Captured during a weekend-long workshop held in Glasgow as part of DIY16.
Part of the Library of Performing Rights (P3041)
. An introduction to performance in the territory of art: far from proposing a linear history, the volume offers a series of thematic and transversal approaches to performance.
In Spanish.
15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
Part of the Library of Performing Rights (P3041).
The 7th issue of the newspaper is the first one to focus on a region; it commits to reconsidering Americas colonial stories and their marks on its present global condition. In multiple languages.
Part of the Library of Performing Rights (P3041)
A comprehensive study of queer identities and communities across Asia, re-envisioning the queer through Asian perspectives.
Part of Library of Performing Rights (P3041).
How do artists respond to the question of collective survival in the face of crisis? Can writing articulate, subvert and test the ever-present question of the future in modes that are nonlinear, affective and even choreographic? What are our hopes, fears and desires?
Part of Library of Performing Rights (P3041).
Catalogue which accompanies films exploring the social, political and psychological dimensions of women's experience in contemporary Islamic societies.
Part of Library of Performing Rights (P3041)
Critical analyses of cultural spectacle and social identity by eighteen major Australian scholars and practitioners.
The first anthology to chronicle the global critical reception of Aboriginal Art since the early 1980s, when the art world began to understand it as contemporary art.
Part of Library of Performing Rights (P3041)
Explores our obsession with the lure of distant lands and their promise of the weird and wonderful, the beautiful and grotesque.
We do not see empty figures and outlines; we do not move in straight lines. Everywhere we are surrounded by dapple; the geometry of our embodied lives is curviform, meandering, bi-pedal. Our personal worlds are timed, inter-positional, and contingent. But nowhere in the language of cartography and design do these ordinary experiences appear.
Tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation.
Part of the Library of Performing Rights (P3041).
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Excerpt from the publication Two Chicanos on the Road.
Do you have to think that prostitution is good to support sex worker rights? How do sex worker rights fit with feminist and anti-capitalist politics? Is criminalising clients progressive – and can the police deliver justice?
In 2016, two artists embarked a cargo ship and retraced a route of the Transatlantic Slave Triangle – Europe, Africa, the Caribbean – all the while contemplating the notion of home. Both real and imagined, it was a journey to the bottom of the Atlantic Ocean, propelled by questions and grief; a journey backwards in order to go forwards, a diaspora. This show is what they brought back.
Part of the Library of Performing Rights (P3041).
Provides a historical overview of feminist strands among the modern revolutionary movements of Russia, China and the Third World.
On the participatory performances of Robyne Latham.
When students at Oxford University called for a statue of Cecil Rhodes to be removed, following similar calls by students in Cape Town, the significance of these protests was felt across continents. This was not simply about tearing down an outward symbol of British imperialism – a monument glorifying a colonial conqueror – but about confronting the toxic inheritance of the past, and challenging the continued underrepresentation of people of colour at universities.
Part of the Library of Performing Rights (P3041).
Witchy femmes, queer conjurers, and magical rebels on summoning the power to resist.
Performance at Studio 21, Kolkata. Part of Kolkata International Performance Arts Festival 2014
An attempt to recollect the events of racist aggression against the Chinese and Japanese immigrants on 7 September, 1907, that were long obliterated from the collective memory by the sanctioned ignorance of history.
One of three catalogues published for thee exhibition As Public As Race, a series of performances organised in Summer 1992.
James Luna's performance was held on June 3rd.
Speculates on the possibility and implications of selling back the remains of the British Empire in London today. Based on a public installation in London in the fall of 2016, the book catalogues and develops the installation’s critical program of discussions, performances, dinners, installations, and screenings hosted at 91-93 Baker Street.
Part of the Library of Performing Rights (LPR) (P3041).
African dance and western programmers.
How have avant-gardes been shaped by racism and contributed to racist power and imperialism? How have the claims made by avant-garde political and artistic groups to liberate humanity been indebted to religious intolerance? And how has the vanguard commitment to radical cultural action contributed to war, terror, and destruction?
A Performance Poem from the Series “Documented/Undocumented”.
A anguage, a tool to articulate a series of ideas: how outrage and prejudices can be performed; perceptions of the savage and barbaric heathens; tribal nuances and thinking about the Paris of the 1920s as a site of inequality; the spate of negrophilia there; how a change of circumstance for women was reinforced by the war; cultural diversity and tolerance; exoticism and anti-colonial; therefore, transgressive behaviours.
The artist's body is spit on and punished by an indigenous Guatemalan woman.
Part of the Library of Performing Rights (LPR) (P3041)
The essential reader for today's creative leaders and cultural practitioners, including original contributions by artists, scholars, activists, critics, curators and writers who examine the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. It is about consequences and causes of cultural boycott.
Despite the problematic politics of cultural exchange in the theatre, interculturalism is not a one-sided process. Using the metaphor of the hourglass to discuss the transfer between source and target culture, Pavis asks what happens when the hourglass is turned upside down, when the `foreign’ culture speaks for itself.
Part of the Library of Performing Rights (LPR) (P3041).
Asks pertinent questions about art, theatre and the changing meaning of ‘culture’ in today’s intercultural world.
Part of the Library of Performing Rights (LPR) (P3041).
This book focuses on this award-winning artist’s relationship to Europe and the Mediterranean and explores how one relates to a particular place. Published to accompany exhibitions at the Whitechapel Gallery (Sept 2015 – Jan 2016) and IMMA (Oct-Dec 2016).Part of the Study Room Guide on Live Art and Displacement (P3107).
First of the four special editions of the journal, focusing on Documenta 2017. Compiling research, critique and literature, the publicaparallels the work on the exhibition and helps frame its concerns.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Exploring feminist artistic reponses to the specificity of women’s suffering in war, through the work of Sandra Johnston, nichola feldman-kiss and Rehab Nazzal.
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.
The article analyses discourses surrounding the cancellation of Brett Bailey’s performance by the Barbican in September 2014.
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.
Contribution by Jamila Johnson Small for FANON Now – on the legacy of Mirage: Enigmas Of Race, Difference & Desire. The event brought together David A Bailey, artists from the original Mirage project, and artists from subsequent generations, to reflect on the contemporary moment in relation to structural violence, de-colonising culture and relations, and the power of aesthetics and its explorations of complex formations of racial identities.
A diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, considers the interaction of politics and the visual in such topics as the political consequences of a photograph taken by an Israeli soldier in a Palestinian house in Ramallah; AIDS activism; images of social suffering in Iran; the “forensic architecture” of claims to truth; and the “Make Poverty History” campaign. Transcending disciplines, they trace a broader image complex whereby politics is brought to visibility through the mediation of specific cultural forms that mix the legal and the visual, the hermeneutic and the technical, the political and the aesthetic.
Contribution by Alexandrina Hemsley for FANON Now – on the legacy of Mirage: Enigmas Of Race, Difference & Desire. The event brought together David A Bailey, artists from the original Mirage project, and artists from subsequent generations, to reflect on the contemporary moment in relation to structural violence, de-colonising culture and relations, and the power of aesthetics and its explorations of complex formations of racial identities.
Part of “Negación y Utopía” (“Nagation and Utopia”), the first National Festival of Performance of Mexico, 6-29 November 2013, a platform showcasing work on Mexican identity and multicultural hybrids. This documentation includes recordings of the performance, exerpts, and interviews with the artist. Spanish language.
The five works by Pauline Boudry and Renate Lorenz featured in this publication intervene in time-related discourses and practices. Texts by Mathias Danbolt, Diedrich Diederichsen, Elizabeth Freeman, Denis Pernet, Marc Siegel, conversation with the artists by Andrea Thal.
An indepth analysis of the work of three significant African diaspora artists – David Hammons, Maria Magdalena Campos-Pons and Pamela Z – with essays examining site specific installations and peformances concieved by these artists for Dak'Art 2004, the Biennale of Contemporary African Art
The work of Sonia Boyce encourages and challenges us to ask what it means to be a black woman artist in a hierarchical art world, and to confront questions surrounding inter-racial relations in a society where cultural identities condense around myths of nationhood.
Programme Foreign Affairs 2012: a new international festival of contemporary performing arts in Berlin, where in recent years ‘international’ has become a local phenomenon. In German and English. Small publication in folder.
The catalogue for ‘Trophies of Empire’ was published in 1994, two years after the fifteen commissions were awarded, and a year after the ‘Trophies of Empire’ exhibitions ended in Bristol, Liverpool, and Hull. With an introduction to the ‘Trophies of Empire’ concept written Bryan Biggs, the then Director of Bluecoat Gallery in 1993.