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'What Matter Who's Speaking' is a fragmentary work by Jonathan Bennett Bonilla positioned between poetry and philosophy. Central to its interrogation is the question: where do we go to speak to the dead? WMWS is a set of rooms sealed shut.A series comprised of leftovers and remnants of work from the artist's studio, 'Residue' is a corpus of materials that have gone through a previous life and which have been part of the creative process of Vince Briffa. These pieces have originally been created without any aesthetic or artistic concern, and in normal circumstances would have been discarded. 'Residue' is therefore a body of work that has been saved from such fate to be given a new life, re-aestheticised in CD jewel cases. The work sits at the junction between painting and objet trouvé, becoming an ongoing attempt at recontextualising materiality through the regularity of a very strict modular format - whatever is found has to fit within the size and form of the jewel case.In this book, these two works speak to, converse with, each other, without ever becoming one.

Requiem for the Factory is a conversation between two forms of writing: language, and light. This occurs in a tale that attempts to explore the relationality of a self to her self through the figure of a factory. Told through an "I" that refuses to remain stable, one isnever sure whether this is a moment when the tale is recounted, recalled, or whether it is being told at the moment of telling.And this is why this requiem has to be narrated. What is foregrounded is not only the fact that memory, history, is fictional, but more pertinently that the self-and the "I"-can only be uttered, perhaps even known, through fictionality. This is not to say that the self is imagined-unreal-but that the imaginary is in the very fabric of reality itself.This is a tale of two writings that are speaking to, and with, each other, whilst also speaking in their own realms at the very same time.

On Invisibility attempts to meditate on the relationality between the seen and unseen, known and unknowable, particularly when in relation with an other, when grappling - in touch with - another. This text opens the dossier that, whilst seemingly antonyms, invisibility is part of visibility; that each act of seeing is fraught with the possibility of blindness. And more than that, relationality with another is premised on this very unknowability. Which is why, not only does one encounter jiu-jitsu through practice, praxis; not only does one encounter jiu-jitsu through an encounter with the other; part of it always escapes us, remains enigmatic. Thus, not only is it arte suave, it is always also potentially arte bela. So, even as we attempt to address the question what is jiu-jitsu, part of it will always remain beyond us. Which might be why we have no choice but to turn to art: for, all that we know, can see, of jiu-jitsu will be fragments of it - sketches.