Comprehensive overview of China's performance art in 2015. Includes essays, five case studies and information on over 100 artists. In Mandarin.
Kaprow’s sustained inquiry into the paradoxical relationship of art to life and into the nature of meaning itself is brought into focus in this newly expanded collection of his most significant writings.
Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists.
Part of the Study Room Guide on Live Art and Displacement (P3107).
How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Kapelica Gallery calendar.
Shelved in Oversize publications section.
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.
The volume introduces English language readers for the first time to work by an emerging group of critics and artists addressing the legacies of colonial violence in present-day Japan. The volume contains translated essays, and an accompanying DVD with artist interviews.
All issues (pilot-6) of the “international cross-artform bi-monthly”.
Includes:
– Artist bio & CV
– Hermana, 2010, 1'50''
– Himenoplastia, 2004, 7'21''
– Juegos de poder, 2009, 11'10''
– La Verdad, 2013, 1:10'
– Lucha, 2002, 3'38''
– Perra, 2005, 5'31''
The monograph follows the studio practice, public performance works, and gallery and museum shows that took place between 1969–1973 in which documentation of conceptual performance works in slide, film, video, and photographic form exhibited alone or as a component of installation.