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Beth Dynowski

Beth Dynowski is based in Glasgow, Scotland. She makes sculpture, installations, performances, projects, poetry and texts. Her work pays attention to the poetic and political potential of using materials and language to transform the relationship between individual and collective political, ethical, theological and social imaginaries.



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(This work is an extract from a longer poem of the same name)       This is a site for production This is a site for presentation  What is to be produced? What is to be presented?  This is a site for the production and presentation of a particular kind of subject  A subject marked by its pursuit of liberty, by individualism and collectivity, competition and cooperation By the sophistication of its speech    This is what we do with our comfort  This is what we do with our plenty    You are watching me, and I begin to watch Rather than using the gift, I reflect upon it Cobwebs2 Among the cobwebs, there, gathering in the corner of the doorway, a form persists, a tool, a silence, towards cleaving, carving, separating us from one another politically, aesthetically, socially, so that we may create a demand for these things we make, that appear here, that we do not yet have a name for     Minds are bending to the shape of this walking stick    This is a violence that can be overcome      What stick or stone is at hand to jam this twentyfourhour self-improvement, self-understanding, self-actualisation and total education? 3       Imagined public space  imagined public law  and in the air  experience and habit float…  experience, he says, is the way through danger4   I wait for Him to come  And I am nothing outside of this  While waiting, I swim,  stalk the interior  One way to move through the world among many  I surround you in my way of moving, my becoming –  monotone address, edge and end  1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15 minutes    2  Two words –  equality and equivalence  these are frequencies in the expression  of chronic fragmentation and chronic totality      I didn’t want to individuate  and now I am nothing  but a self-interrupting whole,5 a memory full of holes  haunted by the unpolitical    Someone said that this is where our obsession with voice capital V comes from And that listening instead, is grounded in our experience of the sacred It is our
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Prize Entry

November 2019

Beth Dynowski


READ NEXT

Interview

Issue No. 1

Interview with Marina Warner

Elizabeth Dearnley

Interview

Issue No. 1

At the beginning of From the Beast to the Blonde, her study of fairy tales and their tellers, Marina...

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November 2015

Interview with Dor Guez

Helen Mackreath

Interview

November 2015

Dor Guez, artist, scholar, photographer, archivist, wants to avoid being classified, but it’s difficult not to fall into the...

feature

October 2014

Noise & Cardboard: Object Collection's Operaticism

Ellery Royston

Object Collection

feature

October 2014

The set is made of painted cardboard. Four performers grab clothes from a large pile and feedback emanates from...

 

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