Site-Reading Writing Quarterly
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Solar Trajectories
Pin-hole images by Maryjane Orley & Martin Purvis.

A series of pin-hole photographs created over 6 and 12 month periods (solstice to solstice) in 2017 and 2018.  Made in empty beer cans placed around the site of old Northbrook Nursery in the north of Guernsey, the images trace the movement of the sun across the skyline.

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Maryjane Orley is an interdisciplinary artist whose work involves drawing, print-making, conceptual sculpture, and installation. Over the last eight years, she has been exploring ways of defining and realising notions of emptiness and erosion and their potential for regeneration.

Site-Reading Writing Quarterly celebrates reading and writing as situated practices, releasing a special pair of seasonal reviews four times a year. 

Each solstice and equinox I invite writers to swap recently completed written works and to provide a situated ‘review’ of each other’s work. This involves raising a shared issue/concern, connecting out to another work/text/set of ideas, and/or producing a creative response to an aspect of the writing which might be fictional, prose, visual, sonic, filmic … These acts of exchange open up ways of ‘reading writing’ differently, generating multiple modes of engagement with words, and exploring the practice of ‘reviewing’ from a situated perspective, one that critiques and experiments with the genre of the ‘critical review essay’, creating something far more entangled.

For this 21 March 2022 issue, Mary Modeen and Iain Biggs read together Michael Hirschbichler’s Spirit Grounds (Verlag für moderne Kunst GmbH, 2022), a visual feast of a publication, while Michael Hirschbichler re-views Creative Engagements with Ecologies of Place: Geopoetics, Deep Mapping and Slow Residencies edited by Mary Modeen and Iain Biggs (Routledge, 2020) in all kinds of embodied ways. Their subtle ‘readings’ of each other’s work are attentive and generous, offering a way of treating one another that is gentle, and much needed as we witness the violence of war, not only in Ukraine, but around the world.

The 21 March 2022 issue of Critical Spatial Practice shares Christine Bjerke’s Dissolving the Dwelling (2021–2), Vienna and Copenhagen, an exhibition by the architect and educator, which explores how the domestic realm, often seen as a place of privacy, enclosure, constancy, and safety, is disrupted and transformed by the invisible and visible layers of global connectivity.

While for the 21 March 2022 issue of Site-Writing, Chia-Ying Chou’s artist’s book, Nothingness Beyond Blossom (2021), Isle of Grain, Kent, UK, takes Robert Smithson’s words ‘Each landscape, no matter how calm and lovely, conceals a substratum of disaster’ as a guide for exploring how traces of military practice and architecture are only temporarily covered by summer’s floral ‘sugar-coating.’

A short essay, ‘Figuring Feminisms,’ presenting issues 1–7 of SRWQ, has just been published in a special issue of ARCH PLUS on gender and architecture, edited by Torsten Lange, Charlotte Malterre-Barthes, Daniela Ortiz dos Santos and Gabrielle Schaad.

If you have a written work that you’ve recently completed and someone you’d like to read it, or would like to write a response to a new book, or contribute a project to either Critical Spatial Practice or Site-Writing: please let me know: – j.rendell@ucl.ac.uk. And if you don’t want to receive these updates, then do let me know, and I can take you off the listing. 

Wishing you all a beautiful spring.
Jane


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