Explores how Marina Abramović has subtly incorporated the law to her economic and professional advantage.
On Tino Sehgal’s Ann Lee and the robotisation of the ageing body.
A collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the field of collaborative art.
Explores the ways in which contemporary artists across media continue to reinvent art that straddles both public and private spheres.
Brings together artists, curators and producers, writers and critics to think through their relationship with criticism, revealing passionately held and often conflicting opinions on what criticism is and where it resides. Follows Steakhouse: Live Writing, a pilot project undertaken as part of the 2016 Steakhouse Live Festival of Live Art and Performance.
Explores the agency of the pseudonym over a sustained period of time through two case studies in particular: the Guerrilla Girls, an all-female collective working anonymously, and Marvin Gaye Chetwynd, the first British performance artist to be nominated for the Turner Prize.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
The contributors to this book, writing from a variety of subject disciplines and interests, explore a range of the uses of autobiography from the nineteenth-century to the present day, and from Africa, USA, the Middle East, France, New Zealand, as well as Britain.
What do we understand by collaborative artistic practices in Spain? After three years of research, this publication bears witness to the diversity of points of view and opinions by Spanish artists and key agents working in this field.
The aim in bringing these voices together in a single publication is that they will add to the already existing discussion in English and will influence future theoretical discourses more broadly.
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
Special issue: Simon Stephens – British Playwright in Dialogue with Europe.
The Publication follows the journey of ten collaborations, created by Co-Lab performance art program together with Savvy Contemporary Art Laboratory in Berlin.
Explores the role of the fake, the false and the faux in contemporary performance and investigates the aesthetic and political potential of re-enactments.
‘Talking Heads’ are short presentations by artists to camera about their practice and approaches to making. The ‘Talking Heads’ films are part of the Agency’s ‘Documentation Bank’ Collection, which consists of an extensive range of artists’ ‘Talking Heads’ films, documentation of artists’ works and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
As the Chicago based performance group Goat Island draw twenty years of beginnings to a close, they open up a myriad of lenses for reflection on, and continuation of, their work through the website project The Last Performance [dot org].
Featuring Suzana Milevska, Ivana Bago, Antonia Majaca, Ivana Bago, Antonia Majaca, Magnus Bärtås Zdenko Bu ek Liljana Gjuzelova Igor Grubi Dejan Habicht/Tanja La eti Kalle Hamm Albert Heta Sasha Huber IRWIN Hristina Ivanoska Sanja Ivekovi Suzana Milevska MONUMENT Group Oliver Musovi Tanja Ostoji /David Rych Dan Perjovschi Lia Perjovschi Tadej Poga ar Georg Schöllhammer Dejan Spasovi Sa o Stanojkovi Mladen Stilinovi , Alexander Vaindorf, Aneta Vangeli
Video documentation of NRLA (National Review of Live Art) 2008.