On Monday Keble Arts Festival hosted a poetry evening featuring performances from Steve Larkin, Phoebe Nicholson, Paul Askew and Andrew Ridker. The ways in which the poets interacted with their material made clear the distinction between the performance of poetry and “performance-poetry”. Ridker and Nicholson relied on the natural rhythms of the written word to hold the audience’s attention, while Larkin and Askew’s performances were designed to be theatrical.

Highlights included Steve Larkin, international ‘Slam’ champion of 2004, performing his poem ‘Fat Sex’ – a piece inspired by reading women’s magazines on the loo. Meanwhile, Paul Askew got some laughs with his rendition of ‘The Holiday’ – an angry diatribe against a vacation in Scotland. Phoebe Nicholson created a very different atmosphere, with her powerful readings of ‘Dutch and Flemish Still-Life’; poetry inspired by her Devon home-life; and ‘Cat in the Lanes’ – an ode to her cat who ran away for a year and a half, only to reappear just before her finals. Andrew Ridker amused us with his anecdotal poetry about American life and began by relating his grandmother’s advice to him aged twelve: “women like to talk, but men like to fuck”.

For Phoebe Nicholson, “performing is the best way to get in touch with people and get your work out there”, but she wouldn’t call herself a performance poet. “Poetry performs itself,” she tells us. Nicholson started doing live poetry recitals at the Catweazle Club, a bar in Oxford that hosts open mic nights in which anything goes. She now edits the quarterly magazine ‘Catweazle’, which features a variety of stories, poems and visual arts features. For Nicholson, “there always needs to be an element of sound in poetry but not necessarily through performance – it can be achieved just as much from the cadences on the page”. This is evident in her work, as despite not being intentionally theatrical, the lilting steady rhythm that she adopts is hypnotic. Nicholson’s mellow reading allows the words themselves to resonate.

Paul Askew is right when he says, “I don’t do the whole banter thing very well, so I’ll just do some poems.” Telling us “love poetry is so annoying”, he proceeds to perform his own rendition of a love poem, ‘#YOLO’, in which he explores how many times you can say the word ‘kissing’ before the sound becomes meaningless. A lot of times, as it turns out. His book, Animal Magnetism, comes out in June. This raises the issue of whether performance poetry translates well onto the page. Askew is very aware of this. “The arrogance of page poets is they think they don’t need to put effort into performing, whereas the performance poet often forgets it needs to be edited before going on the page.”

Steve Larkin takes performance-poetry to its extreme, reciting off by heart, and occasionally bursting into song, accompanied by an octave mandolin. He relies on audience participation, and in between poems shows his flair for selfdeprecating stand-up: “I’m at that tricky gap between the time you leave full-time education and the time you die.” Larkin doesn’t publish, and says he never will. He conceives all his work out loud, not on the page, and is irritated by the education system’s insistence on the analysis of poetry.

“The importance of creativity is negated – it distances you from an experience of the actual poetry.” Larkin is the founder of Hammer & Tongue, the biggest promoters of ‘Slam’ poetry in the UK. The final of the Oxford round is on 14th May. Oxford’s decision to appoint Geoffrey Hill over Larkin as Professor of Poetry is perhaps indicative of the fact that performance-poetry has yet to be taken seriously as a medium. But it is at its most refreshing when it reminds us that poetry has always been read aloud.

Adam Wozniak’s decision to shave off his considerable mane of hair in the name of ‘art’ was something that I couldn’t wait to witness. He began his performance with shoulder length hair – presumably the product of at least two years of growth. Five minutes later he was almost bald. I had thought this was a drastic act of attention-seeking, but the look on his face as his tresses fell to the floor said otherwise. It seemed like this actually meant a lot to him. I expected the locks to be lopped off by the artist himself (perhaps with a sword?), but instead we were witnessing a haircut. The barber used an electric razor and worked his way round his scalp in a spiral. The transformation was fascinating to watch and by the end Wozniak looked like a different person. Unfortunately the barber got carried away with the attention and took an excessive amount of time and care in finishing off the cut. This detracted from the momentum of the piece.

When he had finally left, the ‘real’ art began. Wozniak’s hair had fallen to the floor in a matted pile, which he proceeded to make into a rather straggly paintbrush. Using a long wooden pole and some gaffer tape, Wozniak’s tool resembled a broomstick. He then mixed a trough of watery pale blue paint in front of us, smearing the excess on his newly shaved head.

Accompanied by Indian music, Wozniak proceeded to dunk his ‘brush’ in the mixture and turned to face a huge transparent canvas. His method of painting can only be described as esoteric. In mock tai-chi style, Wozniak waved his long pole before beginning a series of bold strokes and occasionally lunging at his canvas. The final piece was a combination of long sweeping lines. It was constructed as a triptych, but he allowed his composition to cross the boundaries of the frame. Although the piece was striking, it was more interesting as a product of the performance than as a standalone work. Bold and bald, Wozniak’s artistic concept was new and engaging. Occasionally the execution was self-indulgent .

Wozniak took his project very seriously, sometimes to a laughable extent. I’m not sure what he was trying to prove, but the performance was a reminder of the transient nature of art: hair today, gone tomorrow

Is a solitary dangling light bulb ‘art’? This was a question that plagued me as I wandered around the Hayward Gallery’s current sellout exhibition – Light Show.

Although some of the works in this exhibition are distinctly unimpressive, what the Hayward Gallery does well is provide a somewhat erratic collection of ‘firsts’. In the last room of the exhibition, strobe lighting is turned on a series of mini water-fountains. Olafur Eliasson uses flashing light to create freeze-frame images of water as it splashes, falls, and bounces off itself. This may not be ‘art’, per se, but it is great fun to watch.

Part of the problem with the exhibition is that many of the rooms contain multiple installations that invariably detract attention from each other. The  most exciting pieces are those allowed rooms of their own. For the two works that submerge you in colour, visitors are required to wear white plastic  overshoes or go barefoot. Removing your shoes in an art gallery is almost as exciting as the three rooms of Chromosaturation, by the Venezuelan artist Carlos Cruz-Diez. They pleasingly demonstrate everything you learned in  school about mixing colours – the walls are veritable rainbows.

Best of all is Anthony McCall’s You and I, Horizontal (2005). A blackened, hazy room features what at first seems to be only a projection. When you stand inside the light and face into the projector, you discover yourself in a smoky light tunnel that seems to have solid walls. Playing with shadows becomes more fun than you could have imagined.

Does the amusement of these “immersive environments” detract from their artistry? Or is the Hayward Gallery right – and light’s ability to ‘sculpt and shape space in different ways’ is what makes it artful? Their blurb tells us: “Light has the power to affect our state of mind as well as alter how we perceive the world around us.”

 
This exhibition has a bit of everything. It varies hugely in quality from cheap optical gimmicks to beautiful and inspiring installations. It features all kinds of light sources – LED, neon, projections, bulbs, stage lights, strobes. Highly complex computer-programmed light displays share rooms with light boxes stolen from scrap heaps. The Hayward Gallery has hit the mark again. They provide exactly what they offer – a show. It is a fairground of light in all of its spatial and sensory forms. As an exhibition, there is no development, merely party trick after party trick. But Light Show challenges what it is to be art. In combination the sculptures and installations create an appreciation of what light is and how it can be artistic. Light Show is refreshing and thought-provoking, but even if you don’t take light bulbs seriously, this exhibition is great fun, and a treat for the eyes.

I arrived to interview Don Broco before their sold-out headline slot at the O2 Academy last Wednesday to find fangirls already sitting on the pavement. Since the release of the band’s hook-heavy debut, the album and their live reputation have added to their gathering momentum, which was easily seen in the line starting to snake down Cowley Road. The band were running fashionably late, of course, so I hid at the back of soundcheck and waited.

I spoke, ensconced in the maze of corridors that is backstage at the O2, with the lead singer, Rob Damiani. The tour has seen them headlining in places that they came to in support of other bands not long ago and Damiani seemed almost surprised by their rise, describing it as ‘amazing’ when you consider that they ‘were putting on (their) own shows a few years ago and would turn up just hoping there’d be a few people to play to’. This is partially due to the success of the album, from which the fifth and final single ‘Whole Truth’ will be released on April 22nd. The single also has a ‘Club Sex’ remix which is a name the band used to play under for two or three shows when they first started- it was discarded for fear they’d be ‘pigeonholed’, which is fair enough when you consider that the name apparently sprang from a ‘lads holiday in Kavos’.

It would be unfair to dismiss Don Broco as just being ‘laddish’- although the content of many of their songs and videos could be said to fit that description. Throughout the interview Damiani came across as someone who felt that the band shouldn’t be tied down to one style or genre- when asked who he’d like to collaborate with, he named Diplo; when asked who he’d like to see down at the front of one of their shows he said ‘George Clooney looking dapper’. This particularly came through when asked about lyrics- in particular on ‘Back in the Day’, which was written during the riots- and whether he could envisage any more politically-minded songs. Here he strongly declared that ‘I like to not give myself any limitations when it comes to our music’ although he also described himself as not ‘particularly politically-minded’ and this comes across in most things the band do. They’re no concerned with labels- they’re confident in themselves and their ability.

What can we expect next from the band? Apparently work on a second album is underway, although there’s nothing more than ‘a few demos’- at this point we were interrupted by a very cute puppy which was duly cooed over in a perhaps slightly-less-than-rock fashion by both of us, stunting any talk about a possible album. Don Broco’s next single ‘Whole Truth’ is out on Monday April 22nd and their debut album ‘Possibilities’ is out now. The band are heading out to Europe to support We Are The Ocean and they’re thinking about ‘one or two’ big UK festivals but ‘can’t say anything’ yet… I, for one, will definitely be keeping an eye out.