Critical Spatial Practice

Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton: Princeton University Press, 2015).

Cao Fei, Isle of Instability, (2020).

Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene (Duke University Press, 2016).

Hector Macdonald, Truth: How the Many Sides to Every Story Shape Our Reality (Bantam Press, 2018).

Margaret Atwood, The Year of the Flood (Nan A. Talese, 2009).

Caroline Criado Perez, Invisible Women Exposing Data Bias In A World Designed For Me, (Chatto & Windus: 2019).

Jane Rendell, The Pursuit of Pleasure: Gender, Space and Architecture in Regency London, London: The Athlone Press, 2022).

Virginia Woolf, Street Haunting: A London Adventure, (1927).

Sara Ahmed, ‘Orientation Matters,’ in D. Coole and S. Frost (eds) New Materialisms: Ontology, Agency, and Politics, (Duke University Press, 2010).

The work of Spanish artist, sculptor, and architect, César Manrique, Lanzarote, Spain.

Stanley Kubrick (dir.) 2001: A Space Odyssey (1968).

bell hooks, Feminist Theory: From Margin to Center (New York: Routledge, 2015.) 

Louise Bourgeois, Cell (Eyes and Mirrors) (1989–93).

Toyo Ito, Pao I & Pao II (1985 and 1989).

[Book] Homi K. Bhabha, The Location of Culture (New York: Routledge Classics, 2004).

[Performance] Nikhil Chopra, Lands, Waters, and Skies (2019), The Met, New York.

[Performance] Loo Zihan, Cane (2012), The Substation Theatre, Singapore.

Cavart, radical architectural practice (1973) Padua, Italy.

Black Mountain College, Liberal Arts College (1993) North Carolina, United States.

Assemble, multi-disciplinary collective (2010) London, United Kingdom.

Sara Alissa, Nojoud Alsudairi

Anna Lowenhaupt Tsing, The Mushroom at the End of the World: On the Possibility of Life in Capitalist Ruins (Princeton: Princeton University Press, 2015).

Brandon LaBelle, Sonic Agency: Sound and Emergent Forms of Resistance (London: Goldsmiths Press, 2018).

Lucia Farinati and Claudia Firth, The Force of Listening (Berlin: Errant Bodies, 2017).

Julia Udall, Jonathan Orlek, Alex De Little

Martín de la Cruz, Emily Walcott Emmart, and Juan Badiano, The Badianus Manuscript: (Codex Barberini, Latin 241), Vatican Library: an Aztec Herbal of 1552 (Baltimore: The Johns Hopkins Press, 1940). bell hooks, Teaching to Transgress: Education as the Practice of Freedom (New York: Routledge, 2017). Robin Wall Kimmerer, Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants (London: Penguin Books, 2020).

Montserrat Gutiérrez Mesegué

Matrix, Making Space: Women and the Man-Made Environment (Verso Books, [1984] 2022). C. Criado-Perez, Invisible Women: Exposing Data Bias in a World Designed for Men, (Chatto and Windus, 2020). L. Kern, Feminist City, (Verso Books, 2020).

Florencia Andreola & Azzurra Muzzonigro

Jacques Derrida, The Animal that therefore I am (Fordham University Press, 2008).  Elizabeth Grosz. Chaos, Territory, Art: Deleuze and the Framing of the Earth (Columbia University Press, 2008). Superstudio, Twelve Cautionary Urban Tales, (1971).

Artist Ruth Sergel’s project Chalk memorialising the victims of the Triangle Shirtwaist Factory fire in New York in 1911 and other projects. The scale of ambition in Sergel’s work ethically, politically, and socially – not to mention logistically – is astonishing, yet remains – at all times – at a human scale.  Paul Fusco’s RKF Funeral Train photographs from 1968. This series of photographs have enthralled and perplexed me since I first saw them in 1999. Trying to fully understand their deep resonances was the basis of my entire PhD.  Currently I am excited by the different but related ‘entanglements’ of Karen Barad’s ideas of agential realism and quantum justice, and Merlin Sheldrake’s beautiful book on the life of fungi; Entangled Life.

Brigid McLeer

Rem Koolhaas, Delirious New York (1978) Emir Kusturica, Black Cat, White Cat (1998) Samuel Mockbee, Rural Studio

Jan Kattein Architects (Dr Jan Kattein, Gareth Marriott, Chandni Patel)

Giorgio Agamben, ‘What is a Destituent Power?,’ in Environment and Planning D: Society and Space, 32.1, 2014: 65-74. Gómez-Barris Macarena, The Extractive Zone (Durham: Duke University Press, 2017). Tony Fry, Re-making Cities: An Introduction to Urban Metrofitting (London: Bloomsbury, 2018).

Sandro Mezzadra and Brett Neilson, ‘Between Inclusion and Exclusion: On the Topology of Global Space and Borders,’ Theory, Culture and Society (2021) 29 (4/5): 58–75. Suzy Kim, ‘Crossing borders: a feminist history of “Women Cross DMZ”,’ The Fletcher Forum of World Affairs (Winter 2016) 40(1): 133–56. Etienne Balibar, ‘Europe as Borderland,’ Environment and Planning D: Society and Space (January 2009) 27(2): 190–215

GRAB (Professors Andrew Benjamin and Gerard Reinmuth)

Sophie Ernst, Home: Architecture of Memory, Yorkshire Sculpture Park (2012). Lisa Baraitser, Enduring Time, (London: Bloomsbury, 2017). Julia Kristeva, ‘Women’s time’, Signs 7.1 (1981) 13-35. Kathleen Stewart, Ordinary Affects (Duke University Press, 2007). Ash Amin and Nigel Thrift, Cities, Re-imagining the Urban, (2002).

Shaw, M. (2016) Scatterlings. Oregon: White Cloud Press. Loo, S. and Sellbach, U. (2012). Mistress O and the Bees. Kelly's Garden, Hobart, Tasmania. The cywyddau of Welsh bard Dafydd ap Gwilym (c. 1315/1320 – c. 1350/1370).

Zoë Quick and Kirsten McIver

A key reference in the conception of soundwalks as a research practice was the RoRo methodology of research travel. See Jazmin Llana, ‘A Sea of Stories: Archipelagic Gatherings and RoRo Journeys’ in Performance Research 23.4-5 (2018) pp.256-61. On modern slavery in the UK, see Alicia Kidd, Elizabeth A. Faulkner and Lorena Arocha, ‘The UK asylum system has created the perfect conditions for modern slavery to thrive’, The Independent, 8 April 2019.

Ella Parry-Davies and Ann

Gloria Anzaldúa, Borderlands: La Frontera (San Francisco: Aunt Lute Books, 1999).  Braiding Sweetgrass, Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants, (Minneapolis, MN: Milkweed Editions, 2013). Terry Tempest Williams, The Hour of Land: A Personal Topography of America's National Parks. First edition. (New York: Sarah Crichton Books/Farrar, Straus and Giroux, 2016). 

Henri Lefebvre, The Production of Space, (1974). Suzy Wilson, Clod Ensemble, On the High Road, (2019) Jacques Lecoq, The Moving Body, (2011)

Maya Deren Meshes of the Afternoon (1943, 18 mins).  Sally Potter’s Thriller (1979, 34 mins). Jean Cocteau Orphée (1950, Ihr 52mins).

Colin Ward and Anthony Fyson, Streetwork, (London, 1973) Ivan Illich, De-schooling Society, (Mexico, 1970) Patrick Geddes, Cities in Evolution, (London, 1915)

[Book] Reinaldo Laddaga, ‘Estética de la emergencia’ (Buenos Aires: Adriana Hidalgo editora, 2010)  [Film] Peter Watkins, ‘La Commune (Paris, 1871)’ (Paris, 2000) Link:  [Art Work] Pablo Langlois, ‘Representación: geometría y teatro’ (Santiago, 2006-2016) 

Trujillo, Luis Angel; Rodríguez, Carlos and Hernández Piraiba, Confucio (2018). Ecología ilustrada del gran bagre amazónico. Tropenbos International. Link Tuhiwai-Smith, Linda (2008). Decolonizing Methodologies, Research and Indigenous Peoples. Zed Books.  and

Chimurenga, Chimurenga Chronic and the Pan African Space Station:, (8 October – 21 November 2015, London)  Baloji, Peau de Chagrin / Bleu de Nuit (With Subtitles) , 22 March 2018, Democratic Republic of Congo/Belgium  We Intend to Cause Havoc, Zamrock band, 1970s, Zambia, works re-released by Now Again Records, 15 April 2012, USA, 

Book: Calvino, Italo. 1979. Invisible Cities. 2nded. London: Pan Books Performance: Rimini Protokoll, Remote X, ongoing, various locations. Photo series: Richard Wentworth, Making do and getting by, 1973 – 2000, London.

Cecilie Sachs Olsen
Cecilie Sachs Olsen / zURBS (

Ekaterina Nenasheva, ‘Between Here and There’, Action, Moscow, June 2018. Ivan Golunov, ‘V Moskve ulozhili bol'she granita, chem dobyvayut v Rossii. Iz-za etogo v Sibiri defitsit kamnya dlya nadgrobiy’. Investigative report, Meduza, 19 October 2017. Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art (Moscow: Isskustvo, 1968). English translation (by David Riff) published by Brill in 2018.

CA Bowers, ‘Gregory Bateson’s Contribution to Understanding the Linguistic Roots of the Ecological Crisis’ The Trumpeter, v. 28., n. 1., (2012) pp 8-42. Donna Haraway, Staying with the Trouble: Making Kin in the Chthulucene’ (Durham and London: Duke University Press, 2016) Edyta Supiñska-Polit, ‘Seed and Growth: The Art of Teresa Murak’ in Anna-Teresa Tymieniecka (ed.), The Creative Matrix of the Origins: Dynamisms, Forces and The Shaping of Life, (Berlin: Springer, 2002)

Knut Ebeling, There Is No Now: An Archaeology of Contemporaneity, (Sternberg Press, 2017) (Book) Hello World: Revising a Collection, exhibition, Hamburger Bahnhof – Museum für Gegenwart, Berlin, 2018. (Art Exhibition/Project) Lee Wan, Mr. K and the Collection of Korean History, (2017), Korean pavilion, 57th Venice Biennale. (Art work)

Rafael Guendelman Hales

The Situationist International (1957-1972) edited by Stefan Zweifel et. al., 2007.  Dolores Hayden, The Grand Domestic Revolution: A History of Feminist Designs for American Homes, Neighborhoods, and Cities, 1981. Jorge Luis Borges, The Analytical Language of John Wilkins, 1952.

Thomas Kilpper. An artist cutting and splicing history and buildings who also shares another key influence in Gordon Matta-Clark.  Strike Debt/Debt Collective – their actions and movement literature from Andrew Ross’s Creditocracy and the Case for Debt Refusal 2014) to David Graeber’s Debt: The First 5000 Years (2011). Agnes Varda, The Gleaners and I (2000). A filmic salvage operation and embrace of the overlooked and imperfect. 

While working on the first exhibitions, Gaston Bachelard’s Poetics of Space (Boston, [1958] 1992) has been inspiring in terms of his reference to the fascination of closed drawers as opposed to any treasure entirely revealed. The interlocking towers stayed closed to the visitors during the exhibitions, who were only able to witness them from the outside, either from the trains passing by or from the train stations, looking at the art installations through the windows of the towers – an invitation to further imagine. The art works revealed only so much, in order  to make the viewers curious. 

Wolfgang Schivelbusch’s The Railway Journey (Berkley, 2014) has also been inspiring in terms of his description of the passengers’ gazes through the train windows and their relation to the outside landscape. 

Miwon Kwon’s One Place after Another: Site-Specific Art and Locational Identity (Cambridge, 2002) has been relevant in terms of anchoring the site-specific art of Along the Lines in a wider socio-political context, responding to surroundings and the need in Berlin for art spaces. 

Along the Lines was created out of my passion for train travel and my curiosity concerning the eclectic looking interlocking towers. When contextualizing my art practice, Along the Lines, after the pilot exhibitions, I have recognized connections to other projects and artists, such as Datenstrudel’s Moving Landscapes (Germany, 2017) in terms of creating an art audience out of train passengers and Adam Fremlin and Barbara Nelson’s Breathing Lights (New York State, 2016), in terms of the possibilities for activating spaces with light. The context of cooperating with the Deutsche Bahn over many years and creating art with a bureaucratic organization connects Along the Lines with Mierle Laderman Ukeles’ residency with New York City’s Cleaning Services (New York, 1970s) and Barbara Steveni’s Artist Placement Group (London, 1965–).

Natalia Irina Roman, Tick Tack, Berlin (2019). Photographer: Natalia Irina Roman
Natalia Irina Roman

Yve Lomax, Sounding the Event: Escapades in Dialogue and Matters of Art, Nature and Time, 20015, I.B. Tauris. John Hall, Essays on Performance Writing, Poetics and Poetry, Shearsman Books, 2015. Laurie Anderson, artist/performer/composer/musician/film director (1947- ).

Francis Edgar Williams, Drama of Orokolo (Oxford: Clarendon Press, 1940). Michel Foucault, Surveiller et punir (Paris: Éditions Gallimard, 1975). Rainer Maria Rilke, Die Aufzeichnungen des Malte Laurids Brigge (Leipzig: Insel, 1910).

Michael Hirschbichler

George Orwell, Down and out in Paris and London, (1933) Barbara Ehrenreich, Nickel and Dimed: On (not) getting by in America (2001).

Alice Constance Austin, The Kitchenless House, 1915 Carmelo Bene: various adaptions of Shakespeare: Romeo and Juliet, Richard III, One Hamlet Less, (1970s) Deleuze: One Manifesto Less, 1979 (first published in French, Un manifeste de moins, in: Superpositions, Gilles Deleuze and Carmelo Bene, Editions de Minuit, 1979)

Mona Mahall and Asli Serbest

Antonio Negri, Art and Multitude (Cambridge: Polity, 2011) John Roberts, Revolutionary Time and the Avant-Garde (London: Verso, 2015) Hito Steyerl, “If You Don’t Have Bread, Eat Art!: Contemporary Art and Derivative Fascisms,” e-flux journal 76 (October 2016)

Michel de Certeau, The Practice of Everyday Life, (Arts de faire), (Paris, 1980) Jonathan Hill (ed.), Occupying Architecture. Between the Architect and the User, (Routledge, 1998) Henri Lefebvre, The right to the city, (Le droit à la ville), (Paris 1968)

transparadiso (Barbara Holub/Paul Rajakovics)

Virginia Woolf’s A Room of One’s Own (1929). Donna Haraway’s “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” (1991) and other contributions in Sandra Harding’s The Feminist Standpoint Theory Reader (2004). Maria Mies and Veronika Bennholdt-Thomsen’s The Subsistence Perspective: Beyond the Globalised Economy (1999) and J.-K. Gibson-Graham’s work on the “Diverse Economy” (1996, 2006 and ongoing).

Action Archive (Meike Schalk, Sara Brolund de Carvalho, Helena Mattsson + Beatrice Stude)

Elizabeth Grosz, Architecture from the Outside Essays on Virtual and Real Space (Cambridge: The MIT Press, 2001).  Gloria Anzaldúa, Borderlands: La Frontera The New Mestiza 4th edition (San Francisco: Aunt Lute Books, 2007). Jason De León, The Undocumented Migration Project, See also “State of Exception/Estado de Excepción” at Parsons School of Design, The New School,  February 2 – April 17, 2016,

Sarah Butler, Central Line Stories, 2010, UK: Graham Coreil- Allen, Names vs The Nothing, 2012, US: Ursula K. Le Guin, The Rules of Names, first published in the April 1964 issue of Fantastic, US.

V. Y., Mudimbe, The invention of Africa: Gnosis, philosophy, and the order of knowledge (Bloomington: Indiana University Press, 1988). Henri Lefebvre, ‘Notes on the new town’ (April 1960) in Introduction to Modernity Twelve Preludes September 1959 - May 1961, (London, New York: Verso, 1995) pp. 122–124. ‘Land of Liberty’, (1958) Swedish Film Archive, Stockholm.

Killian Doherty (in collaboration with Edward Lawrenson)

A necessary disclaimer: As I answer this most difficult of questions, I’m becoming frustrated with the temptation of the ‘best films/best art’ online memes which are a necessary but disastrous ‘digest’ phenomena derived by the impossibility of our oracular devices to filter the everything unless it is presented into a hierarchical search return. But it is also a resistance that has to be laid bare in its economical necessity: I hate it because it forces me to the arbitrary and the temporary recollection, against the everythingness that is exactly the beauty I receive from all that stands behind the Oracle’s deliberation and urge to order. So here we are: ask me tomorrow and the algorithm would have changed the possible results of the ‘3 best’ questions! Walter Benjamin,  Illuminations, 1999, Penguin. The irksome and the neglected have their own mythology and powers to attract because of their not-yet aura, spelling out a sense of discovery that perhaps belongs only to those who resist being found themselves, for a variety of reasons between the recalcitrant, the awkward and the embattled. So yes, it is easy to hear Benjamin’s name and feel both glorious and contrived; but Benjamin’s “fondness for what was off the beaten path,” what — in the cultural domain — had “not yet been ground to bits by the official life of spirit.” remains a life teaching worth of its possible pitfalls and every time a new important line of thought or significant event emerges in my view I’m always reminded of the need to look at the reflection of its emergent status, and his heeding to pay attention to the fiery pool reflecting it in the asphalt’. An endless pedagogic value spills out from this source and returns its value in the most unexpected times, such as the present, where the understanding of the currency of the ‘immaterial’ finds Benjamin’s thoughts on the ‘messianic’ truly…well, prophetic! Robert Smithson, The Collected Writing, 1996, University of California Press. Inspiring: ‘arouse, galvanise, stimulate, breath in’. I had it all through Smithson’s work since I first encountered it in the early 90s as a late learner. Even with all re-post-infra-extra-contextualisation (!) necessary to bring his work and thinking into dynamic contexts of practice, research and pedagogy with clarity rather than obfuscation and canonization, what still remains of Smithson’s thinking –at times more than his actual practice- is a message that to wish to remain an ‘artist/practitioner’ despite it all in difficult times is more than bloody-minded retreat, refusal to confront/see or calculating withdrawal. Who knows how perhaps he would have spoiled it all by staying alive a bit longer and seeing it through, but this is what happened and its allure is in part given by its terminal status and the powerful spectrality of his presence in our thinking. Gregory Sholette,  Dark Matter When during the last 10 years I needed an explanation of the ‘now’ -and more importantly the ‘now what?’- in terms of decoding the development of art, its imbricated relationship with the city and the rabid ideology of urban development, Greg’s writings came to the rescue with a clarity and fearlessness that seemed to sweep away the debris of previous failures piling up in front of our cultural doorstep. His capacity for staying with the picture of a growing market-driven artworld in the 00s and still develop and help to construct ways to exist within it have rightly inspired so many of us: to describe its contour by highlighting the invisible matter around it remains such a brilliant intuition and a call to arms that I still embrace when looking for paths of cultural resistance that point to a possible future rather than simply historically review the present.

PUBLIC WORKS, Mobile Porch (2000), London. On roaming and the temporary occupation of public space.  Raumlabor, Generator (several years and cities). On the collective production in public space. Future Farmers, Flatbread Society, (2013-ongoing), Oslo. On bread. A very inspirational recent discovery.  

Catalina Pollak Williamson / Public Interventions

Sophie Calle, Take Care of Yourself, 2007, Paris: Dis Voir/Actes Sud Sharon Kivland, “Lexicon—between interpretation and mastery”, in Art&Text: Inscription, 2005, available from <> [accessed 26.06.19] Sigmund Freud,  “A Disturbance of Memory on the Acropolis: An Open Letter to Romain Rolland on the Occasion of His Seventieth Birthday”, (1960) 2001,  in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Volume XXII (1932–1936): New Introductory Lectures on Psychoanalysis and Other Works, translated under the general editorship of James Strachey in collaboration with Anna Freud, assisted by Alix Strachey and  Alan Tyson, 239–48. London: Vintage. Chapter first published 1936 as “Brief an Romain Rolland (Eine Erinnerungsstörung auf der Akropolis)” (Almanach der Psychoanalyse 1937: 9–21). Volume first published 1960 (London: Hogarth Press).

Ann Hamilton’s installation, Event of the Thread (NYC: 2015). Antonin Artaud’s ‘Theatre of Cruelty’ in Theatre and its Double (Grove Press: 1958) Artists Without Walls’ performative breach of the West Bank Wall in The Divide (Palestine/Israel: 2004)

Dorita Hannah (with Sean Coyle)

Stuart Hall with Bill Schwarz, Familiar Stranger: A life between two islands (London: Allen Lane, 2017). Katie Lloyd Thomas, ‘Going Into the Mould: Materials and process in the architectural specification’, Radical Philosophy, vol. 144 (July/August 2007), 16–25. Jane Rendell, ’She is walking about in a town she doesn’t know’, catalogue essay for Elles sont passées par ici, Brittany (Loquivy de la Mer), France, (2005).

Elizabeth Wilson, Psychosomatics: Feminism and the Neurological Body (Durham and London: Duke University Press, 2004). Jean Laplanche, ‘The Unfinished Copernican Revolution’ in Essays on Otherness (London: Taylor and Francis, 1999). Jacques Derrida, Hélène Cixous, Aliette Armel and Ashley Thompson, “From the Word to Life: A Dialogue between Jacques Derrida and Hélène Cixous”, New Literary History Vol. 37, No. 1, Hélène Cixous: When the Word Is a Stage (Winter, 2006), pp. 1-13

Hann, Rachel. Beyond Scenography. Routledge, 2019. Schalk, Mieke et al. eds. Feminist Futures of Spatial Practice. Baunach, Germany: AADR, 2017. Tillett, Linnea.

Donna Haraway, Staying With the Trouble: Making Kin in the Chthulucene (Duke University Press, 2016) Walter de Maria, ‘The New York Earth Room’ (1977) Louis Le Roy, ‘EcoCathedral’ (1966 to 3000), Mildam, The Netherlands

Slow Research Lab

Alberto Duman, Music for Masterplanning, (2016), Newham, London. Focus E15’s occupation of the Carpenter’s Estate, 2014, Newham, London. Cassie Thornton, Desperate Holdings Real Estate & LandMind Spa, (2019), Oakland, California. 

Reyner Banham, Los Angeles: The Architecture of Four Ecologies (1971) G. Boumphrey, , The Shell Guide to Britain (1964) The Center for Land Use Interpretation, Culver City, USA 

Bennett, J (2010) Vibrant Matter, a political ecology of things, Duke University Press. Crickmay, C and Tuffnell, M (1990) Body, Space, Image: Notes towards improvisation and performance, Hampshire: Dance Books Ltd. Stewart, K (2007) Ordinary Affects, Duke University Press.

Grant Kester, The One and the Many: Contemporary Collaborative Art in a Global Context, (Duke University Press, 2011). Suzanne Lacy: Tania Bruguera:

Barbara Holub (realized with Marie Christine Rissinger, Elisabeth Stephan & Julian Verocai)

The Last Abortion Clinic. 2005. Frontline. Gillian Rose. 1993. Feminism & Geography The Limits of Geographical Knowledge. Minneapolis: University of Minnesota Press. Nancy Fraser. 1990. “Rethinking the Public Sphere A Contribution to the Critique of Actually Existing Democracy.” Social Text25/26.

Lori A. Brown and ArchiteXX Design Action

Works of Korean artist Do Ho Suh Georges Perec, Species of Spaces and Other Pieces, [1974] ed. John Sturrock (London: Penguin Books, 1997). Juhani Pallasmaa, ‘An Architecture of the Seven Senses,’ in Questions of Perception, ed. Steven Holl, Alberto Pérez-Gómez, Juhani Pallasmaa, (Tokyo: a+u Publishing Co., Ltd., 1994).

Design Team (Jordan Evans, Evan Jerry, Ryla (Jakelski) Gutbier, and Lois Weinthal)

Liz Ogbu, NOW Hunters Point (2006) – Activist Action Dorothee Kreutzfeldt & Bettina Malcomess, Not No Place (2013) - Book Urban Solutions Urban Design, Baragwanath Taxi Rank (2005) – Building

Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975). [Film] Directed by Chantal Akerman, C. Belgium. 201 mins, colour. Martha Rosler, (1975). [Video] Semiotics of the Kitchen. 6.09 mins, black and white.   Simryn Gill, (2001). [Type C Chromogenic prints] Dalam. Series of 260 prints.

Lilian Chee

Barthes, Roland. 2000. [1980]. Camera Lucida: Reflections on Photography, trans. by Richard Howard (London: Vintage). Bloch, Ernst. 1986. The Principle of Hope Vol.1, trans. by Neville Plaice, Stephen Plaice, and Paul Knight (Cambridge, Massachusetts: The MIT Press). Comay, Rebecca. 2008. ‘Missed Revolutions: Translation, Transmission, Trauma’, Idealistic Studies, 38.1–2: 23–40. Sontag, Susan. 2001. Where the Stress Falls (London: Penguin Books). Steedman, Carolyn Kay. 1986. Landscape for a Good Woman: A Story of Two Lives (New Brunswick, New Jersey: Rutgers University Press).

Tijana Stevanović (with contributions from Jan van Duppen; includes work of late Miodrag Stevanović)

William Kentridge’s practice through installation, performance and writing, especially William Kentridge Six Drawing Lessons, The Charles Eliot Norton Lectures, (Boston: Harvard University Press, 2014). Nicolas Bourriaud’s writings, especially, Postproduction: Culture and Screenplay, How Art Reprograms the World (New York: Lukas & Sternberg, 2002). Rebecca Solnit’s writing and mapping works such as Wanderlust: A History of Walking (2001) and Mapping the Infinite City (University of California Press, 2019) part of the Complete Atlas Trilogy, with Rebecca Snedeker and Joshua Jelly-Shapiro.

Alastair Brochie,Mel Gooding,  A Book of Surrealist Games (Shambala, 1995) Ken Friedman (ed.), The Fluxus Reader (Chichester: Academy Editions, 1998) Ken Friedman, Owen Smith and Lauren Sawchyn (eds), The Fluxus Performance Workbook (performance research e-publication, 2002), Monoskop website: <> [accessed 23 August 2017].

Rosas, Bartók/Mikrokosmos, 1987 (dance/ choreography, Judith Clark, Spectres: when fashion turns back, V&A, 25 February – 8 May 2005 Amy de la Haye and Valerie D. Mendes, The House of Worth: portrait of an archive 1890-1914, London, V&A, 2014.

Ana Araujo (in the collaboration with Catalina Mejia Moreno)

Paul Rodaway. 2011. Sensuous Geographies, London: Routledge Brian Larkin. 2013. The Politics and Poetics of Infrastructure, Annual Review Anthropology 42:327–43 Kenneth Goldsmith. 2011. Uncreative Writing, New York/Chichester: Columbia University Press

Forced Entertainment, Dreams’ Winter, 1994, Manchester Central Library. Mike Pearson, Bubbling Tom, 2000, Hibaldstow. Rajni Shah, Glorious, 2009-12.

Gordon Matta Clark  and Caroline Goodden, Food (1972).

The Decorators + Atelier Chan Chan

Dan Graham, works and writings: Rock my Religion. Edited by Brian Wallis. (Cambridge, MA: MIT Press, 1993). Jane Rendell, Art and Architecture: A Place Between (London: I.B. Tauris, 2006). Sarat Marahaj, ‘Know-how and No-How: stopgap notes on “method” in visual art as knowledge production” Art & Research 2, no. 2 (Spring 2009): 1–11.

Apolonija Šušteršič

Siegfried Ebeling, ‘Space as Membrane’, (London: The Architectural Association, 1926/2010) Frederick Kiesler, ‘On Correalism and Biotechnique’, (1939) Laszlo MoholyNagy, ‘The New Vision, from Material to Architecture’, (New York, 1932)

Sarah Breen Lovett (with WeiZen Ho, Alan Schacher, Honi Ryan, Ben Denham, Monika Books & Clare Cooper)

Mona Hatoum, Measures of Distance, (1988) Rabih Mroué, Who's Afraid of Representation? (2005) Jane Rendell, Art and Architecture: A Place Between, (2006)

Siegfried Ebeling, ‘Space as Membrane’, (London: The Architectural Association, 1926/2010) Frederick Kielser, ‘On Correalism and Biotechnique’, (1939) Laszlo MoholyNagy, ‘The New Vision, from Material to Architecture’, (New York, 1932)

Sarah Breen Lovett (with co-curators Claudia Perren, Lee Stickells & Yvette Hamilton)

Jane Rendell, Art and Architecture: A Place Between (London: I.B. Tauris, 2006) Kathy Prendergast, Lost (1999) Roni Horn, Another Water (The River Thames, For Example) (Zurich: Scalo, 2000)

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