Lagos Live Arts Festival took place at Freedom Park, Nigeria, 6-9 December 2012.

Documentation of Yann Marussich’s performances between 2011 and 2012. Text in French.

The Days of the Child Prodigy are Over is a project that began in 2011. It started with a dialogue between Rakel McMahon and Bergpora Snaebjornsdottir, a.k.a Wunderkind Collective, where one used drawings and the other texts to communicate. The aim being to explore the idea of the genius from the point of view of individual experience and its implicit absurdity – the conflict that arises when a person tries to search for meaning in a universe he or she can never understand the inherent meaning of.

In a context of collapsing certainties about Europe’s economic and political system, the resurgence of actions towards collective responsibility-making, the timing of this book is perfect. Czarnecki springs open trapdoors back into childhood imagination and causes us to look again at how we address issues of human responsibility to each other and to the world which we hold in common. This is art that responds to the often white-coated ‘cleanliness’ of scientific research.

Primarily concerned with the feminist body as a site for making and exhibiting works, this book examines themes that look at the body as material, the body and performance, as well as the alternative creative platforms in 1970s feminist art. Drawing on original material – never-before-seen images from artists’ personal collections and commissioned interviews with prominent artists from the period – the book is an invaluable resource for artists, researchers, curators and students interested in recovering this period from the margins of art history.

This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)

He could be considered a latter-day English Dadaist, but Bruce Lacey's place in 20th-Century British Art is still uncharted and ill-attended to. He goes missing in critical accounts of mid- and late-century art and this short monograph is an attempt to remedy the omission by analysing his work in relation to the shifting cultural contexts of the period.

A Bigger Splash: Painting After Performance takes a new look at the dynamic relationship between performance and painting from 1950 to the present day. Published on the occasion of the exhibition of the same title at the Tate Modern, 14 November 2012 – 1 April 2013.

From a lecture given on 7 November 2011 at the Ludwig-Maximilians-Universitat Munchen, and on 1 December 2011 at the Freie Universitat Berlin, Top Girls focuses on media images, since the late 1990s, which were intended to provoke some, imagined group of (always humourless) feminists. These images appeared, in a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against what was caricatured as a kind of extreme, and usually man-hating feminism, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.

This article can be found in miscellaneous articles, folder 5A.

Martha Wilson Sourcebook is the first in a new publication series by ICI that offers a fresh perspective on social, political, and cultural issues impacting artists’ practices. Each compendium is comprised of articles, letters, newspaper cuttings, extracts from books, and images that an artist selects from their own archive and annotates with personal commentaries on the themes that arise. By using this subjective approach as a lens through which to rediscover pivotal debates in art and reconsider seminal texts, as well as to introduce little-known or out-of-print material, the Sourcebook series places emphasis on the histories and theories that have had a formative influence on an artist’s thought process.

n.paradoxa's 12 Step Guide to Feminist Art, Art History and Criticism invites readers to ask themselves difficult questions about the visibility of women artists, stereotypes of women artists in canons of art history, and to think about different theoretical approaches to a feminist art history of women artists. It offers further reading on a number of issues including: images of women; women as cultural producers; the politics of feminist art; and distinguishing between art in/of the feminine and feminist art.

This Article can be found in, Miscellaneous articles folder 5A

A presentation in response to an invitation to speak for 15 minutes on Art, Activism and Feminism in the 1970s at '347 minutes… a Conference' at Conway Hall, London, 24.3.2000, held in conjunction with the Whitechapel Exhibition 'Live in Your Head' January – March 2000. Miscellaneous articles, folder 4.

Found in miscellaneous article folder #5A

This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)