Site-Writing

Parts Apart Read Together (2019)
  • Linda M Walker | Adelaide, South Australia

  • Brianna Speight, Where the snakes hang, 2019, 73 x 110cm, giclee print. Photograph: Brianna Speight. Brianna Speight, Pearl (after Jefferis), 2019, 63 x 95cm, giclee print. Photograph: Brianna Speight. Brianna Speight, Gust, 2019, 73 x 110cm, giclee print. Photograph: Brianna Speight.
  • Parts Apart Read Together (2019)
  • Linda M Walker | Adelaide, South Australia
  • “‘Linkages,’ ‘relationships,’ and ‘spider’s webs’ are some of the configurations taken by nerve information networks. Thus it appears that synaptic fissures are certainly gaps, but they are gaps that are able to form or take shape. That’s it, in fact: traces take form. It is striking to note that neuronal plasticity – in other words, the ability of synapses to modify their effectiveness as a result of experience – is a part of genetic indetermination. We can therefore make the claim that plasticity forms where DNA no longer writes.” (Catherine Malabou, trans. Carolyn Shread, Plasticity At The Dusk Of Writing, Columbia University Press, New York, 2010, 60)


    This is an essay for a catalogue that accompanied the exhibition titled Body Writing; a solo exhibition of photographic images by Brianna Speight. It was shown at ‘The Floating Goose Studios’, in Adelaide, South Australia, April 5 – 28, 2019


    Biography

    I’m a writer, artist, curator who lives in regional South Australia. I presently hold an Adjunct position at the University of South Australia, where I taught for many years. My writing has engaged with the contemporary visual arts for almost forty years; I’ve also been published in literary and academic research journals. I co-founded the Electronic Writing Research Ensemble, an online site (ensemble.va.com.au).


    Practices

    I understood the way I was writing when I first read Marguerite Duras. Before that, I had no reference points. I also discovered the language writers of North America: Nicole Brossard, Rachel Blau DuPlessis, Lyn Hejinian, and others. I’m also a fan of Blanchot, Barthes, Derrida, and Jullien (and others). Writing spreads out, sites are endless. 


    Keywords
    collage, company, compose

    References

    All writing by Marguerite Duras, Hélène Cixous, Clarice Lispector. 


    Other projects
  • Corvid-19 (15 March 2021)
  • 1_5
    Glòries_(Eixample). A dispositive for very slow aesthetic observation, (January 2021 –)
  • Station F (October 2020)
  • 1
    Inscription: the Journal of Material Text – Theory, Practice, History,
    issue # 1: ‘beginnings,’ (2020)
  • 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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