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 June 2022 issue, Anna Andersen reads Remote Practices: Architecture at a Distance, (London: Lund Humphries2022) edited by Matthew Mindrup and Lilian Chee, while Lilian Chee reads Following Norberg-Schulz: An Architectural History through the Essay Film (Bloomsbury, 2022) by Anna Andersen. Taking the form of a critical essay, Lilian argues that Anna’s book has the ’qualities of a detective novel where Andersen tracks some obvious and some obtuse clues to their conclusion, the latter often turning up more complex questions about the protagonist,’ while Anna’s review takes the form of a script for an episode of the fictive radio broadcast – Radio Stories, including a suggestion for a future live performance. Both books and these responses to them engage with affective registers of architectural history and theory, questioning remoteness, and offering instead possibilities for the discipline, its subjects and methods, that acknowledge our emotional attachments. 

For 21 June 2022, Critical Spatial Practice and Site-Writing share writings and projects that engage with the joy and pain of everyday existence – human and more-than-human – stirring the emotional, intellectual and political experiences of intersecting colonial histories with contemporary cultural tensions, engaging in deeply critical and rigorous research, as well as inventive and imaginative writing and practice. Thank you to Toby Blackman, Angelo Ciccaglione, Kirti Durelle, Breg Horemans, Charlotte A Morgan, Natalia Irina Roman, Alex Augusto Suárez, Yafei Wang, and Sara Alissa and Nojoud Alsudairi of the Um Slaim Collective, for their generous participation, as well as Claire Potter and Sara Kärpänen for giving us glimpses into their new books – Claire’s beautiful new collection of poetry, Acanthus, (Sydney: Giramondo, March 2022) and Sara Kärpänen’s inspiring feminist tool-kit Naisten Kaupunki – Työkaluja oman tilan valtaamiseen, (City of Women — Tools for Occupying Space) (Helsinki: Into Kustannus, 2022). 

If you have a written work that you’ve recently completed and would like someone to read it or would like to write a response to a new book for SRWQ; or to contribute some writing or a project to either Critical Spatial Practice or Site-Writing please contact me: – 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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