Examines the surge of queer performance produced across Ireland since the first stirrings of the Celtic Tiger in the mid-1990s, up to the passing of the Marriage Equality referendum in the Republic in 2015.
Seeks to show how a clear understanding of class makes sense of what is at stake in a broad number of contemporary art’s most persistent debates, from definitions of political art, to the troubled status of “outsider” and street art, to the question of how we maintain faith in art itself in a dysfunctional world.
Part of the Study Room Guide on Live Art and class and cultural privilege. (P3152)
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).
A fog of information and images has flooded the world: from advertising, television, radio and film to the information glut produced by the new economy. With the rise of social networking, contemporaries, peers and friends are all suddenly selling us the ultimate product: themselves. Thompson interrogates the implications of these developments for those dedicated to socially engaged art and activism.
Part of the Study Room Guide on Live Art and Displacement (P3107).
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.
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.
Review of Athey's Messianic Remains at the Performance studies International symposium.
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.
Various issues, 2009-2016 + two flyers.
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.
A durational piece which seeks to articulate politics surrounding the viewing of the female body, engendered roles and labour.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Mezzadra and Neilson explore the atmospheric violence that surrounds borderlands and border struggles across various geographical scales, illustrating their theoretical arguments with illuminating case studies drawn from Europe, Asia, the Pacific, the Americas, and elsewhere.
A pop song designed to raise money for, and awareness of, Live Art in the UK.
Lepecki surveys a decade of experimental choreography to uncover the dual meaning of ‘performance’ in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five ‘singularities’ in contemporary dance: thingness, animality, persistence, darkness, and solidity.
Pandering to the real or imagined demands of private finance distorts the art world, silencing dissent and stifling politically or socially engaged art in favour of consensus and what is known in the trade as ‘investment grade art’.
Paul B. Preciado shows the ways in which the synthesis of hormones since the 1950s has fundamentally changed how gender and sexual identity formulated, and how the pharmaceutical and pornography industries are in the business of creating desire. This riveting continuation of Foucault’s The History of Sexuality also includes Preciado’s diaristic account of his own use of testosterone every day for one year, and its mesmerizing impact on his body as well as his imagination.
A publication where the work Fabião has been developing in the streets since 2008 acquires a new dimension. Containts extensive photographic material and writings by the artist and original essays.
An overview of many of the key directors working in European theatre over the past fifty years, situated lucidly in its artistic, cultural and political context. The resulting study is a detailed guide to the generation of directors whose careers were forged and tempered in the changing Europe of the 1980s and 1990s.
The first comprehensive collection of writings by American artist and critic Martha Rosler. Best known for her videos and photography, Rosler has also been an original and influential cultural critic and theorist for over twenty-five years.
Arendt provides a historical account of the forces that crystallized into totalitarianism. The ebb and flow of nineteenth-century anti-Semitism (she deemed the Dreyfus Affair a dress rehearsal for the Final Solution) and the rise of European imperialism, accompanied by the invention of racism as the only possible rationalization for it.
The first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction.
A critical discussion of the public sphere in the current neoliberal capitalist democracy from the perspective of performance.
A collection of documents, presentations, propaganda pamphlets and vidioes realised by The Institute for the Art and Practice of Dissent at Home, including “Miss Julie in Utopia Propaganda Pamphlet 2106200821” (2008), “The Hazardous Family Performance Text” (2008), “Macbethmachine Pamphlet 211220101330” (2010), “Family in Transit” (2013), and a DVD video of “A Promising Family Picnic” (2009).
Article analysing how art approaches and resists the capitalist appropriation of power and creation.
The author analyses several contemporary performances as examples of artistic critique of current ideological canons and power structures governing labour relations in the globalised capitalist production.
An uncensored, comprehensive guide to Pagan practices around the world today.
A critical exploration of both the effects and affects that the Internet has had on contemporary artistic practices. Contributors: Ed Halter, Basel Abbas, Ruanne Abou-Rhame, Sophia Al-Maria, Sam Ashby, Jeremy Bailey, Stephanie Bailey, Erika Balsom, Zach Blas, James Bridle, Jennifer Chan, Tyler Coburn, Michael Connor, Model Court, Jesse Darling, Brian Droitcour, Constant Dullaart, Gene McHugh, Omar Kholeif, Lucia Pietroiusti, Jon Rafman, James Richards, Basak Senova, Jamin Shovlim, Brad Troemel.
Passionate Amateurs argues that theatre in modern capitalism can help us think afresh about notions of work, time, and freedom. Its title concept is a theoretical and historical figure, someone whose work in theatre is undertaken within capitalism, but motivated by a love that desires something different.
Part of a series of artists’ films, documentaries and dialogues reflecting the potential of marginal artforms and intense ideas within popular media..
A retelling the history of art practice and exposing the ways in which neoliberal norms and values have seeped into every aspect of our lives.
A selection of performances made for camera and Talking Heads. Commissioned by the Agency, the Talking Heads are short video statements by artists about their practice and approaches to making, and include artists addressing the relationship between action and objects, and the tensions between commerce and performance culture.
Professional writers, artists and cultural critics from around the world offer their views on the issue of the artist’s responsibility to society. Contributors: Page duBois, Ewa Kuryluk, Kathy Acker, Elizam Escobar, Martha Rosler, Eva Hauser,Coco Fusco, Carol Becker, Felipe Ehrenberg, Njabulo S. Ndebele, Michael Eric Dyson, Salman Rushdie / Ahmad Sadri, Henry A. Giroux, Guillermo Gomez-Pena and B. Ruby Rich
Part of the ‘Documentation Bank’ Collection, an extensive range of artists’ ‘Talking Heads’, documentation of key works, and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
A double one-woman show: double the woman, double the show. An amalgam of theatre genres and familiar characters; nothing is too outrageous.
A book-film – text with DVD. NOTE: text is in French, DVD in both English and French.
Continues Forced Entertainment’s enquiry into the spectacle of theatre in contemporary life, exploring the ways in which we live, breathe and tell stories in the circumscribed space of late capitalism.
As the Creative City model for urban regeneration founders on the rocks of the recession, and the New Labour public art commissioning frenzy it triggered recedes, the authors take stock of an era of highly instrumentalised public art making.
Publication in French
A short book about the discussion between three women of being artists under patrichal capitalism. Letter from Rose English in the front.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Explores the contribution that theatre has made to our slowly evolving consciousness of our world as a whole. This item is referenced in the Making Routes Study Room Guide (P1964).
Fiona McGregor, writer and performance artist, travelled to Poland in 2006 with former art/life partner AñA Wojak touring Arterial, a show based on blood rituals. Halfway between travelogue and memoir, the book documents the passage through economic, political, and personal formations in the interlaced trajectories of art and life, past and present. The artist gets caught up watching and participating in a culture in change, where people are struggling to live well enough under capitalism and where old ideas are expressed in the extraordinary cluster of public museums she found. This item is referenced in the Dreams for an Institution Guide (P2313).
A post-Fordist neo-Constructivist mime commissioned for the Berlin Biennale.