Critical Spatial Practice

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).

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. 

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.

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).

Virginia Woolf, A Room of One’s Own (1929).

Donna Haraway, ‘Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’ (1991) and other contributions in Sandra Harding, The Feminist Standpoint Theory Reader (2004).

Maria Mies and Veronika Bennholdt-Thomsen, The Subsistence Perspective: Beyond the Globalised Economy (1999).

J.-K. Gibson-Graham’s work on the ‘Diverse Economy’ (1996, 2006 and ongoing).

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).

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

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. 

George Orwell, Down and out in Paris and London, (1933)

Barbara Ehrenreich, Nickel and Dimed: On (not) getting by in America (2001).

Colin Ward and Anthony Fyson, Streetwork, (London, 1973)

Ivan Illich, De-schooling Society, (Mexico, 1970)

Patrick Geddes, Cities in Evolution, (London, 1915)

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.

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)

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- ).

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)

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.

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.

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).

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.

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

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 

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

Suzanne Lacy:

Tania Bruguera:

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.

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.

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).

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)

Mona Hatoum, Measures of Distance, (1988)

Rabih Mroué, Who’s Afraid of Representation? (2005)

Jane Rendell, Art and Architecture: A Place Between, (2006)

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)

Trujillo, Luis Angel; Rodríguez, Carlos and Hernández Piraiba, Confucio (2018). Ecología ilustrada del gran bagre amazónico. Tropenbos International.“piraiba”+receives+the+colombian+science+prize+2018

Tuhiwai-Smith, Linda (2008). Decolonizing Methodologies, Research and Indigenous Peoples. Zed Books. and

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)

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

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.

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). 

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)

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)

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.

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. 

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