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katherinemacbride · 5 years ago

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WORKING ON/WORKING THROUGH/WORKING WITH a mix for connective listening broadcast notes

WORKING ON/WORKING THROUGH/WORKING WITH

Katherine MacBride

Hotel Maria Kapel

Ja Ja Ja Nee Nee Nee

10:00 01-05-2020

https://jajajaneeneenee.com/jn/shows/working-on-working-through-working-with/

BROADCAST NOTES

solidarity actions

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Minimal vierteen euro voor iedereen. Een eerlijk loon.

https://www.voor14.nl

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The Voice of Domestic Workers COVID-19 Emergency Response Fund: In light of the current COVID-19/Coronavirus outbreak in the UK, migrant domestic workers are encountering further prejudice and precarity - both with clients cancelling their services and ‘live in’ Migrant Domestic Workers being asked to vacate their work places and homes. Like other precariously employed workers many of us exist without savings and are at the mercy of our employers who provide income and housing as part of the conditions of our work and our visas. https://www.thevoiceofdomesticworkers.com/post/covid-19-emergency-response-fund

Indonesian Migrant Workers’ Union: Most of the members of Indonesian Migrant Workers’ Union, one of Casco’s long-term and close-collaborating communities, are in a dire situation. They have lost their jobs as domestic workers and consequently their means to buy food and, likely soon, to keep their homes. Once again the community shows how powerful they are in organizing to support each other by arranging and distributing weekly emergency food packages. Yet this cannot be done without donations from anyone who has the room to do so. Please donate to R. Saptari. NL93 INGB 0006 3903 55. (via Casco newsletter)

CRIP FUND is an ad-hoc care collective pooling money for chronically ill, disabled, and immunocompromised people living in the United States in serious financial need during this ongoing time of love, coronavirus, and apocalyptic joy & pain. With your support we’re hoping to support your real hope of collective care. Crip Fund will privilege people who are immunocompromised and/or disabled* in need of in-home care; Queer/Trans/Black/Indigenous/People of Color (QTBIPOC) in financial need will also be prioritized.

*”Disabled” here is cross-disability cultures, and may include: those experiencing chronic illness, those on immunosuppressive meds, bone marrow or solid organ transplant recipients, inherited immunodeficiency, HIV, and other immunocompromised people, those with physical disabilities, cognitive disabilities, mental health disabilities, Autism, neurodiverse people, D/deaf, Blind, DeafBlind, and many more whether or not someone identifies with the word “disability” or is recognized as “disabled” by the Medical Industrial Complex.

a mix for invoking connective listening

I wrote that this was to be a mix for invoking connective listening. The word connective often makes me think of Juliana Spahr’s Poem Written after September 11, 2001, which is one of two poems in her book this connection of everyone with lungs. Juliana often writes using looping rhythmic repeating lists, adding one element each round in poems and prose about environmental politics, settler colonialism, unlearning white feminism, extraction, warfare, and writing. In Poem…the list scales out before scaling back in. It crescendos around here (in flow but not force, because she uses the silence of microscopic air particulates to hit the final impact later):

as everyone with lungs breathes the space between the hands and the space around the hands and the space of the room and the space of the building that surrounds the room and the space of the neighborhoods nearby and the space of the cities and the space of the regions and the space of the nations and the space of the continents and islands and the space of the oceans and the space of the troposphere and the space of the stratosphere and the space of the mesosphere in and out.

Differentials in death rates from COVID-19 indicate that “we are” not actually “all in the same boat.” Some of this is to do with the long term effects of air pollution: “we” breathe the same air while “we” do not breathe the same air, while every cell of every “we” contains bacterial DNA whose ancestors breathed the “air” into b(r)e(ath)ing.

This mix for connective listening includes music of forms where listening to the others sounding around you while you improvise together in relation to a context, a social purpose, or a shared task is especially important—music made as a way of manifesting togetherness together. Of course there is much to say about what happens when such forms are indeed recorded but I won’t address that here.

I’ve been thinking with a section of Eileen Myles’ book The Importance of Being Iceland:

All the churchgoers were singing the same hymn not the same notes or tunes. No organ tone set the pitch so they would find it instead among themselves. People were literally singing their hearts out. When the organ was introduced in the 30s some of the older people stopped going to church because the idea of everyone singing the same tune at once seemed “obscene” to them, it offended their Icelandic sense of religiosity, or privacy, or just their understanding of what being part of a community could mean. The radio also upset the applecart with the same songs played over and over with those same versions and the same notes. It’s amazing to think about what the radio might have upset. I’m getting this from all sides. I heard about this singing, and then I read about it, and finally the book I read was co-written by a composer that my friend Mark studied with. These rediscoveries are not accidental. There’s an imprecise mourning needed to see where we are now. I think it’s like the species rediscovering itself. learning to be stubborn in our awkward speaking and hearing.

F told me about the way her friends would organise a collective ritual to connect to their language that, like their land, is endangered. After a time certain older people would arrive at a state where they could access parts of the language that they didn’t know in their everyday state. Certain younger people would use their mobile phones to record what the certain older people were saying. The community would send the recordings to the anthropologists at the university and the anthropologists would analyze the recordings and add any new words to the dictionary of the community’s endangered language so that certain older people and certain younger people could continue to fertilize their language when they spoke it together.

Eileen follows the turf churches radio applecart with a description of a singing form called Kvaedaskapur. The distinguishing characteristic of the singing was a variable voice, which always sang the poem with differing melody…Typically the Kvaedamadur denies authorship. He (or she. There were female Kvaedamur too) didn’t steal it. He just didn’t write it. Maybe the implication being the poem just kind of grew…

In the darkness of winter the singing would generate a sonic connectivity between the singer and the listeners who would also actively keep the song alive. The singer drops his energy at the end of the line but several people in the room come in (vocally) and sing the end of the line for and with him. They hold him up so to speak.

connecting messy links

I haven’t included fragments of Taraneh Fazeli’s text in these notes because it was a working document shared to be spoken since she was in bed sick at the time of collaboration. Instead I’ll share this link to a text she published a while back — http://temporaryartreview.com/notes-for-sick-time-sleepy-time-crip-time-against-capitalisms-temporal-bullying-in-conversation-with-the-canaries/ — and these words she wrote about the text I read from in the mix: In “Labour of Love: To curate is to care,” Taraneh Fazeli thinks alongside Lisa Baraitser, Tanya Titchkosky, Stefano Harney, and Fred Moten. Additionally, her text emerges from a working on/in/through with the many folks who have been a part of her traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” which addresses the politics of health and care. (Note: “crip” is a political reclaiming of the derogatory label cripple by disability activists.) Based in an ethic of care emerging from disability justice that values interdependencies and dependencies, artworks within counter the over-valorization of independence in American society and examine how racialized global capitalism has produced debility in many populations while, at the same time, creating bureaucratic infrastructures that support very few people. At the core of the project is the pairing of artists with community groups organized around creating or sustaining alternative infrastructures of care, such as groups of young single mothers at Project Row Houses, women recently involved in the carceral system at Angela House, and refugees and asylum seekers via Lutheran Family Services. Excerpts from the text are specifically rooted in collaborations with Cassie Thornton, Park McArthur, Constantina Zavitsanos, and the Young Mothers.

Panelaço, Flamengo, Rio de Janeiro, March 2020

https://www.youtube.com/watch?v=TvDSXLeijuk

Panelaço is the Brazilian word for a pot banging protest. Mobile phone recordings of people protesting against Jair Bolsonaro’s pandemic response by banging pans from their apartments window and balconies. Compiled by O Globo news service and uploaded to YouTube.

Repente, CPTM, São Paulo, May 2019

https://www.youtube.com/watch?v=OOBjc4PbVKM

My friend G once described relationships to me in terms of a dynamic equilibrium over who plays the tambourine while the other sings. Of course sometimes everyone can sing and sometimes everyone can play the tambourine but taking turns means everyone gets a change to breathe. Repente is a form of music from the north east of Brazil where two singers have a battle of improvised lyrics on a theme, often political, usually funny. While one sings the other holds the beat on a tambourine.

Yelli water drumming, 2011

last video down on https://face2faceafrica.com/article/the-liquindi-water-drumming-of-central-africa-reserved-for-women-hunters

I was looking out for a video I half remembered of a man playing the water in a very kitschy-beautiful way. I couldn’t find it but I learned about this shared drumming practice done by Baka women in Cameroon and Gabon.

Cloth waulking in South Uist, 1982

https://www.youtube.com/watch?v=0CmGJ5dwBuk

Waulking is a process of textile finishing where woven wooden cloth is soaked in urine and beaten on a table to soften and shrink it. In the Outer Hebrides in Scotland waulking was done by hand to tweed cloth. This work was done by groups of women who would sing and chat while they waulked. It’s a call and response form with the caller holding the rhythm of the collective movement, meaning that song structures had to be somewhat loose and open to improvisation according the situation on the table, in the room, in the moment. When this video was filmed, the waulking was probably being performed for the camera in a university effort to record the practice while there were still women alive who carried it. Waulking is done today as a form of cultural reenactment or historical research by practice rather than as a living tradition.

Women gathering mushrooms, The Music Of The Bayaka: Volume I, 2007

I wrote Louise: I’ve been thinking a bit this week about this recording of women singing while they collect mushrooms in the forest. I’ll try and find if for you, have only found it mixed with something else so far. What I like is that the women sing in relation with their environment, so that different species in the forest sound at different parts of the sonic spectrum and don’t cut over each other, producing a sonic environment/composition where everything has a place but together co-creates very beautiful music. This way of singing without dominating others feels very special. I’m thinking about this in relation to the birds I am hearing, wondering if they are making more sound with the reduced traffic because they feel more space, or if the more space is just in my perception, but for sure there is some more space happening somewhere.

Toumani Diabaté plays the kora, 2007

https://www.youtube.com/watch?v=8luhdxS2KuM

Ballu Tundu, Orgosolo (Nuoro), 1969, Musica Sarda Vol. 3

Sardinian confraternity multipart singing occupies a space that is remote from any concept of concert music; it is in fact a living musical practice through which collective relationships are represented and enacted. It is a major element of the social life of several villages through which many people—both locally situated performers and competent listeners—‘think about who they are’ and ‘the world around them’. (Confraternity Multipart Singing: Contemporary Practice and Hypothetical Scenarios for the Early Modern Era, Ignazio Machiarella)

Lampedusa, Toumani and Sidiki, Toumani Diabaté and Sidiki Diabaté, 2014

We were very shocked - Sidiki and myself - while we were recording in London in November 2013 and we watched on TV that more than 350 people had died in the sea trying to arrive in Europe by boat. Since them many Lampedusas have happened. Nothing changes. I don’t know the solution. I don’t know how to do but I think we must talk about it. This is why Sidiki and I composed the song, to talk about it. (http://shufsounds.com/interviews/2015/5/8/toumani-and-sidiki-diabat-interview)

Huku ine Ronda (originally by Chartwell Dutori), played by Gift Mugwidi, 2012

https://www.youtube.com/watch?v=tKbfUEhjuH4

Gift Mugwidi makes and plays mbiras and sells them in Mbare Musika in Harare. Someone he knows films him playing them in cars and uploads the videos to YouTube. I found his name and a basic education in Zimbabwean chimurenga music deep in the comments.

Sa Ugoy ng Duyan, sung by Mimi Jalmasco and Wendy Caballero, mixed by Louise Shelley, London, April 2020

Louise wrote me: Katherine if it’s ok please can you read this before playing the audio, thank you. What you will shortly listen to is a recording of a Filipino lullaby sung by Mimi Jalmasco and Wendy Caballero who are two members of The Voice of Domestic Workers in London. Over the past 8 years I have been a volunteer with this organisation, they are a self organised support, education and campaign group, by and for migrant domestic workers. The passion in their politics in inescapable - their collective labours focus on care and support for each other, to get justice as workers for each other. Their precarity like many others is increased at present, whilst they re-organise and figure out what to do, what needs doing and how to do it, their work continues in their employers households. This is a song from their homes, from their childhoods, from their early motherhoods that they now sing to the children they work for and to each other and now to you. The recordings were sent to me to be shared here, they are mixed with the sounds of listening in my own flat with my back door open onto east London in isolation in April 2020. This invitation to them was also a way to move money from the arts in solidarity with their struggle and also very simply to share their voices, their energy, their beautiful song to soothe but also to awaken you, to 11.5 million migrant domestic workers in the world.

thanks

Thanks to: Radna and Arif at Ja Ja Ja Nee Nee Nee for hosting the broadcast; to Miriam, Rik, and Annelien at Hotel Maria Kapel for supporting the residency where this began brewing; and to the contributors Louise Shelley, Taraneh Fazeli, and Mimi Jalmasco and Wendy Caballero from The Voice of Domestic Workers.

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didyouread · 8 years ago

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Following Katherine MacBride's project Polyvocal Subjects that took place at Transmisison in 2014, Katherine presents:

undoing listening

#Katherine MacBride #Polyvocal Subjects #Undoing Listening #Transmission

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anthony-dg-blog · 6 years ago

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Katherine MacBride Exhibition at the CCA, Glasgow

The exhibition was very immersive, the large textiles and acoustics made one think introspectively.

The discussion in a digital film about the cotton she uses to create the textiles was very informative. I learnt there are naturally coloured cotton strains and these were phased out of production during the industrial revolution.

She linked the colonial historys and experiences of the people under rule through a powerful sound piece at the end. The story's told were of relationships between people and a meditative text shifted the focus back to the introspective.

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conalmcstravick · 4 years ago

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Collectivising Queer Care, Tender Center Rotterdam, Saturday 30th November 2019, 12-9pm with Katherine MacBride, Conal McStravick, Andre Reeder, Ferdiansyah Thajib & Ron Van Zeeland (with support from Toon Fibbe). TEXT: In preparation for World AIDS Day 2019, Tender Center, Rotterdam is hosting an afternoon workshop and early evening discussion that share and seek out different regional histories of HIV/AIDS art and activism, connecting them both to Rotterdam and the global pandemic. Using film, words and storytelling, we would like to explore how remembering the histories and ongoing struggles of collective organising in HIV/AIDS activisms helps us to think into present day experiences of healthcare. These could include: current LGBTQIA healthcare concerns like PrEP availability and trans healthcare; mental health; disability justice; and thinking around how politics and politics and activisms of migrations, borders and decolonial struggles help re-define a global pandemic of HIV/AIDS treatment and activism that is collective and embodied. ACTIVITIES: This event is organised by Katherine MacBride (Tender Center, Rotterdam), Conal McStravick (artist and film researcher, London), Ferdiansyah Thajib (KUNCI Study Forum and, Collective, Yogyakarta-Berlin), with support from Toon Fibbe (artist, Rotterdam), and others. 12:00-14:00 walk starting from Tender Center 14:00-17:00 workshop at Tender Center (including breaks and shared meal) Inviting others to share in this, we will be talking, walking, and collectively thinking about HIV/ AIDS past, present, and future. We would like to: - learn from people's experiences and histories; - share from activist material held by HIV/AIDS and LGBTQIA+ archives; - to reflect how streets, galleries, nightclubs, support groups, clinics, and other public spaces made space for positive people, positive forebears, and their allies; - to gather ideas and politics, materials and memories, histories and cultures that archive HIV/ AIDS treatments and activisms bodily, collectively, and transnationally; - and reflect on how modes of intimacy, affect, ambivalence, learning, living, loving, caring, communication, gesture, survival, and other modes and materialities continue to explore fluidities of art and activism, public and private, national and transnational, past and present. We will meet at Tender Center at 12, go for a walk in Rotterdam city centre, then return to Tender Center for lunch and an indoor workshop facilitated by Ferdi and Conal. If you would like to attend or want more info please email [email protected] 17:00-18:00 break and drinks at Tender Center 18:00-21:00 screening/discussion During an open to all public screening, we will share reflections from the workshop alongside historical and contemporary video and film works by LGBTQIA+ artists and activists. Conal will share his research on the work of positive artists, forebears, and HIV/AIDS histories connecting them to current attitudes, cultural activisms, and continuing crises. Toon will share some archival film material of Rotterdam’s queer history. Ron van Zeeland will talk about his experiences of HIV activism in NL. Andre Reeder will be present for a screening of his 1995 Migranten TV documentary Aan Niets Overleden.

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booksfriendsnews · 5 years ago

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process-and-production · 6 years ago

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Katherine MacBride's huge textile installation at the CCA. Her work explores different forms of hospitality, thinking about how listening and attentivness can happen in conflicted spaces and times. She uses a range of fabrics and forms which support different sensory capacities, and are installed as spaces for encounter, response, and rest.

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lettuceoo00 · 6 years ago

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Katherine MacBride’s work at CCA

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becomingbecome · 6 years ago

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Katherine MacBride

Political Listening Workshop with Katherine MacBride

Friday 25 January 2019, 10am-5pm Teatro Munganga, Schinkelhavenstraat 27 hs, 1075VP Amsterdam – here Please RSVP: people[at]sideroom[dot]org This practical workshop will involve doing and reflecting on a range of listening exercises drawn from musical, activist, and caring practices. We will relate them to performance via queer feminist quantum physics, and genealogical and poetic analyses of race, racism, and coloniality. We will explore methods for listening across difference, listening to what cannot be heard, listening to oppressed narratives, listening to what isn’t being said; listening to the world and each other to reflect on what it is to be together, and how we might be together differently. During this workshop we will also consider listening in relation to a range of bodily capacities and experiences, decentring the often-assumed norm of an ‘able-bodied’ listener, and introduce ways that performance practices can become more accessible to audiences with a wider range of sensory experiences.

Katherine MacBride is an artist. She works with performance, installation, writing, video, and event making, with and without institutions. Collaboration and supportive practices are important to her: she prints small edition feminist publications; edits other people’s writing; works in a drop-in art studio for homeless people; and is learning to host with Tender Center, a collectively-run venue for queer events in Rotterdam. Much of her practice focuses on relational entanglements, listening across and being attentive to difference, and working creatively towards an ethics of inseparability and interdependency.

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juditmiltz · 7 years ago

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Historic downtown Miami Walgreens sells to the Langford’s owner for $20M

La Epoca building and Daniel Peña

Daniel Peña’s Stambul now owns another historic piece of downtown Miami.

The family owned and operated construction and development firm paid $19.75 million for the historic Walgreens building at 200 East Flagler Street, most recently home to La Epoca department store. When it opened in the 1930s, the building was home to Walgreens’ 66-seat soda fountain.

The Alonso family sold the 50,000-square-foot, five-story building to Stambul, according to a press release. Peña’s company, which restored and renovated the nearby Langford hotel, plans to turn the Walgreens building into a “multi-level entertainment complex” with retail and dining. Stambul expects to break ground later on the restoration later this year.

The Art Deco property was developed in 1936, and marked the first Walgreens in Florida and the third outside of Chicago. It was designed by Zimmerman, Saxe and MacBride and is listed on the National Register of Historic Places.

Mika Mattingly and Gerard Yetming of Colliers International South Florida represented the Alonso family’s Habitat Development Corporation.

Stambul is also restoring the Old United States Post Office and Courthouse nearby at 100 Northeast First Avenue that will include Biscayne Bay Brewing.

Moishe Mana has spent more than $200 million on properties in the Flagler Street area of downtown Miami over the past few years. Earlier this month, New York investor Yair Levy paid $14.5 million for the Metro Mall building at 1 Northeast First Street with plans to renovate the property into a luxury jewelry center. – Katherine Kallergis

from The Real Deal Miami https://therealdeal.com/miami/2018/07/23/historic-downtown-miami-walgreens-sells-to-the-langfords-owner-for-20m/ via IFTTT

#The Real Deal Miami

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jenmedsbookreviews · 7 years ago

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You have to admit – this is not a bad way to start a week huh? It was lush if somewhat sickly but highly recommended. I love Ole & Steen on Haymarket. Best Danish pastry I have tasted. If you are in London then you simply must go. Their sandwiches and coffees aren’t bad either.

After starting last week’s post with a puppy picture, I was asked for a cat this week so here you go.

Not what you were expecting? He’s still pretty cute though. For those wanting a kitty of a slighter small size and shape here’s one for you.

None of this has anything to do with books but then what is new. Well … the cake kind of links back to books as I did eat it prior to heading on over to City University and First Monday Crime last week. A wonderfully bookish night of entertainment courtesy of Barry Forshaw, Stuart Turton, Leigh Russell and john Connolly. Sadly, thanks to the sudden descent of fog upon the country Rachel Abbott didn’t make it but the panel still kept us wholly entertained with discussions on why kids don’t read much, whether Stuart Turton loves or hates Agatha Christie and whether John Connolly writes horror or crime or a hybrid. For more on the evening as a whole I recommend that you read Joy Kluver’s write up here. I was far to enthralled and entertained to take decent notes but I did grab a couple of pictures.

Now, you may or may not have worked out from my overly gushing post the other week about The Woman in the Woods that I’m a small fan of John Connolly’s Charlie Parker books. I did the thoroughly bookishly geeky thing of queuing to get my copy signed (even though I have a signed copy on the way from Goldsboro books anyway – this was personalised) and unlike me, I managed to get out more of a sentence than ‘I liked your book’. When Mr C remarked that I had already read it, I explained that I’d reviewed it the previous week. After a surprised ‘that was you!’ I got a totally unexpected and unsolicited hug of thanks from the man himself.

Now I am not prone to the old huggage, hand shakes are still somewhat of a necessary evil IMHO, even for work. I want to die when I meet my European colleagues with their strange air kiss/cheek rub ways. I can never remember which is which and who is going to fire in for one, two or even three kisses. Three!!! I mean, what the heck?Where I come from that’s borderline asking for your hand in marriage or at the very least an indecent proposal!

Those who know me well know that this hugging phenomenon is something I am struggling to come to terms with about the bookish world. You lot are very huggy people. This one though I did not mind at all. Not in any weird kind of freaky stalkerish way I hasten to add, but it was just so surprising as I am sure that authors such as John Connolly and the rest of the panel get hundreds of reviews and kind comments all the time, so to know that he read and was genuinely thankful for the review makes this whole blogging thing worth while. In it’s own odd way it’s kind of different to greeting people who you may have conversed with a bit on line or perhaps met before too as that’s where you expect a kind of happy but strange hug/air kiss/pre proposal type scenario 😉😬. I mean I’d have been as happy with a genuine and enthusiastic thank you but I’m not complaining.;) And I now have another book in my signed collection which also contains huge hugs (at least this is what we deciphered it as saying lol)!!! Good night out.

This was the most exciting thing to happen to me all week as other than this I have had a trip just south of Lille for another two hour meeting (and the kiss/don’t kiss, one two or three nightmare) and a lot of work twaddle to contend with. I completed week 4 of my Forensic Psychology – Witness Investigation course and week 1 of the Forensic Science course that I am trying to undertake alongside blogging and working and travelling and occasional sleeping so that is a bonus. I also got two other new signed books this week. First up was a copy of DM Mark’s The Zealot’s Bones (warning to the sensitive the cover has a scary rat and you may wish to scroll on) and a second signed copy of Written in Bones by James Oswald, simply because it was signed and dated on my birthday last year. That seemed like fate to me so it had to be done.

Ahhh. Book. Heaven. Not too shabby a week huh? Well apart from work but we can gloss over that part …

New book wise I have been ordering from Goldsboro again. This time it’s a signed copy of The Blood Road by Stuart MacBride which is released in June. Happy bunny time over here then. From Amazon my purchases have been limited (yeah right) and I only ordered the US hard cover of Ragnar Jonasson’s Black Out because it is stunning (and I have the first two in the set so it seemed rude not to). From the UK I ordered The Zealot’s Bones by DM Mark (I can’t read a signed copy…); Down To The Woods by MJ Arlidge; Counting the Dead by Victoria Jenkins and No Turning Back by Sam Blake.

Netgalley wise I have had a few books. It’s a mixture of tour requests, direct invites to review in the case of Peter James and Ruth Dugdall and ‘I just want to read these’ requests. I picked up Body and Soul by John Harvey; The Things You Didn’t See by Ruth Dugdall; The Retreat by Mark Edwards; Dead If you Don’t by Peter James and One Little Lie by Sam Carrington. I was also sent an early copy of The Chosen Ones by Carol Wyer which is absolutely bloody fabulous I might add.

Reading wise I’ve not had too shabby a week all things considered. I am still shattered so i think to have finished reading four books again this week is quite pleasing.

Books I have read

The Ice Swimmer – Kjell Ola Dahl

When a dead man is lifted from the freezing waters of Oslo Harbour just before Christmas, Detective Lena Stigersand’s stressful life suddenly becomes even more complicated. Not only is she dealing with a cancer scare, a stalker and an untrustworthy boyfriend, but it seems both a politician and Norway’s security services might be involved in the murder.

With her trusted colleagues, Gunnarstranda and Frølich, at her side, Lena digs deep into the case and finds that it not only goes to the heart of the Norwegian establishment, but it might be rather to close to her personal life for comfort.

Dark, complex and nail-bitingly tense, The Ice Swimmer is the latest and most unforgettable instalment in the critically acclaimed Oslo Detective series, by the godfather of Nordic Noir.

My review of this brilliant novel will be out later this week but I truly love the writing style and the feel of this Oslo based thriller. Slower in pace than most Detective novels it is still engaging and has so many hold your breath moments that you won’t be able to turn away. You can buy your own copy here.

…

Body and Soul – John Harvey

From the master of British Crime Writing comes Frank Elder’s last case.

‘The heavy manacles around the girl’s wrists, perhaps not surprisingly, looked very much like the ones that had been found on the studio floor. For a moment, she had a vision of the chain to which they were attached being swung through the air, taking on force and speed before striking home.Then swung again.’

When his estranged daughter Katherine appears on his doorstep, ex-Detective Frank Elder knows that something is wrong.

Katherine has long been troubled, and Elder has always felt powerless to help her.

But now Katherine has begun to self-destruct.

The breakdown of her affair with a controversial artist has sent her into a tailspin which culminates in murder.

And as Elder struggles to protect his daughter and prove her innocence, the terrors of the past threaten them both once more …

The last in the series this is the first book I have read by John Harvey. Nothing new there for me. Fast paced and gripping from the off, it does contain spoilers for prior novels so be aware before setting off, but as a first read it also gives enough back ground to put everything in context and keep you on edge all along. My review will be posted later this week and you can buy your own copy here.

…

The Chosen Ones – Carol Wyer

They had not been forgiven. And they would never be forgotten …. When a doting young father is murdered and his body discovered in a cornfield for his family to see, it’s a harrowing new case for Detective Robyn Carter. But just as Robyn starts to investigate, a popular local doctor and young mother, is found dead outside her surgery.

As Robyn tries to find the link between the victims, she uncovers a dark web of secrets. Were these much-loved members of the community as innocent as they seemed?

The killer has a message for Robyn and the carefully chosen victims. Can Robyn get to the truth before she becomes the next target?

If you love Angela Marsons, Patricia Gibney and Rachel Abbott, you’ll love the latest pulse-pounding thriller from Carol Wyer. The Chosen Ones will keep you guessing until the very last page.

What I love about this series, aside from the great characters and the brilliant writing, is that it is set very locally to me and I always chuckle when I see local references. Plenty of that in this book, alongside a chilling set of murders which will make your toes curl and keep you right at the edge of a very uncomfortable seat. Loved it. My review will be a long time coming as publication isn’t until later next month, but you can preorder a copy here. Totally worth it.

…

The Girl Who Got Revenge – Marnie Riches

Revenge is a dish best served deadly…

A twelve-year-old girl is found dead at the Amsterdam port. An old man dies mysteriously in a doctors’ waiting room. Two seemingly unconnected cases, but Inspector Van den Bergen doesn’t think so…

Criminologist George McKenzie is called in to help crack the case before it’s too late. But the truth is far more deadly than anyone can imagine… Can George get justice for the dead before she ends up six-feet under too?

A heart-racing thriller packed with secrets, lies and the ultimate revenge, perfect for fans of Steig Larsson and Jo Nesbo.

Love this series, loved this book. George McKenzie and her lover Van den Bergen are back and boy what a case they are faced with. Human trafficking and unexplained deaths of admittedly quite aged men. Full of the humour, darkness and brilliant plotting that threads through this series, fans will not be disappointed. My review and an extract from the book will be up on the blog this weekend, but you can order your own copy here.

…

Busy week on the blog so here is a recap:

A Grand Old Time by Judy Leigh

My Little Eye by Stephanie Marland

Too Close To Breathe by Olivia Kiernan

The Summer Theatre By The Sea by Tracy Corbett

Deadly Secrets by Robert Bryndza

Keeper by Johana Gustawsson

Cover Reveal: The Picture – Roger Bray

The week ahead is pretty tame in comparison although I do have a few tours on the cards for the Ice Swimmer by Kjell Ola Dahl; Body and Soul by John Harvey; The Dark Web by Christopher Lowery;��East if India by Erica Brown (Mandie’s review) and The Girl Who Got Revenge by Marnie Riches.

Do have a fabulously bookish week everyone. I will be mostly reading, studying and possibly (maybe) thinking about starting writing myself. Only possibly maybe ish. But probably not. Bust, busy and all that.

Jen

Rewind, recap: Weekly update w/e 15/04/18 You have to admit - this is not a bad way to start a week huh? It was lush if somewhat sickly but highly recommended.

#Rewind Recap #Weekly Round UP

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katherinemacbride · 4 years ago

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Slow Burn: Diary of a changing institution

(K MacBride and Miriam Wistreich)

…to maintain is also to keep buoyant; to maintain one's mood could be described as buoying oneself up, keeping oneself or someone else afloat during difficult times. Maintaining that the Earth is round when it looks flat is about upholding an idea, defending, and affirming it when it is challenged or attacked, raising its profile when it has slipped off the agenda. To maintain is to underpin, or prop up from below, to hold up when something or someone is flagging. The time of maintenance lies therefore at the intersection between the lateral axis of stumbling blindly on, and the vertical axis of holding up, orientating us towards a future, even when that future is uncertain, or may not be our own.

(Lisa Baraitser, 2017, Enduring Time. Bloomsbury: London. p. 53)

For more than twenty years Hotel Maria Kapel has been an artists' residency, cinema, and contemporary art space in Hoorn, a town thirty minutes from Amsterdam. The venue, which is located in an impressive sixteenth century chapel, started in 1983 as an artists' initiative in the abandoned Maria Kapel and subsequently grew into what it is today: a publicly funded institution with national and international connections. In 2019, after the departure of Creative Director Irene de Craen who had led the institution through a period of (still ongoing) professionalisation, the board of Hotel Maria Kapel instigated a "year of reflection and reorientation" for which they hired an editorial committee consisting of artists Griet Menschaert and Maja Bekan, and curator Miriam Wistreich. A mix of artistic research and curatorial experimentation, the editorial committee's 2020 programme Slow Burn focuses on questions of care to channel institution building and its entailing questions into HMK's residency and exhibition programme. Through six thematic chapters (space, navigation, work, endurance, community, and time) the team of HMK, with its artists in residence, are trying to understand what it means to practice care — for our artists, our institution, our team, and our publics. Who do we care about and for? How can we qualify care through feminist politics and avoid the pitfalls of caring badly or caring too much? Is this even possible and what happens when we fail? And ultimately: how can we build practices and spaces of care within the limits of an exploitative system with which we are all complicit?

This text was co-written in June 2020 by Miriam Wistreich (Creative Director, HMK) and Katherine MacBride after the latter's residency at HMK. The point of departure for the writing process was a set of journals written by the HMK team — Annelien de Bruin (Coordinator), Miriam, and Rik Dijkhuizen (Communications Manager) — during March 2020, recording their experiences of running the organisation. This exercise was intended to form part of HMK's research into its own working practices, but since the Dutch government's measures to tackle the COVID-19 pandemic came into effect in March, the journals also offer insight into sudden changes in modes of working and the possibilities and challenges this opened up in a small team.

To write this text, Miriam and Katherine drew on four recurring themes that emerged from the journals: buoyancy, stress, structure, and listening. Each wrote two sections of what follows, drawing on differing positions in relation to HMK and wider experiences of collective work; some are descriptive, some propositional. Different voices inhabit the text together. The section "Stress" is formed of direct quotes from the journals that are used here with permission.

Buoyancy

Buoying one another along and up, on the surface, in the air, not drowning or falling, afloat; maintained in space and time. Vulnerable and precarious, buoyancy is a never ending processual task. The buoy will need new air pumped in, its rope replacing, eventually the anchor will rust. Someone will attend to these things, keep them maintained, as long as the buoy and the buoyancy of those who depend on it are deemed necessary, or as long as the maintaining attention itself can be kept buoyant. Otherwise the buoy might degenerate or disappear, bringing risk to those who depend on its buoy function for their own buoyancy. Unplanned parts of the structure, like the algae and small bivalves who grow on the rope, might outlive the maintenance energies, for they are not dependent on the buoy's intended function but will too find their environment disrupted and at risk as the buoy degrades in time. Who is maintaining the buoy in your collective work? Who do you know and not know that depend on it?

Stress

There are not enough hours in the day (and I really value sleeping).

Finished translation of project plan. In the afternoon I had a migraine.

Tired from yesterday, my other job ran late, the day started with a feeling of being behind, underperforming, lacking in discipline and efficiency. I pour myself a coffee before our weekly meeting.

I enter in a state of near panic, thinking of a reprimanding email and all of the funding I am behind on. I do seven day work weeks at the moment and am running behind on deadlines in all of my jobs (currently only around three employers) and feel I am underperforming everywhere.

Institutional trauma is carried in the bodies of the workers.

Things have been evolving rapidly. People are falling ill, we are advised to keep distance, work from home. We close HMK. My friends and community experience the consequences without delay: cancelled jobs, plans put on hold. Over the course of one day, my teaching jobs fall through, my side gig is cancelled, my exhibition is postponed indefinitely, my writing jobs are put on hold. I am tense thinking about them. I reach out to precarious friends (work, mental stability etc.). I go to bed exhausted.

I have a toothache and have to go to the hospital. I go to bed with a numb mouth and exhausted brain.

I spend the day feeling stressed about how to live up to everything that is demanded from me at work, from friends, as a person. I am overwhelmed and unable to focus. I feel lonely, who will be there to comfort me when I collapse?

I lose the day to a migraine.

I finish the day dancing alone in my room. I chose UB40 to get good vibes in my body.

Structure

We maintain the chapel every Thursday, 15.00. We sort through twenty years of paperwork, two years of exhibition materials, wood everywhere, bags of plastic. We haven't seen the mice yet but we know they are there.

We invent meeting protocols.

We mop the floors before opening hours.

We sing together every month.

We disagree on the relationship between structure and freedom and the virtues of each.

Sometimes we don't know what we're doing. Other times we know really well.

A score to prepare listening attention in a meeting

At the last meeting responsibilities for the preparation, happening, and follow-up for this meeting were shared out. These vary for each meeting group but probably cover the following areas (broken down into separate tasks so one person does not cover an entire category by themselves): admin (reminders, agenda, minutes), group process (facilitation, timekeeping, attending to unspoken dynamics), reproductive labour (attending to bodily needs of everyone, including the space). Responsibilities rotate for each meeting regardless of role hierarchies outside meetings.

Someone, or everyone, brings food to the meeting so no one is hungry.

Adjust the temperature. Human bodies do not have universal experiences of hot/cold.

Arrange enough seating. Can everyone in the group sit on the same kind of seats?

Adjust the lighting — bright enough to see each other but not so bright that those with light sensitivity are uncomfortable.

Prepare drinks that everyone can drink.

Develop a group agreement on start and end times based on the needs and capacities of the group. For example, people with caring responsibilities, health issues, or precarious work (often this is the whole group) might not be able to stay over time, or arrive exactly on time.

Develop a practice of checking in at the start of the meeting. This gathers the capacities, needs, and complexity of each individual and draws them together into the group.

If the meeting has an agenda, someone reads it aloud. Agree together what is possible to address in this meeting. It is important to develop a practice of setting realistic agendas over time.

During the meeting, listen: to the threads of the content; to your own thoughts before you speak them, considering if they need to have space in the available time; to learn about processes you are not actively involved in and modes that feel different or difficult for you; for feedback from others; to moods; to the unspoken.

Record something of the meeting so that the people who cannot be present, which is usually some people, can clearly understand something of what happened.

A short reflection on the effects of journaling within the organisation

The journals were shared between the members of the team and discussed during weekly meetings. Journals are tools for self-reflection, channels for venting, and traditionally also containers for secrets and contradictory, sometimes shameful, emotions. Within the HMK team, the journals functioned as access tools into each other's thoughts and allowed conversations to arise that would not otherwise have been given space in a hierarchical, professional context. It allowed the team to discuss subjects such as fears connected to work, differences in coping strategies, levels of engagement and excitement and the histories leading to those emotions, and the pressure we put on ourselves and others. Ultimately the journals led to increased vulnerability and openness within the small team, no doubt aided by a simultaneous feeling of breakdown and dissolution of boundaries between work and life caused by COVID-19 measures.

published https://newiseverything.com/slow-burn-diary-of-a-changing-institution.html

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