Delivers a counter blow to the rampant culture of fear fuelled by the likes of CNN, Fox and the Daily Mail. Exploring contemporary and historical manifestations of this controlling force, the conversations in this collection go beyond just scrutinizing what constitutes rational versus irrational fear, or identifying ways in which human fears are manipulated by political players. They reveal how fear antagonizes and changes our subjectivity and, crucially, how the political use of fear has been resisted in different times and places, by different people across the globe.

Part of the Study Room Guide on Live Art and Displacement (P3107).

*currently unavailable*

Examines themes of being-in-common in today’s world and their relation to the development of art practices. As these practices are implemented, other ways of seeing, understanding, and making appear.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Catalogue of the eponymous programme of events; Barbican, 20-28 January 2017. Includes archival images from the Warburg Institute and other sources that have provided inspiration to the artists during the making process, an introduction to the work by Siobhan Davies, a conversation between the Warburg Institute and Siobhan Davies Dance, and texts by artists and curators involved.

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.

Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.

Now regarded as a landmark film but virtually disowned by MGM when it was first produced, Browning’s film, set in a travelling circus, works as an old-fashioned morality play against avarice. Browning used a collection of handicapped actors and performers for the circus community, which initially welcomes the beautiful trapeze artist Cleopatra into their group when she marries midget circus owner, Hans.

60 minutes.

Part of the Study Room Guide on Live Art and Kids (P3091).

Interview with Manuel Vason; in Spanish. 

A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.

Includes:

Marina Abramovic – On ‘Rhythm O’, 1974, 2013,  3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocío Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer  – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item,  2015, 1’57”

Artist book on the performance artist and body builder who uses their own body in a sculptural fashion, thereby interrogating feminism, body art, and gay male aesthetics.

The book is an integral part of a retrospective exhibition; expressing belief systems and psychic connections, it represents the heart and soul of Sands' current work. Includesa poster and an invitation card.

The Library of Performing Rights is a unique resource containing over 250 items submitted by artists, activists and academics from around the world that examine the intersection between performance and Human Rights.

The catalogue is available here and is continuously updated.

Please note the Library is currently housed in the Study Room but is a touring Library so please contact LADA before your visit to check it is not out on the road.

Review of Athey’s Messianic Remains at the Performance studies International symposium.