Pulls together rich elements of music, physical space, visual arts, text and movement; contemplates violence, without relying on sensational anecdote.
nitially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigates other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon.
Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body.
Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
The collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings.
Written in the second person and in part generated from spam emails, this is a kick up in the backside for the male dominated London art world
Recording of live performance narrating the rise of capital in the medium of asparagus. Ta rigid choreography inspired by Oskar Schlemmer’s Triadic Ballet and based on Karl Marx’s Capital dictated the movements of six performers in asparagus costumes. Bringing together the organic and the geometric, the ballet investigated the transition from the Fordist assembly line to immaterial labour through a reanimation of modernist abstraction. Produced in collaboration with Montreal based band Les Georges Leningrad and commissioned by The Showroom Gallery, London.