Critical Writing in Art & Design
Honey I’m Home (BUY), written by students of the Critical Writing in Art & Design MA programme at the Royal College of Art, brings together 15 Responses to Property, Ownership and Access.

‘Honey’ is probably at work, and you, well you have simply arrived at your latest investment, your current dislocation. The true name of this place is not Home but Property—a home as exchange value. From the waistband on your underwear to your radical politics, everything, first and foremost, is exchange value, and nothing belongs to you in a simple way. Honey, I’m Home asks where ownership lies, then, and what is more: what happens to life in this paradigm. How do we live, protest, work, or determine the origins of objects and ideas under a logic in which the only stable thing about ownership is that it is always in question, indeed, always a question. This varied collection of writings attempts in turn to arrest the flow of exchange value, to abolish it, to shake it up and destabilise it, if only for a moment, to recover within it a sense of belonging. Something simple like: standing still in public space to insist on its publicness; to say: colonial violence cannot be bought and resold as afternoon tea; to test: how many subjects can I produce, how many homes can they find?

Oscar Gaynor, Niamh McCooey, Skye Arundhati Thomas

Art Direction
Alex Bennett, Nadia Quadmani, Molly Richards

Oliver Dickson and Kristoffer Sølling

Web Development
Kristoffer Sølling

Thea Smith

Image Editors
Rosanna McLaughlin and Izabella Scott

Distribution and Events
Polly Gregson, Marianne Hanoun, Antonio de la Hera, Emily Pope and Liza Weber

Jacket Copy
Kristian Vistrup Madsen

Lars by Mads Wildgaard,
Courtesy of Bold Decisions

Color Seperations:
Color Library: A research project at ECAL/University of Art and Design Lausanne


Emily Pope There is a Guinea Fowl on a Chain in the Garden


Nadia Quadmani Desert, Be Green


Kristian Vistrup Madsen Angela Davis is in Your Clutches


Niamh McCooey Finding Divismore Crescent


Izabella Scott & Rosanna Mclaughlin The Times Literary Supplement Letters to the Editor


Skye Arundhati Thomas Best Export Quality


Molly Richards This is like My Major Little Ballroom


Liza Weber A Case of Lost Art


Alex Bennett Calvinised: Fashioning Dispossession


Marianne Hanoun House Style


Thea Smith A Bullet Would Be Fatal


Antonio de la Hera Flat Time House: Obituary


Polly Gregson Pavements Are For Running


Oscar Gaynor The Elephant’s Head
There is a Guinea Fowl on a Chain in the Garden places recollections from living in Tottenham in 1992 next to current commentary on the housing crisis in London in 2016, focussing on the E15 Mothers and their protest against social cleansing. The United Arab Emirates has undergone rapid and expansive change. Irrigated lawns and expansive golf courses have sprung up out of the uninhabitable desert, superimposed upon territories of a bygone pearl-diving economy. Desert Be Green’ reflects upon the contrast between, what was, and what is now, a bizarre landscape. Angela Davis is in Your Clutches is a reflection on the commodification of radical politics — and its mythical and more authentic counterpart — constructed around the story of the Black Panther activist Angela Davis in 1970 and contemporary concerns about the prison industrial complex. A journalistic essay about a taxi-tour of Belfast’s murals, painted in housing estates worse affected by the Troubles in Northern Ireland. Set throughout the tour, this text explores the complicated and often contradictory nature of the city’s infamous political history, and what these murals now mean to their communities. Portuguese writer Fernando Pessoa (1888–1935) famously wrote through over 80 identities, which he called ‘heteronyms’. At death, Pessoa left behind a trunk of writing. In the years since scholars have been sorting through the trunk, attempting to assign its contents to his various heteronyms. In this fictional piece, two Pessoan scholars, Prof. George Cararra-Sigar (University of Cambridge) and Prof. Fyodor Cliffton (Goldsmiths University), are caught in an increasingly heated dispute played out in the Times Literary Supplement over an obscure fragment, found wedged in the lining of the infamous trunk. In 2005, the intellectual property and trademark of the East India Company was purchased by an Indian businessman, reinstated once again as a luxury goods provider on the international market. An act of reclaiming, or one of an internalised Orientalism? ‘Colonial’ is now an easily reproducible aesthetic – as available for purchase, another iteration of commodity. This is Like My Major Little Ballroom revisits Mariah Carey’s, Missy Elliott’s and Redman’s properties through the portal of Cribs, MTV’s reality TV show featuring tours of celebrity houses where ostentation, aspiration and ownership are displayed for all to see. A Case of Lost Art is a memoir on holding or, as the case leaves open, not holding onto something of 'worth'. The text is an example from the writer's thesis The Haptic of Holocaust Art Restitution (and getting to grips with Gurlitt). What garment is intimate and basic, but operates as a highly exposed and uncompromising example of supposed personal property? Your underwear. For Calvin Klein, it is the waistband in particular. This essay considers the heritage of Calvin Klein underwear, its facilitation and acceleration of disembodiment, coupled with the body’s domestication. Before they can begin to sell a property, an estate agent must first sell themselves. The question is, do we buy it? Shapes, signs and house style: a critique of the graphic language and design of estate agents. A bullet would be fatal is an exploration of the possibility of freedom within a metaverse created by virtual reality. It considers the problems of the posthuman body and the development of a technology which posits the ability to cross a virtual frontier, yet is limited by physical experience of a terrestrial world. What is real? An early obituary of Flat Time House, a living sculpture in south east London, and former home of conceptual British artist John Latham. A spoken word poem concerned with meandering, loitering and stagnating in a city that insists on movement. Against the background of rapid change and reorganisation of the nearby Olympic development, an account of the founding, and eventual disbanding, of a communal live/work space in an derelict public house in Hackney, London.