Site-Writing

A Lunar Perspective, (2018-2020)
  • Eloise Maltby Maland | London

  • A Lunar Perspective 1:  Photograph by Henrietta Williams A Lunar Perspective 2 A Lunar Perspective 3 A Lunar Perspective 4 A Lunar Perspective 5:  Image from Google Earth A Lunar Perspective 6
  • A Lunar Perspective is a piece of research, writing and performance that travels through irregular orbits around Lunar House, a Home Office Visa and Immigration building, to question our practices of bordering and othering.

    As a front line of UK immigration policies, Lunar House is a site where the border is explicitly practiced and performed. Built in 1970, Lunar House was named to celebrate the moon landing the year before, eliciting notions of space travel and exploration. From here, A Lunar Perspective explores connections, real and imagined, between the body, the land, the sky, the sea and the border.

    Weaving together voices from different writers and thinkers across disciplines and positions, the project steps in to understand the materiality of Lunar House as a site of the enactment of the border and steps out to consider and critique our current politics and practices of othering. A Lunar Perspective reflects on the reality of violence at, of, for and with the border, recognising the continued practice of hostile environment policies within the UK.

    Understanding mapping as a way of situating in relation to others, A Lunar Perspective becomes a map of words, taking language as a practice of cartography. Our languages, our words themselves, are maps of their own journeys, travelling through linguistic roots and resurfacing in partially remembered or imagined times and places. This collection of words, growing from and rooted within my own positionality, becomes a tentative, unfixed map, sloshing like water, in a state of continually shifting relations.

    ‘A book holds words. Words hold things. They bear meanings. A novel is a medicine bundle, holding things in a particular, powerful relation to one another and to us.’ 

    From Ursula K. Le Guin, ‘The Carrier Bag Theory of Fiction’, in Dancing at the Edge of the World (New York: Grove Press, 1989), p. 169.


    Biography:

    My research and practice explores our relationships with and between language/s, bodies (human and non-human) and spaces. I often collaborate with others, weaving ideas, approaches and disciplines. I studied an undergraduate degree in Architectural and Interdisciplinary Studies at the Bartlett School of Architecture, UCL, where I also studied MA Situated Practice, graduating in 2019. While studying Situated Practice, I took the Site-Writing module which shaped, and continues to shape, my practice. 

    I performed A Lunar Perspective last year in a series of intimate readings in a disused observatory space at UCL and exhibited my work alongside other MA Situated Practice students at the Bartlett sites across London. An excerpt from A Lunar Perspective will also be part of the upcoming Cartographies of Imagination publication in 2021. I have collaborated with other MA Situated Practice students for a performance at the Royal Academy of Arts and for a workshop at the De La Warr Pavilion with members of the Hastings and Rother Refugee Buddy Project. In 2020, I collaborated with artist and architect Shivani Shah to design and facilitate an elective module on performance as a research tool for architecture students at the School of Environment and Architecture in Mumbai. I have also been collaborating with Ignacio Rivas to create a series of audio performances exploring relations between our bodies, cities, nature and technologies. We have shared our audio performances as part of La Escuela Nunca y los otros futuros, a project created by TOMA, and as part of the Chilean Conexion festival in Berlin in collaboration with Mathias Klenner.

    My current practice moves between outer space, the oceans, practices of mapping, colonialism and exploration, to explore how we can question and re-imagine the border through porous, collaborative and unfixed language, movement and conversation. 

    eloisemaltbymaland.com

    alunarperspective.com


    Practices:

    Through my practice I care about the deep connections and relations that surround us. Learning with practices of site-writing, and growing from my own position, I enjoy writing, observing, and listening to the relations in and between our spaces, bodies and languages, stepping out to find connections and relate with others.


    Keywords:
    language/s
    cartography
    borders
    relations
    porosity

    References:

    Jane Rendell, ‘Alien Positions’, in Site Writing (London: I. B. Tauris, 2010), pp. 244–7.

    Gloria Anzaldúa, Borderlands / La Frontera (San Francisco: Spinters / Aunt Lute Book Company, 1987).

    Ursula K. Le Guin, ‘The Carrier Bag Theory of Fiction’, in Dancing at the Edge of the World (New York: Grove Press, 1989), pp. 165–70.


    Other projects:
  • City Embers (2020)
  • Between Our Words I will Trace Your Presence (February 2020)
  • What Remains (2019)
  • Situated Writing as Theory and Method (2019)
  • Parts Apart Read Together (2019)
  • Fields of Awareness, (2019, 3min 18 secs)
  • 21 Orientations: An Atlas of Geographic Promiscuity (2019)
  • The Windowless Hotel Room (2018)
  • Spaces of Grief (2018)
  • Soft Landing (2018)
  • Shared Remains (April 2018)
  • Metropolitan Salem, Liuerpul (9 June – 18 August 2018)
  • Things Come Apart (21 – 24 March 2018)
  • Learn to Read Differently (2018)
  • Il Balcone. A site-writing performance (2018)
  • History begins with the vanity of kings (2018)
  • Dear Mr. Jung: Inhabiting Carl Jung’s ‘The Red Book’ (May 2018)
  • A Lunar Perspective, (2018-2020)
  • Heaton Hall: A Palimpsest (2017)
  • Location (+) (2017)
  • There’s Sand in My Infinity Pool (2017)
  • Talking Quilts (April 2017)
  • fifteen ways to cross the desert (2017)
  • Between Landscape and Confinement: Situating the Writings of Mary Wollstonecraft (2017)
  • A Ficto-Historical Theory of the London Underground (2017)
  • The Glorious Tomb to the Memory of Nothing (2016)
  • The Arrival’s Reader; A Visual Literary Criticism on The Arrival by Shaun Tan (2016)
  • Reading as Art (27 August-19 November 2016)
  • Re: development (London: Silent Grid, 2016)
  • Kjemikerens død [The Death of the Chemist] (23 – 26 May 2016)
  • Kingsland High Street (2016)
  • Foray in a Modern Reserve: An Impounding Portrait of Landuse (2016 – 2018)
  • Fall of the Derwent (2016)
  • Away from Home – Home from Away (April 2016)
  • Penguin Pool (2015)
  • Geography Lessons: Liberian Landmarks 1953-2013 (2015)
  • Women’s Anarchist Nuisance Café (2014)
  • The Writing on the Wall (after Rembrandt) (2014)
  • The Italic I (2014)
  • Designing Architecture as a Performing-Ground (2014)
  • Urban Literacy (2013/2014/2016)
  • The Disappearance: Manfredo Tafuri’s The Sphere and the Labyrinth (April 2013)
  • Folded Ground: Escape from Cape Town (2013)
  • Phantom Railings (2012 – 2017)
  • In The Emptiness Between Them (2012)
  • 10/08/12 (multispecies event) (2012)
  • An Arcades Project (2011)
  • Tideline (2010-2012)
  • The Museum of Breath (2010)
  • Slab (2010)
  • One wound. Two wounds. The body as site for writing (2010)
  • The Fluid Pavement and Other Stories on Growing Old (2006)
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