KG: Your work as a curator seems to happen in and around interdisciplinary nexii. Maybe I see it that way because of my sense that in the contemporary moment we’re seeing increasingly blurred genre boundaries. I wanted to talk to you mainly to get a sense of whether or not you think of your work as inter-generic curating. You've curated talks, films, live drawing performances, sometimes all in the same event; you curated for a couple of years for the Segue Poetry Series; within your art curation there have been books, art with language and writing as a major feature.…
KS: Over the past few years I've produced exhibitions and events under a wide spectrum of parameters—from simple one-artist exhibitions (or two-poet readings) to collaborative models that I formulate and solicit participation for, to freelance curating where the work is pre-selected and I'm expected to synthesize, manage, and optimize the presentation. Each particular matrix of strictures and priorities has been productive and hugely rewarding for me, in terms of flexing my muscles as a facilitator of discourse in different contexts. So beyond focusing on formal variety among the cultural material I work with, I’m more interested in talking about the inter-structural status of my organizing itself—especially per curated events in a museum context, which for me have a bearing somewhere between poetry reading and exhibition.
Alejandro Crawford practices poetry at one of its most experimental edges, where it crosses with and benefits from the special capacities of computing. Crawford has done impressive work already in both fields; in 2007 he won a Fulbright and moved to Lisbon, Portugal where he had been commissioned to perform his operation “transmutilation” working, in part, with Orpheu, the magazine published by Fernando Pessoa and friends. Crawford’s radically recut remix based in part on poems from Orpheu is titled Morpheu (BlazeVox 2010). In 2009 Crawford moved to NYC to study in the Interactive Telecommunications Program at NYU Tisch. His ongoing work with electronic communications media has expanded his arsenal of poetic technique to include things like video and sound-mixing and the reappropriation of video game hardware to run text-manipulating algorithms. But what he does is not only technically cutting edge, it's weird and funny and fun.
Installment 2 of “WHY?” in which I ask certain people Why questions and they answer in 100-300 words. Beside Trisha Low, the other first person I had a Why question for was Tan Lin. I have been enthusiastic for years about his genre-diffusing, multi-platformed work under the auspices of poetry. For the last several years each new work from Lin operates like a "demo" that stages an exchange between various genres and platforms.