Can supervise: YES
King, L 2018, 'The Exotic Terrains – grounding critical walking practice in the post-Anthropocene', Synnyt/Origins: Finnish Studies in Art Education, no. 3 SPECIAL ISSUE Catalyses, Interventions, Transformations, pp. 232-258.
This paper discusses critical walking methodologies as a means to access specific forms of "earth-bound" knowledge in the complex political ecologies of the post-anthropocene. By illuminating more-than-representational methodologies, walking is tested as a way to make direct encounters with an entangled field of material, discourse and meaning. With a focus on the agency of the moving body and the moving landscape as coextensive participants in a world-making project. The paper will discuss strategies emerging from critical walking practice, which embed walking within theaesthetic fields and 'environmental crossings' (Gabrys, 2012) of climatic change and greater earth system collapse.
Kinniburgh, J & King, L 2020, 'Maria Island: A Landscape and Architecture(s) for Tracing Margins of Love, Desire, and Futurity' in Stead, N & Frichot, H (eds), Fictocritical Approaches to a Writing Architecture.
Maria Island: A Landscape and Architecture(s) for Tracing Margins of Love, Desire, and Futurity
"Spaces can be real or imagined. Spaces can tell stories and unfold histories. Spaces can be interrupted, appropriated, and transformed through artistic and literary practice." (hooks, 1989, 209. Our emphasis)
In this chapter we foreground how ficto-critical praxis has a viable and germane relationship to writing the memory of spatial experiences, for imagining yet unknown spatial relations, and for conjuring fantasies of fugitivity and escape. Writing through themes of the 'margin,' the 'undercommons,' islandness, and love, in this chapter we engage with the projective nature of ficto-criticism and how it aligns with the speculative act of designing, by generating critical and counter-narrative constructions of space, and the futurity of spatial relations. (Grosz, 2001)
For bell hooks, the margin is imagined "as a location of radical openness and possibility." (1989, 209) What hooks calls the 'margin,' Stefano Harney and Fred Moten (2013) have identified as the 'space of the undercommons'. Here reside the minority, the oppressed, and the broken in non-normative and queer outlying space. In the spirit of the 'margin' and the 'undercommons' we explore Maria Island, a peripheral and contested landscape located to the southeast of Tasmania. A former penal colony (the island now designated as a National Park) stages remnants of its multiple built histories: ruins of dismantled housing and abandoned industry; disused postindustrial cement silos; and refurbished convict dormitories (now tourist accommodations). The authors trace these layers and their performative agency, revealing hidden narratives and uncovering 'Other' and heterogeneous vistas of the island's spatial histories.
Our navigation of ficto-critical praxis evokes the undercommons by 'making visible' (Grosz, 2008) the lesser-known spatial histories of Maria Island as they were made and lived by marginal occ...
King, L 2013, 'The Geology of the Sky' in Jonas, M & Monacella, R (eds), Exposure: Design Research in Landscape Architecture, Melbourne Books, Melbourne, pp. 93-104.
King, L 2015, 'Air Ground Body Walk', International Cartographic Association (ICA) Commissions on Maps and Society & Art and Cartography, Rio de Janeiro.
To lose marble is to lose an assembled collective. Marble holds the fragments of a number of lives, compressed together in a single location. To honor this geologic tradition, we reassemble a collective. We spatially locate our Lost Rock, drawing on a series of fragments, stories and lives – each incomplete. We find ourselves on wukaluwikiwayna/ Maria Island, a National Park that stages remnants of its multiple built histories. Some of the fragments are visible: ruins of dismantled housing and abandoned industry; middens several meters deep, reinforcing the dunes of the isthmus; disused post-industrial cement silos that stand sentinel over the ferry wharf; and convict dormitories refurbished as tourist accommodations. Some remnants are no longer visible, except within archives: the desecrated tyreddeme cremation site along a freshwater stream; records of the Napoleonic Wars; an upturned paraganna/abalone shell singed black; Eurocentric notes of the colonial patriarchy. We trace these layers and their performative agency through a ficto-critical practice that makes visible (Prosser, 2006) lesser-known spatial histories of Maria Island as they were lived by marginal occupants. We reflect on marble to imply the creative potential within this collective in two ways. Firstly, through ficto-critical writing practice, we acknowledge the neglected social fragments of the island that are not readily found in the published accounts of the place. Secondly, through a conversation between two feminist authors, each writing in the first person, contributing their own fragments, stories and reflections...
Burrell, A, Foster, S, Hendery, R, Hromek, D & King, L 2019, 'Barrawao', Nandiri'ba'nya: Language and Country Exhibition, Winda Film Festival, Māoriland, UTS Library, Sydney Australia, Aotearoa / New Zealand.
Barrawao seeks to bring about an understanding of the deep connection between language and country in an embodied and experiential manner. Barrawao can be translated as "to fly or to make haste" from the D'harawal language.
King, L 2018, 'The Lost Rocks', A Published Event.
KING, L 2016, 'Things That Move Below Us and Above Us', Public Event attached to conference.
over the course of the four day conference , PsI #22, Performance Climates July 5-9, 2016 : Saskia Schut and myself ran a program of performative mapping project for the public, conference attendees and broader public.
king, L 2016, 'Beginning in Incompleteness: Works in Formation', six week installation conducted in the RMIT Project Space.
six week installation conducted in the RMIT Project Space
king, L 2015, 'Human Dust; Diamonds Are Forever', West Space Gallery Melbourne.
In his 1950 seminal lecture The Origins of the Work of Art, Martin Heidegger insists that the earth and the world are in 'constant strife'1. Heidegger posits that it is the artwork that might be useful in "setting up a world [that may then] set forth the earth": artworks belong to the earth (in that they are made from earthly things) but are made in the realm of the world (in that they are products of human culture). Thus it is potentially an 'artwork' that may act as a conduit and straddle the two paradigms of our planetary bodies to bring resolution to the humanistic perspectives of the contemporary material conditions that are proposed through the concept of the Anthropocene. The Anthropocene is the name given to the current age where humans are said to be operating on a geologic scale2 , a concept made widely fashionable by the Nobel Prize-winning atmospheric chemist Paul Crutzen.
King, L, 'Sites of Significance', Situation, Melbourne.
King, L, 'The Antediluvian River', Interpretive Wanderings:Mapping Culpra Station, Mildura Arts Centre, Mildura Art Centre.
3 x Digital archival prints