Catalogue > By Keyword > audience
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From Margin to Center: The Spaces of Installation Art
A study of installation art, from its marginalized beginnings in the late 1950s to its central position in today’s art world.
From Acting to Performance: Essays in Modernism
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
Marina Abramović: Cleaning the House
A monograph produced and designed in close collaboration with the artist; forms a personal scrapbook of her life and influences, ranging from Buddhism, the aboriginals of Australia and religious iconography, to Western artists such as Joseph Beuys.
Emergency INDEX Vol 6
In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.
Polvo (Octopus)
Playing cards, for a performance/card game in which players are dealt body parts instead of numbers in suit. Players will combine their own cards and reproduce the combinations with their own body. When a combination is impossible to be made alone the player may borrow a part of someone else’s body to be able to continue to play.
Attention Please! Changing Modes of Engagement in Device-Enabled One-to-One Performance Encounters
Explores attention structures that invite one-to-one encounters in digitally informed practice.
Dream Audience
Documentation from the DIY 13 project, setting and testing ways of getting together to show unfinished work.
Be Your Dog
Documentation from the DIY 13 project.
Birthmark: Tattooing in the gallery
Exploring the ritual / performance / intervention that marks the tattoo-receivers journey from birth in parallel with the rise in carbon emissions that cause climate change.
Part of the Library of Performing Rights (LPR) (P3041).
Repetition in Performance: Returns and Invisible Forces
While considering repetition in relation to the difficult pleasures we derive from the theatre, this book explores ways of accounting for such experiences of theatre in memory and writing.
