As part of experiments in visually interpreting The LFTT Library Travel books I have been filming at locations mentioned in the texts under the influence of their historical perspectives. The merging of these first hand accounts from times past (early to mid 1900’s) with my own field based subjectivity results in an other worldly, exotic view tied to genuine encounters with the physical landscape. To provide a critical counterpoint to this stance in the history of cinema I have been researching the work of Italian film director Pier Paolo Pasolini, who generated considerable controversy for his transportation of biblical and archaic narratives into contemporary life.

Films such as; ‘The Gospel According to St. Matthew’ (1964), ‘Oedipus Rex’ (1967) and ‘Notes for an African Orestes’ (1970) reenact mythical stories in present day settings, forming connections across time and place that lend new meaning to both past and present. Pasolini was a self proclaimed catholic, atheist, and marxist. It is the strange combination of opposing values and identities that make his films so compelling, and sometimes difficult to watch.

In 1996 Pasolini made a film which could be described as an homage to Saint Francis. ‘The Hawks and The Sparrows’ (1966) (top image, above and below) portrays the journey on foot of two everymen figures, one young one old, with an outspoken crow as a temporary companion. Along the journey the two characters find themselves mythically transported into the past where they meet Saint Francis (On a road that looks just like the present day one but a bit bleaker). Saint Francis pleads with them to help him with his task of teaching religion to the birds. The hawks and the sparrows have been fighting and he hopes the belief in a all-loving God will generate a more neighbourly attitude, but more of that later…

Continuing on our religious Pasolini pilgrimage… ‘Location Hunting in Palestine…’ (1965) (pictured below) is a documentary made by Pasolini of his search for suitable locations to situate the biblical account ‘The Gospel According to St Matthew’ (1964). In ‘Location Hunting…’ we learn how Pasolini is disappointed in his search of the historical sites, finding Israel too industrialised to site the ancient text, while the Arabic communities although suitably ‘archaic’ in their mode of life do not visibly express ‘enlightenment’, as Pasolini puts it something in their expressions appears ‘pre-christian’.

Throughout his career Pasolini has positively courted controversy, and contentious statements made to camera like finding a man turning wheat at the side of the road a ‘vision’ of the ‘archaic’ are no exception. But they raise important issues around the dangers of viewing contemporary cultures through the lens of history, taking history as a linear progression from crude to refined. With statements like these Pasolini is performing a kind of ventriloquism. If crows can talk Pasolini can (fictionally and in reality) be the unpopular voice celebrating preindustrial life. This is suggested by his deliberate use of these self revealing sections in the resulting documentary that allow us to witness his values.

So what has the Italian region of Friuli-Venezia Giulia got to do with any of this? Friuli is the most northeasterly province of Italy bordering Austria and Slovenia and is where I have been staying for the last few weeks. My own reasons for being here are mostly circumstantial; it was the nearest mountainous place to escape the heat within driving distance of Venice (where I had been visiting the Venice Biennale). I had never heard of it before arriving, but was immediately struck by its lush green landscape and dramatic mountain peaks. Parking up in a forest in Clauzetto the first night I had the feeling of being surrounded by prehistory, from the ancient stone bridges and mule tracks crossing the mountain stream to the diversity of growth in the dense woods. Like King Arthur’s ‘Avalon’ everything growing here seemed edible and history and life seemed to perpetuate themselves ad infinitum. There are numerous prehistoric caves in the area of international archaeological importance. (Below ‘Grotte di Pradis’ pic courtesy

I was further intrigued to hear the region has its own language – Friulan, which has been proudly guarded since the province maintained autonomy post Italian unification. The ‘San Francesco’ of the previous post is part of this region, as is Tarcento and Gemona where I have also camped (see below and bottom in that order).

So what was my surprise when I find reference to Pasolini’s ‘Friulian’ childhood. As I was reading in Tarcento I learnt he was buried twenty six miles from where I was in Casarsa della Delizia, where there is a center of study devoted to him in his maternal home. After his father was arrested for gambling in 1926 he moved to Casarsa with his mother. At age seven Pasolini wrote his first poem inspired by the beauty of the Friulian landscape. Later on, whilst pursuing a degree in Literature at The University of Bologna, he began to incorporate elements of the Friulian language in his writings.

His first collection of poetry in 1942 was dedicated to Casarsa. His first theatrical drama ‘The Turcs tal Friûl / The Turks in Friuli’ (1944) was written in Friulan. During WWII when regional Italian dialects were being suppressed Pasolini set up the ‘Academiuta de lenga furlana / Little Academy of Friulian Language‘ with the help of his mother Susanna, and it is in her home where the study centre is today.

Pasolini had no ancestral claim to Friuli-Venzia Gulia, and yet adopted the language as his own tentative hybrid form of cultural expression – ‘a minority language he did not speak but learned as a sort of mystic act of love, a kind of félibrisme like the Provencal poets’. His earlier childhood at his birthplace in Bologna, on the other hand, was far from idylic. His father was a military man and strong Mussolini defender who Pasolini had a difficult relationship with. Amongst Pasolini’s critique of institutions is his disbelief in the institution of the family. Stemming from personal experience he saw it as just another artificial system of control and authority.

The history of Friuli is also not without its difficulties. The etymology of Pasolini’s resting place in Casarsa stems from ‘casa’ (home) and ‘burnt’ (arsa) or ‘burnt house’ meaning there was likely a historic devastation there at one point. The year following Pasolini’s horrific death in 1975 the Friuli region was the victim of a massive earthquake which devastated the region for years, leaving 978 dead and 157,000 homeless. Amongst the extensive rehabilitation work to rehouse it’s citizens was the task of reconstructing it’s architectural history, sometimes involving the rebuilding of entire medieval villages such as the walled village of Venzone. This lends a theatrical aesthetic in parts which merely adds to the regions supernatural atmosphere.

Perhaps Friuli was Pasolini’s ‘Avalon’ as much as St. Francis’ dream of a world of perfect harmony and love is merely a beautiful idea. In Pasolini’s Franciscan/Marxist homage ‘The Hawks and The Sparrows’ (1966) the birds are eventually converted to religion but one group disagrees with the other and attacks them. As in reality a world without conflict and tragedy only exists in the fictional realm. I believe what Pasolini saw in Friuli-Venezia Gulia was a very real environment whose differences and conflicts merely strengthened its legendary regenerative spirit.

August 18th 2019 I have finally reached the tip of Italy. I am staying at a free camper stop in the aptly named ‘San Francesco’ an hour north of Venice in the Friuli-Venezia Giulia region which borders Austria and Slovenia. From here I am cataloguing the total LFTT Library Travel books that reference all of Italy and planning my route through the country to collect new video material over the coming months relating to these books. Unfortunately a lot of material already gathered from previous travels is not easily imported into the Phd framework, as its random nature makes it difficult to class as ‘data’ for research purposes. However the immersive nature of this new research, now designing and planning en-route instead of post hoc at home in the studio, is pretty exciting. Also I can delve much deeper as my time is now given over solely to this (apart from daily obligations such as cleaning and cooking!).

I chose Italy as it is the birth place of St Francis, being the libraries original reference point as a Franciscan Library. But from studying the total references via The LFTT map its interesting that actually the Franciscan pilgrimage sites are only mentioned in any detail by one book – ‘The Pilgrims Guide to Franciscan Italy’ by Peter F. Anson (1927).

Also of note is the high contrast between the ‘retreat’ sites highlighted in this book and the other sites in Italy which received the highest concentration of references, namely Rome, Florence and Turin. This is maybe not so surprising as Rome, Florence and Turin are amongst Italy’s major cities and contain a high percentage of the general population. In contrast the most important pilgrim sites mentioned by Anson; La Verna (Chiusi Della Verna), Assisi and Rieti are all mountainous, sparsely populated regions. La Verna is the highest point at 960 metres above sea level, and has only 20 inhabitants per square kilometre, in contrast to Turins 6,800. I am intrigued by St Francis’ nomadic search for ‘a solitary and secret place’… ‘a spot of the earth which induces one to deep ponderings’. There are many accounts of him simply carving out a hole in a rock in some barely accessible precipice! I hope my camper van is up for the task of accessing some of these nether regions…


In May 2019 I took part in a two person show with Dorian Temming (NE) at Lokalen: Space for Creative Entrepreneurship, Lichtenvoorde, Netherlands where I presented current research from The LFTT Library Translation Tour. I have taken to the road once more with the LFTT Library, this time throwing off my worldly possessions in an ascetic gesture akin to early St. Francis to live and work nomadically from The LFTT Library van-cum-editing-suite.

I met Dorian Temming in Norway at KH Messen artists residency. When we met things were coming to an end for Temming at Lokalen where she had held a studio for two years. At the same time I was beginning a year of travel around the world in my van, transformed as mobile art studio, to enable me to continue research with The LFTT Library on a shoestring budget. Travel has become the subject of my research with The LFTT Library and a new way of making art on the move. Together we devised the exhibition ‘Beginnings and Endings’ to celebrate the transient nature of artists lives and how our encountering each other at this pivotal moment highlights the resourcefulness of creative thinking in turning every ending into a new beginning.

Dorian Temming is a visual artist who uses drawing and sculpture to research obstacles she encounters through her work. These obstacles can be psychological but also physical ones she runs into in daily life on the streets and in nature. In her current work she is looking at how people cope with the obstacle of nature. The way people act in the natural environment and how nature has to deal with people is of particular interest at the moment.

Screen Shot 2017-10-10 at 19.31.04_1080140In September 2017 The LFTT Library was involved in an event at the Gerberei Museum in Enger, Germany. The event was the culmination of a year long collaboration with the Rumpelstilzchen-Literaturprojekt, an experimental poetry project led by artist Michael Hellwig at the Widukind Gymnasium in Enger. Poets Milena Evering, Anna Paszehr, Vanessa Schwarkow and Rabea Jasmin Usling composed poems using books from The LFTT Library. At the museum a number of sound and installation artists (Angelika Höger (DE), Aga Tamiola (PL) and Annemarie Deacy (IRL) and myself) were invited to respond to these works which were presented to the audience in collaboration with the poets in a live setting. This event was part of the literaturland westfalen ‘Hier!‘ festival in the context of the exhibition “Das Word wird Bild” (The Word becomes Image) by Ulrike Schönfelder-Hellwig, Siegfried Baron und Michael Hellwig. Top Picture: Vanessa Schwarkow performing. Picture Above: work by Helen Horgan in collaboration with Rabea Jasmin Usling


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Christine Hoffmann ‘Brave new world‘ mixed media installation, Herford 2017

The installation ‘Brave new world‘ was shown in September 2017 at art space ‘Kiosk24’ in Herford/ Germany. Christine Hoffmann´s work was inspired by the book ‘Artistic and Scientific Taxidermy‘ from The LFTT Library.

Artificial zoomorphic creatures seem to grow in a research laboratory. Small animals crawl towards all five edges of the room, showing synchronized behaviour. They are connected with veins or ventilation tubes and filled with green nutrient solution. Clones are stored in regales of glass and breeded by red heaters. Large drawings describe a plan for the genetic recombination of hybrid beings.

The title ‘Brave new world‘ aims at the dystopic novel of Aldous Huxley. The installation is a warning against the manipulation of nature by man. In correspondence with the Fransiscan idea, it´s a call for a more conscious interaction with nature.

The vernissage started with an artists talk between Susanne Albrecht, Angelika Höger and Christine Hoffmann – and ended with an eat-art-initiative ‘eat your monster’ – a transformation of energy. Read More


Michael Hellwig is the coordinator of the Rumpelstilzchen Literaturprojekt in Enger. He is also a practising artist concerned with questions of translation and visibility in visual communication and writing systems. At The Gerberei Museum in Enger in he made a new work especially for The LFTT which involved translating one of the poets texts from german to gaeilic, and then from latin script to braille. Braille involves the user reading by feeling the surface of the page rather than through visual recognition. For those without sight it provides access to written text through a tactile connection to it. For those without knowledge of braille it’s marks are abstract and enigmatic traces of communication. An implicit pattern can be observed, felt and appreciated, even if we lack understanding of its content.


On September 23rd, 2017 the LFTT Library will take part in an event at The Gerberei Museum in Enger with the Rumpelstilzchen-Literatur Projekt as part of the Westfalen Literaturland ‘Hier!’ Festival. The event will be the culmination of a year long collaboration with the Rumpelstilzchen-Literaturprojekt, an experimental poetry project led by artist Michael Hellwig at the Widukind Gymnasium in Enger. Poets Milena Evering, Anna Paszehr, Vanessa Schwarkow and Rabea Jasmin Usling have composed poems using books from The LFTT Library. For the event at the Gerberei Museum artists Angelika Höger (DE), Helen Horgan (IRL), Aga Tamiola (PL) and Annemarie Deacy (IRL) will host a performance of sound, image and text, re-presenting the poems in a live multimedia setting. This event is part of the literaturland westfalen ‘Hier!‘ festival in the context of the exhibition  “Das Word wird Bild” (The Word becomes Image) by Ulrike Schönfelder-Hellwig, Siegfried Baron und Michael Hellwig.

For more information and to read the poems visit the designated project blog at www.lfttrlp.wordpress.comRUMPELSTILT


This gallery contains 12 photos.

In June 2016 there was a group exhibition of work at Brackwede District Library, NRW, Germany. The show developed out of the LFTT Libraries ongoing residency at  Artists Unlimited, Bielefeld under the care of Angelika Höger. Artist and Illustrator Vera Brüggeman chose a bi-lingual gaelic-english book on Irish language composition to respond to with witty …

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LFTT PAPER CUTTING 01LFTT PAPER CUTTING 02On Tuesday the 7th of June we held a Paper Cutting Worskhop in Brackwede District Library, North-Rhine Westphalia, as part of a series of ongoing interventions in the locality called ‘Cipher’. ‘Cipher’ is a project of Artists Unlimited who invited The LFTT Library to take part. The Paper Cutting workshop was one of four events programmed as part of The LFTT Librarys show at Brackwede. (See post on exhibition)LFTT PAPER CUTTING 03LFTT PAPER CUTTING 04LFTT PAPER CUTTING 05 Read More

gabrielle-lucie03_webgabrielle02-helen_webLFTT_Brackwede_Mai 2016_50-webSince June 2015, the artist Angelika Höger of Artists Unlimited has taken care of a selection of the library, which consists of “cultural instructions”, specially for Bielefeld. This special collection includes books on natural sciences and gardening, practical instruction manuals and modern self-help literature. For almost a year now, artists from Bielefeld have been dealing with the library, expanding its potential for meaning and opening it to for experimental readings.

In May 2016 The LFTT Library was invited to programme an exhibition and series of events at Brackwede District Library as part of ‘lAb’ ( an ongoing project of curator Anna Jehle. This invitation was a welcome opportunity to showcase the development of the work.  The project was a collaboration between Brackwede District library as host, the Bielefeld Artist Association Artists Unlimited (inc. Angelika Höger) and The LFTT Library. The invited artists were; Vera Brüggemann, Viola Friedrich, Helen Horgan, Angelika Höger, Antje Löbel, Gabriele Undine Meyer and Hildegard Nattebrede. During the exhibition in the District library the selection was open to the public and a number of events took place including a performance by Oona Kastner and Markus Schwartze


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