KEITH CONNOLLY

The below text is a work in progress which was incorporated in a performance I did recently as LLILW GRAY, at the now defunct Crown Heights venue PORT D’OR.

a color may be spoken of RED perhaps into the telephone A COMBINED HISTORY or out the window, into the day.
this mathematics INEVITABLE tossed aside BECAME UNPACKED all by itself. PERHAPS a diorama, illustrating
JUDGEMENT by proxy, all by ITSELF tempting fate itself TO RETURN.

a scratch LEFT to begin above the left eye. ASIDE a placement AS MARKED, an emptiness contained. NO PUSSYFOOTING, or projection. A SUGGESTION box, permanently sealed.

the sweep hand GLIDES in its inimitable formatting, SANS unit, sans TICK. the legendary WIPE.

fifteen nineteen, TWENTY TWENTY (20/20)-five, five o six… THE SEFER yetzirah in theory AND PRACTICE.

(***)

Eleven as the apple’s cored to one its silent partner—
Divisible intrinsically by only one another, lasting nights…

These are the mystical powers of DISTINCTION.

EASTER MORNING, 4:49
Recitation, overhead projection, dry-erase board
and Guy Reibel’s GRANULATIONS-SILLAGES (played at 8RPM)
With thanks to John Jines
—

Keith Connolly is a founding member of the No-Neck Blues Band (NNCK). Over the past 20 years the group has published over 30 LPs, CDs, singles, and cassettes, performing extensively throughout the US, Canada and Europe. In 2011 Connolly organized the three-night music and performance festival, NUMINA LENTE, with Jay Sanders. He has shown work at Greene Naftali Gallery, PS1, Roulette and the Sculpture Center, amongst others, and is currently working with Richard Maxwell’s New York City Players.