Britain – France – Spain – Britain
Poet Deryn Rees-Jones led two community workshops in Hereford (in April) and London (in May), which provided the material for her poem on notions of home.
Artist Kate McMillan made a film translation of Deryn Rees-Jones’s poem.
Artist, poet and translator Elise Aru translated the British poem about ‘home’ into French.
Translator Timothy Mathews translated Elise Aru’s version back into English.
Artist Benoît Laffiché made a film version of Elise Aru’s translation.
Translator Silvia Terrón translated Elise Aru’s version of the poem into Spanish.
Artist Domingo Martínez made a film version of Silvia Terrón’s version of the poem.
Poet and translator Noèlia Diaz Vicedo translated the travelling poem from Spanish back into English.
Artists Heather Connelly & Belén Cerezo made a film translation of Noèlia Diaz Vicedo’s version of the poem.
Poland – Romania – Britain – Poland
This journey was organised in collaboration with our partners in Poland: Joanna Kosmalska and Kasia & Teodor Ajder.
Poet Rafał Gawin and Joanna Kosmalska led a community workshop in Lodz, which provided the material for Rafał to write the Polish poem about ‘home’.
Artist Zuzanna Janin made a film version of Rafał Gawin’s poem.
Translator Anna Hyde translated Rafał Gawin’s poem into English.
Translator Teodor Ajder translated Rafał Gawin’s poem into Romanian
Artist Ghenadie Popescu made a film version of Teodor Ajder’s translation.
Translator Jozefina Komporaly translated Teodor Ajder’s version into English.
Artist Sally Waterman made a film version of the English translation.
Translator Marta Dziurosz translated the second English version of the Polish travelling poem back into Polish.
Follow this link to see photographs and short texts from organisers and translators, where we have tried to represent home in a single image.
Teodor Ajder is a psychologist, special educator, writer, curator, immigrant. A graduate in Psychology from Babeș-Bolyai University, Romania, he obtained his PhD in Media, Information and Environmental Sciences from Yokohama National University. Currently he is non-affiliated academically. He is the author of a number of books in which the topic of migration is prevalent – MO[PO]JARO (2010); The Mēn Mask is For A Japanese Girl (2008); Vurda, The Heart’s Replacement (2003). In 2014, he co-founded a trilingual migrant magazine “Mămăliga de Varșovia” – Warsaw’s Maize Porridge.
Elise Aru is a French artist now living in Paris. Previously, she used to live in Norwich and in London. In her practice, she translates poetry into poem-objects based on the reinvigoration and the displacement of Surrealist practices such as collage. She has been taking part in the meetings of the Paris Surrealist group since 2013. Her work has been exhibited in the UK, Canada, Costa Rica, Spain and in France. Her poem-objects can be found at www.elisearu.com.
Heather Connelly & Belén Cerezo
Cerezo and Connelly met during a walk for PhD researchers in Derbyshire, and hoped that one day they would work together. This project has provided the impetus for them to examine the synergies in their practices in text, sound, image, performativity and translation. They look forward to what the poem and collaboration will bring between a British and Spanish artist, their own and others’ ideas of ‘home’.
Belén Cerezo is an artist, researcher and lecturer based in Nottingham. Her research/work explores the functioning of images to analyze their affective potential and makes evident a form of ‘affective encountering’ of images which acknowledges their materiality. Her artistic practice enquiries into memory and the interplay between place and culture and it takes the form of audiovisual-installations, videos, photographs, writing and performance-lectures. In 2015 Belén Cerezo completed the practice-led PhD “What is it ‘to move’ a photograph? Artistic practices for destabilising and transforming images” at Nottingham Trent University, where she is an associate lecturer in Photography. She investigated how artistic practices, intervening in existing images, subvert images and it offered new insights on the operations of re-contextualisation, montage, the categories of the still and the moving image and the ‘affective encounter’ based on touching. Recent publications include ‘How to Open my Eyes? The performance-lecture as a method within artistic research’ in Networking Knowledge, Vol. 9, No 3 (2016). In 2016 she was a resident artist at Bilbaoarte Foundation. In 2015 she developed the project ‘Rehearsing Memory, Belton 2015’, commissioned by the National Trust, in collaboration with Rebecca Lee. In 2015 she showed her artistic research in the exhibition ‘Moving Stills’, Primary, where she is resident artist since 2012. Also she is a member of ‘Film Free and Easy’. http://www.belencerezo.com
Heather Connelly is an artist/researcher based in Nottingham. Her art practice/research concerns art-and-translation and linguistic hospitality and is particularly interested in how art practice can be used to examine the performativity of translation and engage people in the complex issues of translation, language learning and more broadly transcultural communication. Working with text, sound and the voice, Heather’s work explores our relationship with language(s) from different perspectives, often working collaboratively, designing participatory projects and events that bring together people from different socio-cultural and academic backgrounds. During an AHRC Cultural Engagement fellowship (2016) she established Translation Zone(s) a programme of events and artworks to interrogate these issues. She is also co-founder of InDialogue (2011) an independent biannual symposium (2012, 14 & 16) that interrogates dialogic practices through papers, performances and exhibitions. Most recently she has been writing polylingual scripts and scores with translators and multilingual speakers to be performed in public spaces, conferences and other events. Heather has a long history of working in the arts, exhibiting, leading and developing and delivering independent and strategic arts projects in the public realm in the UK and USA. She is currently Research Fellow at Birmingham City University (BCU), Senior fellow of the Higher Education Authority (UK), holds a PhD by Fine Art Practice (Loughborough University) and an MA Fine Art (Sheffield Hallam University). http://www.heatherconnelly.co.uk/translationzones/ http://www.indialogue.uk.com
Noèlia Diaz Vicedo is a poet, academic and translator. She combines teaching (Queen Mary , University of London, University of Westminster) with research on contemporary women’s poetry and gender studies. She has also co-edited along with Sandra D. Roig the poetic anthology Donzelles de l’any 2000, antologia de dones poetes dels Països Catalans (Editorial Mediterrània, 2014). As a translator she has published the book The Body’s Reason (Francis Boutle Publishers, 2014) by Maria-Mercè Marçal from Catalan and poems by several authors included in the magazine ‘Alba Londres. Culture in Translation’ where she was a co-editor (2011-2015). She is a Fellow at the Centre for the Study of Contemporary Women’s Writing at the Institute of Modern Languages, University of London. Her collection of poems ‘Bloody Roots’ in bilingual edition (Catalan-English) will be forthcoming by Francis Boutle Publishers. She has performed her poetry around UK and Spain.
Marta Dziurosz is a Polish-English literary translator and interpreter, curator, and Free Word Centre’s Translator in Residence 2015-2016. She also works for Pan Macmillan and is a Free Word Centre Associate. Her writing and translations have been published by the New Statesman, PEN Atlas, New Books from Poland, For Books’ Sake, Asymptote, and elsewhere.
Rafał Gawin is a Polish poet, critic, proofreader, editor of the quarterly journal of poetry and literary arts “Arterie”, conferencier and art manager. He has published two collections of poetry, “Wycieczki osobiste / Code of Change” (London/Gniezno, 2011; translated by Marek Kazmierski) and “Zachód słońca w Kurwidołach” (Łódź, 2016) and the booklet “Przymiarki” (Wroclaw, 2009). His poems have been translated into Bulgarian, English, German, Russian, Ukrainian and French. He has been published in numerous newspapers (including “Gazeta Wyborcza”, “Dziennik Łódzki”, “Wyspa”), journals (“Odra”, “Tygiel Kultury”, “Opcje”, “Kresy”, “Fraza”, and the like) and anthologies (e.g.“Na grani”, “Połów. Debuted in 2010”, “Anthologia2#” and “Ani ziemia jałowa, ani obiecana. Antologia łódzkich pisarzy / Weder wüstes Land noch gelobtes. Junge Literatur aus Lodz”). He has also won various literary awards, including T. J. Sulkowski Prize. He lives in Lodz where he works as a cultural programme coordinator for Dom Literatury. He writes a blog: gawin.liberte.pl.
Anna Hyde (Anna Blasiak) studied Art History in Warsaw, Film Studies in Kraków and Arts Policy and Management in London. She has translated over 40 books from English into Polish and some fiction from Polish into English (by M.Czubaj, W.Grzegorzewska, J.Krasnowolski. K.Malanowska, D.Odija, A.Augustyniak, M.Szychowiak and I.Amiel). She has also translated poetry into Polish (by M.Jastrzębska, M.O’Donnell, N.O’Mahony, Vesna Goldsworthy and Martina Evans) and into English (by M.Szychowiak and R.Wiśniewski). Anna has worked in museums and a radio station, run magazines, and written on art, film and theatre. She helps run European Literature Network and is one of the editors of Babiniec Literacki, a website publishing poetry written by women. She writes poetry in Polish and English.
More at annablasiak.com.
Zuzanna Janin is a visual artist. Born in 1961, she lives & works in Warsaw. She makes sculptures, installations, videos, photography, actions & performatives. She studied at the Academy of Fine Art Warsaw, ÉCAV – École Cantonale d’Art du Valais, Sierre (new media) scholarship, Pro Helvetia, and obtained a PhD in Visual Art in 2016. She took part in Sydney Biennial 1992, Istanbul Biennial 1992, Soonsbeek’93, Liverpool Biennial 1996, Łódź Biennale 2010, 54th Venice Biennale 2011 (in the programme of representation of Romania). Selected solo shows and screenings include Kunstverein Salzburg, Salzburg; Foksal Gallery, Warsaw; Zachęta National Gallery, Warszawa; Center for Contemporary Art, Warsaw; Center for Contemporary Art, Łaźnia, Gdańsk; Kunsthalle Wien Project Space; Sculpture Museum at Królikarnia / National Museum, Warsaw; National Museum, Cracow, Gallery lokal_30, Warszawa; ASAB Bogota / Colombia; MAM Museu de Arte Moderna Rio de Janeiro, Galeria Arsenał, Lublin.
Jozefina Komporaly is a London-based translator and academic working on cultural exchanges between Anglophone and European literary traditions. Her translations from Romanian and Hungarian into English appeared in Words Without Borders, Asymptote, Exchanges, Index on Censorship, Trafika Europe and she has published extensively on translation and adaptation for the stage, European and British theatre and women’s writing, including the study Staging Motherhood (Palgrave, 2006). Jo is editor and co-translator of the first English-language anthology of Matéi Visniec’s plays (How to Explain the History of Communism to Mental Patients and Other Plays, Seagull Books, 2015) and of the critical anthology András Visky’s Barrack Dramaturgy: Memories of the Body (Intellect, 2017). She is currently finalizing the monograph Radical Revival as Adaptation for Palgrave, and is working on the translation of a Romanian absurdist novel and a string of Hungarian children’s stories.
Joanna Kosmalska is a translator, author of articles on contemporary literature, co-editor of “DeKadentzya” literary journal, and research-and-teaching fellow in the Department of British Literature and Culture, University of Lodz where she teaches courses in translation (literary, film, interpreting, etc.). She has, among many other things, co-translated, with Mikołaj Deckert, the film script for Jacek Bławut’s “The Day of Chocolate” which won the ScripTeast Award at the 2010 Cannes Film Festival. In 2011-2015, she ran the international research project on “Polish (E)migration Literature in Ireland and Great Britain since 2004” (http://archiwum-emigracja.uni.lodz.pl/en/). Financed by the National Science Centre, the project focused on poetry, prose and drama writings that tackled the issue of migrations. The overall aim was to trace how the post-EU-accession migrations of Polish people to Britain and Ireland had influenced contemporary literature and culture and to highlight the functions the new transnational literature and culture had performed in Polish, British and Irish societies. For her engagement in promoting migrant literature, she was awarded Statuetka Pięknych Ludzi by the Polish diaspora authors in the UK.
Benoît Laffiché is a French artist living in Brittany. He has investigated migration and globalisation extensively in his work. “Benoît Laffiché invents systems and arrangements which are vehicles of an artistic line of thought. His images are perceptible and sensitive, in so much as the work of art, for him, is the outcome of a close understanding of the conditions of existence. Perceptible, because they are a combination of theoretical intuition and poetic intent. Sensitive, because artistic activity is a criticism of everyday life. And sensitive and perceptible because his art conceives of the world as a soothing approach, with a keen eye on details, lesser things, and bridging tactics—attentive to life.” (Pascal Beausse, 2009)
ddab.org/en/oeuvres/LAFFICHE | www.instagram.com/benoitlaffiche/
Domingo Martinez holds a PhD in Fine Art from the University of Valencia, Spain. He was awarded a BA in Fine Art from the University of Salamanca in 2006 and a Masters in Artistic Production from the University of Valencia in 2007. He was awarded an Erasmus Scholarship to study at the Academy of Fine Arts in Rome and has been the recipient of a Fellowship at the School of Advanced Study, University of London.
Martinez’s thesis Artwork as counter-monument: representation of the unheroic memory as a resource for contemporary art explores the theory and practice of contemporary art, utilising cultural memory theories to analyse the methods through which twenty artists use ‘memory’ in their work. The artists’ works contribute to contemporary debates around notions of cultural memory and question the traditional idea of history of something that is absolute and unsusceptible to change.
Martinez is also an accomplished artist and has been the recipient of several prestigious scholarships, including the Francisco de Zurbarán award (Junta de Extremadura, 2008), a residency at the Antonio Gala Foundation for Young Artists (Córdoba, 2007) as well as participating in Living Art Terra IV Sanxenxo (Pontevedra, 2006).
As a practitioner and academic, Martinez often crosses boundaries in his work, uniting theory with practice. His work has been exhibited in several solo and group exhibitions in both Spain and the United Kingdom. Besides his art practice, he teaches at Universidad Nebrija in Madrid.
Kate McMillan’s work incorporates a range of media including sculpture, film, sound, installation and photography. McMillan is interested in the linking narratives of forgetting and place, often focusing on the residue of the past. Her artworks thus act as haunting memory-triggers for histories and ideas that are over-looked. Her most recent solo exhibition at Castor Projects in London in 2016 was titled Songs for Dancing, Songs for Dying and mapped the relationship between inherited body memory and landscape, incorporating film, sculpture and photographs.
Timothy Mathews is Emeritus Professor of French and Comparative Criticism at University College London. He has written widely about 20th and 21st century French Literature, comparative literature and comparative approaches. His research interests include translation, literary theory, creative critical writing, French poetry from Baudelaire to the present, avant-garde aesthetics, relations of literature and visual art. He has published on Guillaume Apollinaire, Aimé Césaire, Roland Barthes, Michel Houellebecq, W G Sebald, Cees Noteboom, Max Ernst, Jean Fautrier, Alberto Giacometti, Agnès Thurnauer, Antoni Tàpies. His most recent book, Alberto Giacometti: the Art of Relation (2013) explores what relating to art can tell us about relating to others. He is co-translator with Delphine Grass of Michel Houellebecq, The Art of Struggle (2010), and co-editor with Jan Parker of Tradition, Translation, Trauma (2011). He is currently writing a book of short critical chronicles, while also preparing translations of Guillaume Apollinaire and Gérard Macé. Timothy Mathews is a member of the Academy of Europe and Officier dans l’Ordre des Palmes Académiques.
Manuela Perteghella is a translation scholar, curator and creative producer. Together with Ricarda Vidal, she runs Talking Transformations: Home on the Move. She has published research in the field of literary and theatre translation, promoting the theory of translation as creative practice (Translation and Creativity, Continuum 2006; One Poem in Search of a Translator, Peter Lang 2008; Staging and Performing Translation, Palgrave 2011). She has taught translation at UK universities, and worked for theatre companies. Manuela blogs on The Creative Literary Studio, on the art of ‘text-making’ and has co-curated TransARTation! ( ) an exhibition of inter-art translation.
Ghenadie Popescu (born in 1971, in Floresti) lives and works in Chisinau. Probably he is the most exported Moldovan artist at the moment. An acute and ironic observer, in his works, he reflects on today’s society, in which the individual renounces his/her self and totally merges with work. However, this does not ensure the individual with a state of well-being, leaving him/her poor, not only materially, but also spiritually. Popescu uses consecrated symbols of his native region – mamaliga (maize hardboiled porridge), the country’s national flag – Tricolor, the wheelbarrow – but also newer symbols that overtook the Moldovan material culture, such as the famous raffia squared bags. He loves travelling, both on the ground and with his mind. He has created paintings, sculpture, objects, art-books. He is the author of countless performances, many of them in the public space, in which the public has an important and interactive role to play. He is an extraordinary book illustrator. Most recently he is focusing on stop motion animation. He has held several art residences and his works have been shown in well-known galleries and museums in Europe and the USA.
Deryn Rees-Jones is a poet and critic. She is the editor of Pavilion Poetry and teaches at the University of Liverpool where she co- directs the Centre for New and International Writing. ‘What It’s Like to Be Alive: Selected Poems’ was published in 2016.
Silvia Terrón is a Spanish poet, translator and journalist. She’s the Editor of poetry publisher La Cama Sol and Editor-in-Chief of the bilingual (Spanish-French) literary magazine Alba Paris, which is devoted to the diffusion of literature from Spain and Latin America in France, where she lives since 2009. She coordinates the Literature programme of Spain Now! an annual season of Spanish Contemporary culture in London, where she also lived for five years. Silvia has published three poetry books: La imposibilidad gravitatoria, (Ediciones Torremozas, 2009), Doblez (Ediciones Liliputienses, 2014) and Las Veces (La Isla de Siltolá, 2015). Of her poetry, it has been said that her verses lead the reader to “an incognito territory that we do not want to give up exploring”. http://www.silviaterron.com/
Ricarda Vidal is a researcher, translator and curator. She teaches in the Department of Culture, Media & Creative Industries at King’s College London. Together with Manuela Perteghella she leads Talking Transformations: Home on the Move. She is the founder of Translation Games, a collaborative research and exhibitions project into translation across languages and the fine arts. With artist Sam Treadaway she runs the bookwork project Revolve:R, an exploration of visual communication in collaboration with 24 international artists. The most recent Revolve:R edition (forthcoming with Intellect Books in autumn 2018) contains her own intersemiotic translations. Ricarda has published numerous articles and book chapters and is the author of Death and Desire in Car Crash Culture: A Century of Romantic Futurisms (Peter Lang, 2013) and co-editor (with Maria-José Blanco) of The Power of Death: Contemporary Reflections on Death in Western Society (Berghahn, 2014/2017) and (with Ingo Cornils) of Alternative Worlds: Blue-Sky Thinking since 1900 (Peter Lang, 2014). Her most recent book, Translating across Sensory and Linguistic Borders: Intersemiotic Journeys across Media (co-edited with Madeleine Campbell) will be published with Palgrave in autumn 2018.
www.ricardavidal.com | @Ricarda_V
Sally Waterman creates autobiographical photographic and video works that explore memory, place and familial relationships. She received her Ph.D. Media and Photography: ‘Visualising The Waste Land: Discovering a Praxis of Adaptation’ from the University of Plymouth in 2011. She has exhibited and screened her work extensively since 1996, including Wolverhampton Art Gallery, UK; Oriel Davies Gallery, Newtown, Wales, UK; Pitzhanger Manor House and Gallery, London, UK; Künstlerhaus Dortmund, Germany; ViSiONA festival, Huesca, Spain and the Berlin Experimental Film Festival, Germany. Her work is held in public and private collections including King St. Stephen Museum, Székesfehérvar, Hungary, The National Art Library at the V&A, London, UK and the Yale Center for British Art, New York, USA. She is a founder member of the research group, Family Ties Network and is currently a sessional lecturer at Ravensbourne, London.