Poet and intermedia artist Oana Avasilichioaei’s Eight Track is a transliterary exploration of traces. Sound recordings, surveillance cameras, desert geoglyphs, drone operators, refugee interviews, animal imprints, and audio signals manifest moments of inspired wonder, systems ... Read more
Poet and intermedia artist Oana Avasilichioaei’s Eight Track is a transliterary exploration of traces. Sound recordings, surveillance cameras, desert geoglyphs, drone operators, refugee interviews, animal imprints, and audio signals manifest moments of inspired wonder, systems of power, slippages, debris. In “the great era of seeing” when the boundary between tracking agent and monitored subject is worn thin by politics and commerce, Eight Track assembles a set of discordant melodies, polyphonic voices, transcriptions, theatres, and images in a struggle to hold on to agency and awe. Stirring from languages of oppression to languages of resistance, Eight Track echolocates the nameless, the noisy, the scattered, and the voiceless. This is ultimately a book of relations—of each of us to each other, to other life forms, to environments, to cultures, to the obsolete and the absolute, to the animal vitality we share.
Oana Avasilichioaei is a Montreal poet and a literary and commercial translator. She has translated poetry of Nobel-nominated, Romanian poet Nichita St?nescu, published as Occupational Sickness (BuschekBooks, 2006) and collaborated with Erín Moure on Expeditions of a Chimæra (BookThug, 2009), a dialogic work exploring the boundaries between author/translator and original/copy. She has given workshops and lectures on translation in Canada, USA, Mexico, Spain and France. A current translation-related project involves a field translation of the early Romanian poems of Paul Celan. Her recent books with Wolsak and Wynn include The Islands (2011), feria: a poempark (2008) and Abandon (2005).
"Avasilichioaei is one of the sharpest intermedia and translation artists working in Canada today. Creating deliberate forms of 'interference' across multiple metaphorical registers and heterogeneous materials, her newest work also 'interferes' suggestively with conventional book form. "
"One of the many strengths of Avasilichioaei’s practice is that a reader can pick up the material object that is the book and flip through its pages, then transform into a listener attending the public, sensory expansion of the book’s words into sound, while simultaneously morphing into a viewer of art, a critical thinker, and even a participant implicitly invited to adapt one of the poems as a script for further improvisation and production. "
—Montreal Review of Books