Long poems and church art

Two nice things to get you in the winter mood...

Firstly, a new magazine, Long Poem Magazine devoted to ... um ... long poems (hurrah!) and currently looking for submissions, deadline 15th October.

From the webpage: Mimi Khalvati writes: The long poem is as much a space in which to flex one's muscles, grapple with problems, identify weaknesses, as it is to mine rich seams, give sway to obsessions and vent to narrative. Paradoxically, many writers more at home in the short lyric or fragment turn to the sequence, where small components can be strung like pearls on a string.

And secondly, an art exhibition in the crypt at St Pancras Church that looks interesting. One of the exhibitors, Zoe Crosse, had a really good piece in the Your Messages book last year. This is the information:

11 – 19 October 2008

ALL THIS TIME

An exhibition of work by NATASHA STANBRIDGE, TREVOR TAYLOR, CORNELIUS BRADY, AGATA CARDOSO, SHARLENE CHANNER, LORNA MACMILLAN, MARK METCALFE, LUCY CAREW, JON GABB, SARA GRAHAM, GILES HINCHCLIFF, JON SOLOMAN, ZOE CROSS, MATT BLACKLER, JANE BURNHAM, GARY MEYNELL, TOMOKO SAKANISHI, NICHOLAS LOCKYER, JENNY JOHNSON, TOM FOOTIT, SRDJANA SARCEVIC, NATHAN GORDEN, DILYS REES, GEORGE WILLIAMS, JI YOUNG PARK, DENNIS WALKE, DENIZ UNAL

Private view – Friday 10 October, 6-9pm
Opening Times - daily 11am-6pm

‘All This Time’ is The Vanity Group's second show at The Crypt - St Pancras Church. In 2007 The Vanity Group used this space as a stall to set out their wares, observing the time honored traditions of gallery and art.

This time however the exhibition will be site specific, interweaving the personal archaeologies of the artists with the archaeology of contemporary society and the physical archaeology of the space.

The Crypt as it now stands is used as an artists’ space - we now approach with the idea of the space and interior architecture of the building.

Site-specific art, an intervention in a specific locale, creating a work that is integrated with its surroundings and that explores its relationship to the topography of its locale, but more specifically, in this case, its relationship with its architecture and psychosocial history.