" performance, Oct 23, 2015

Keith Fullerton Whitman "Ezra Pound Redactions" performance, Oct 23, 2015

Keith Fullerton Whitman "Ezra Pound Redactions" performance, Oct 23, 2015

Opening reception

exhibitionslideshowtemplate-Damon thumbnail
Installation view thumbnail
Installation view thumbnail
Installation view thumbnail
Acetate record containing Ezra Pound reading Sestina: Altaforte May 17, 1939 thumbnail
Installation view thumbnail
Keith Fullerton Whitman
Keith Fullerton Whitman
Keith Fullerton Whitman
Opening reception thumbnail

Damon Krukowski: NOT TO BE PLAYED is a multifaceted exhibition featuring archival materials, performance, and a publication that together revive an obscure audio recording made by Ezra Pound at Harvard University in 1939. Recorded on the eve of World War II, Pound believed his poem “Sestina: Altaforte”—or “Bloody Sestina,” as it came to be known—could incite violence. He was convinced it possessed a persuasive power over the future: several years after making the recording, Pound wrote a letter stating it was “not to be played.”

The recording of Pound’s impassioned recitation was originally cut to lacquer disc, subsequently transferred to magnetic tape in the 1950s, and duplicated on cassette in the ’70s. Yet it remained largely unavailable until digitization by the Woodberry Poetry Room in 2006. The history of the recording is fascinating in its own right, while its trajectory through time and evolving media raises questions about our shift from an analog to digital culture, as well as shifting interpretations of what is public and private, permanent and ephemeral. What does it mean to insert sound into public space, or to publish, using one’s own voice?

Exploring these ideas, the exhibition includes a seven-inch vinyl “publication” that, in our digitally saturated moment, returns Pound’s recording to its original analog format. Damon KrukowskiNOT TO BE PLAYED is the inaugural edition of The Woodberry Sessions, an ongoing series of collaborations between the Carpenter Center and the Woodberry Poetry Room that draws upon the rich history of archival material at Harvard, inserting it into the public realm through the creative vision, insight, and observations of contemporary artists.

Talk
Thu, Oct 8, 6 pm
Damon Krukowski in conversation with Christina Davis, Curator of the Woodberry Poetry Room and Matthew Battles, Associate Director of metaLAB, both at Harvard University.

Performance
Fri, Oct 23, 7:30 pm
Musical Performance: Not to Be Played with Keith Fullerton Whitman

Damon Krukowski
Damon Krukowski is a musician (Damon & Naomi, Galaxie 500), writer (AfterimageThe Memory Theater Burned), and editor (Exact Change). For academic year 2015-16 he will be a fellow at the Berkman Center for Internet and Society at Harvard. In 2010 he was Sert Practitioner at the Carpenter Center for the Visual Arts, and taught sound and language courses in the VES department as a visiting lecturer from 2007-9.

Flickr photostream

Damon Krukowski with Christina Davis, Matthew Battles, Keith Fullerton Whitman

Curator

James Voorhies

Institution

October 8–25, 2015

Carpenter Center for the Visual Arts
Harvard University
24 Quincy Street
Cambridge, MA

Made possible with funding and staff of Harvard University's Carpenter Center for the Visual Arts