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“... down another field, diagonally, this time accompanied by a blue tractor. This pairing of views in Patrick Keiller’s 2010 film Robinson in Ruins – glimpsed again as part of his current installation at Tate Britain (on display until 14 October) – is almost too typical to be true and must, among other things, be a joke at his own expense. Since the ...”

“... With Patrick Keiller’s work a suitable place to begin would seem to be the end – specifically The End (1986), the first film by him to incorporate the subject matter and use the techniques that came to typify his mature style. Seventeen minutes long, and photographed in the autumn of 1983 by Keiller and his sometime collaborator (and full-time partner), Julie Norris, The End consists of what might be termed mises-en-scène trouvées; if by this we are to understand the fortuitous discovery by the camera’s lens of landscapes, cityscapes and their largely spectral human inhabitants ...”

“... apparently completely satisfied for the moment’. Are cars really so sexually alluring? Patrick Keiller suggests a connection between conventional car design (engine at the front driving the rear wheels) and traditional masculinity or heterosexuality, on the one hand, and unconventional design and unconventional sexuality, on the other. Let’s ...”

“... to the Architecture of London is of a healthy if lugubrious city, a liveable place even if, as Patrick Keiller later put it, most of the interesting people there would rather be somewhere else. By 2013, we still have most of that city, but it coexists with and is distorted by an increasingly suffocating and dystopian capital, where space is ...”

“... I was writing a novel called Downriver and walking, in dialogue, with the cultural historian Patrick Wright, who lived close to me in Hackney. We explored the territory together: the Bow Quarter development conjured from the Bryant & May match factory, the weaver’s garret occupied by David Rodinsky above a decommissioned synagogue in Princelet ...”

“... critically we are stitched into the particulars of the places where we choose to make our home. Patrick Keiller, a scrupulous observer from the misted windows of trains, added the Nine Elms Coal Hopper to his album of found architecture. The site was demolished in the winter of 1979-80, before being squatted by a car breaker. The Hopper lives on in ...”