Library

This list will be regularly updated.

TEXTS & QUOTATIONS THAT ARE INFORMING AND CONTEXTUALISING THE PROJECT:

Alighieri, D. translation Nichols, J. G. (2005) The Divine Comedy: Inferno. Hesperus.

Arendt, H. (1963) Eichman in Jerusalem: A report on the Banality of Evil. Penguin Classics.

Arendt, H. (1970) On Violence. Harcourt Books.

Badiou, A., Cox, C., & Whalen, M. On Evil: An Interview With Alain Badiou

Badiou, A, and Truong, N. (2012) In Praise Of Love. Serpent’s Tail.

Basho. (1985) On Love And Barley – Haiku of Basho. Penguin Classics.

Benjamin, W. (1932) Excavation and Memory.

Berger, J. (2008) From A t0 X. Verso

Berger, J. (2005) And Our Faces, My Heart, Brief as Photos. Bloomsbury Publishing PLC

Berger, J. (1996) Pages Of The Wound: poems drawings photographs 1956-96. Bloomsbury Circle Press.

Bolland, E. (2011) Somebody’s Heaven Somebody’s Hell

Burn, G. (1998) Happy Like Murderers. Faber and Faber.

Collier, Mary. The Woman’s Labour: An Epistle 1739

Dickens, C. (2010) Night Walks. Penguin Classics.

Eagleton, T. (2010) On Evil. Yale University Press.

Eagleton, T. (2009) Reason, Faith, and Revolution: Reflections on the God Debate. Yale University Press.

Farley, P., & Roberts, M. S. (2011) Edgelands: Journeys into Englands True Wilderness. Jonathan Cape.

Freemantle, C. (2012) Reflections on Collaboration.

Graham, W.S. (2009) New Collected Poems. Faber.

Graves, R. (1999) The White Goddess: A Historical Grammar of Poetic Myth. Faber and Faber.

Grimm, J & W. (2004) Complete Fairy Tales. Routledge.

Hutchinson, M. – Beech, D (2005) Inconsequential Bayonets. A Correspondence On Curation, Independence and Collaborationin O’Neil, P. ed. (2006) Curating Subjects. Open Editions.

Holy Bible. King James Version.

Irving, I. (2012) Curating Activity: Experimentation and Improvisation.

Maddrell, A. (2010) ‘Memory, Mourning and Landscape in the Scottish Mountains’, in Memory, Mourning, Landscape, editors Anderson, E., Maddrell, A., McLoughlin, K. and Vincent, A. Rodopi.

Marsh, J. (2010) revised edition. Back to the Land: The Pastoral Impulse in England 1980 – 1914. Faber and Faber

Milton, J. (2008) Paradise Lost and Paradise Regained. Vintage Classics

Newling, J. (1998) Certainty and Uncertainty: Place as Site, in Place: John Newling Selected Writings 1998. Turnpike Gallery.

Newling, J. (2011) Transfer: The Relic of a Miracle.

Peace, D. (2001) 1980. Serpent’s Tail.

Pellizzi,F. (1990) Tombstone: Four Pieces and a Coda on the Idea of Burial, Terrazzo 4, Spring 1990.

Perec, G. (1974) Species of Spaces

Phelan, P. (1997) ‘Uncovered rectums: disinterring the Rose Theatre’, in Mourning Sex: Performing public memories. Routledge.

Ruskin, J (2004) On Art and Life. Penguin Books: Great Ideas.

Sebald, W.G. (2002) The Rings of Saturn. Vintage Books.

Shakespeare, W (1995) Macbeth. New Penguin Shakespeare.

Sternfeld, J. (2012) On This Site. Steidl.

Williams, R. (1975) The Country and the City. Oxford University Press.

QUOTATIONS:

“Memory is not an instrument for exploring the past, but rather a medium. It is the medium of that which is experienced, just as the earth is the medium in which ancient cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging.”

/Walter Benjamin: Excavation and Memory, 1932/

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“What lends and incomparable tone to the very first view of a village or a town in the landscape is the fact that in one’s image of it distance resonates just as importantly as nearness. This latter still has not yet gained preponderance through the constant exploration that has become habit. Once we begin to find our way around the place, that earliest picture can never be restored.”

/Walter Benjamin: Layouts of Perception, in Walter Benjamin’s Archive, London: Verso, 2007, p. 207/

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“We are both storytellers. Lying on our backs, we look up at the night sky. This is where stories began, under the aegis of that multitude of stars which at night filch certitudes and sometimes returns them as faith.”

/John Berger: And Our Faces, My Heart, Brief As Photos, 1984/

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And a struggle ensues to prevent what has disappeared, what has become invisible, falling into the negation of the unseen, defying our existence. Thus, the visible produces faith in the reality of the invisible and provokes the development of an inner eye which retains and assembles and arranges, as if in an interior, as if what has been seen may be forever partly protected against the ambush of space, which is absence…

Within his inner eye man experiences the space of his own imagination and reflection. Normally it is within the protection of this inner space that he places, retains, cultivates, lets run wild or constructs Meaning.

/John Berger: And Our Faces, My Heart, Brief As Photos, 1984/

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Word by word I describe / you accept each fact / and ask yourself: / what does he really mean?
Quarto after quarto of sky / salt sky / sky of the placid tear / printed from the other sky / punched with stars. / Pages laid out to dry.
Birds like letters fly away / O let us fly away / circle and settle on the water / near the fort of the illegible.

/John Berger: Pages of the Wound, 1996/

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“This realisation of the “impossible” is the strongest fascination and the deepest secret of art.”/Tadeusz Kantor: A Journey Through Other Spaces. Essays and Manifestos, 1944-1990, 1993, p.47)

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And in this ordinary street, in this ordinary suburb, in this ordinary world, I listen to the silence and the song it sings:
And when we die
And float away
Into the night
The Milky Way
You’ll Hear Me Call
As we ascend
I’ll say your name
Then once again
Thank you for being a friend.

/David Peace: Nineteen Eighty, 2001/

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“Go, get some water, And wash this filthy witness from your hand.”

/William Shakespeare: Macbeth/

 

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