Jane Rendell, SILVER (Hobart: A Published Event, 2017). 96pp., 32 illustrations.
SILVER, is a ‘fictionella’ as Justy Phillips would have it, and was commissioned by artists Justy Phillips and Margaret Woodword as part of Lost Rocks. Its narrative was drawn out of my visits to a number of sites connected to BHP Billiton, including its ‘birth place’, Broken Hill, a town in the Barrier Ranges of south Australia, where a mineral lode rich in silver was discovered in the late nineteenth century.
http://www.apublishedevent.net/projects/lost-rocks/editions/a-slow-publishing-event
In March 2017, SILVER was reconfigured, in a Courthouse, a historical building that is part of the West Coast Heritage Centre in Zeehan, west Tasmania, a mining town also founded on silver, and connected to one of the early proprietors of the Broken Hill mine. Here new voices were added to the multi-vocal narrative of the fictionella, and redistributed through the six clearly labelled positions of the Courthouse – Witness, Clerk of Court, Police Prosecutor & Lawyer, Defendant, Magistrate, and Audience. SILVER: A Courthouse Drama for Six Positions deals with issues of justice and ethics connected to mining, including reference to specific events related to BHP Billiton, for example the catastrophic tailings dam burst in Brazil in November 2015, which occurred as I was making my way to Broken Hill.
http://www.apublishedevent.net/projects/lost-rocks/editions/crocoite-crocoite-silver-silver-lead
Keynote, iDARE 2016: Creative Arts Research and the Ethics of Innovation, Victorian College of the Arts, University of Melbourne (September 2016).
Keynote, MEDIATIONS: Art & Design Agency and Participation in Public Space, Royal College of Art, (November 2016).
Keynote, AIARG (All Ireland Architecture Research Group), Waterford Institute of Technology, (January 2017).
Talks
Warwick University (Feb 2017).
University of South Lancashire (Feb 2017).
London Central School of Speech and Drama (March 2017).
‘Fuggles: An Autumn Draft’, Peg Rawes, Stephen Loo and Tim Matthews (eds) Poetic Biopolitical Practices in the Arts and Humanities (London: I B Tauris, 2016).
‘X Marks the Spot that Will Have Been’, John Hendrix and Lorens Holm (eds) Architecture and the Unconscious (London: Routledge, 2016).
‘Giving An Account Of Oneself, Architecturally’, Special Issue of the Journal of Visual Culture (2016).
‘Critical Spatial Practice as Parrhesia’, special issue of MaHKUscript, Journal of Fine Art Research. (2016).
http://www.mahkuscript.com/articles/10.5334/mjfar.13/
‘This subjunctive mood of mine’, catalogue essay for Jessica Brennan’s artist’s book based on her residency at the Green Backyard, (2016).
http://aabookshop.net/?wpsc-product=re-development-voices-cyanotypes-writings-from-the-green-backyard
http://www.jessiebrennan.co.uk/inside-the-green-backyard-opportunity-area/