10 is the latest and last publication from The Institute for the Art and Practice of Dissent at Home (2008 – 2018) and looks at 10 persisting problems of the past 10 years, featuring an array of critical and inspiring voices The Institute has worked with over the last decade.
Gómez-Peña Unplugged is an anthology of recent and rewritten classic writings from Guillermo Gómez-Peña, a figure who stands alone as unique and ground-breaking in the history of performance art and as the artistic director of transdisciplinary performance troupe La Pocha Nostra.
An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more.
Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.
Documents Bern’s performance scene. In German.
The concluding volume to Moten’s landmark trilogy consent not to be a single being.
Investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners.
A zine including a ‘critique’ and two ‘reviews of things we liked.
Drawing together communiques, covert interviews and underground histories of introvert struggles (Introfada), here for the first time is a detailed documentation of the political demands of shy people.
Signed copy.
Seeking to overthrow all constraints on what can be done with and to the body, Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
Second edition of Material concerns itself with in/visibility in contemporary artistic practice, especially dance.
Documents a series of site-specific performances by bonelli, which took place at fallen Sound Mirrors along the southeast coast of England in the summer of 2019.
Excerpts from a zine. From the journal devoted to publishing the work of postgraduates, postdoctoral researchers, and entry-level academics in the fields of theatre and the performing arts.
Explores how Marina Abramović has subtly incorporated the law to her economic and professional advantage.
The fourteen essays bringing together a unique gathering of artists, many of whome make works which arise out of responses to the situation or the environment in which they find themselves.
Documentation from Satisfyin Lover and Showing Solo, two performances which opened the Thinking Bodies Conference.
Considers the inter‐disciplinarity of ‘Live Art’ as a field of work and as a performance practice.
From the British Live Art: Essays and Documentation issue.
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)
Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
Resonating with the ethos of open dialogue and the experimentation of women artists’ collectives in the 1970s and 1980s, the publication constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Exhibition catalogue: Cooper Gallery, 28 October 2016 – 16 December 2016.
Part of Library of Performing Rights (P3041).
Explores representations of cancer in fictional worlds and autobiographical performances while also highlighting work that reimagines and reinvigorates the genre of ‘Cancer Performance’.
Part of Library of Performing Rights (P3041).
Asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation.
A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.
Explores the histories of race and technology in a world made by slavery, colonialism, and industrialization. Beginning in the late nineteenth century and moving through to the twenty-first, the book argues for the dependent nature of those histories.
The preeminent posthumanist shows how the history of Western civilization can be read as a suppression and return of rage.
Project publication: on festival collaboration and festival criticism.
Draws on the experiences and expertise of a wide range of lesbian practitioners and theorists to explore the impact and influences of sexuality and gender on performance.
Part of Library of Performing Rights (P3041).
Takes performance studies in exciting new directions, exploring the ways in which ethics can be used to understand the complex questions facing contemporary spectators.
Part of Library of Performing Rights (P3041)
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)
The first book of the women’s liberation movement to put forth a feminist theory of politics.
Highlights the critical role that performance played in the development of Latina/o queer public culture in the United States during the 1990s and early 2000s.
Part of the Library of Performing Rights (P3041).
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.
Bringing together the voices of dance-artists, scholars, teachers and choreographers, the book looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture.
Part of the Library of Performing Rights (P3041).
Constructs a genealogy of accelerationism, calling attention to early anticipations of accelerationism, and presenting new essays that document the emergence of new accelerationisms steeled against the onslaughts of capitalist realism, and retooled for the twenty-žrst century.
A collection of programmes, materials and articles on the Pip Simmons’ performance.
Publication that emerged from, and was inspired by, an exhibition held across Southampton’s John Hansard Gallery and SeaCity Museum in 2014.
Brings together the work of acclaimed blogger, writer, political activist and lecturer, covering the period 2004 – 2016.
Reveals a tradition of queer environmentalism in contemporary literature and film from the Americas.
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.
Draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives.
An exploration of what it means to be fabulous—and why eccentric style, fashion, and creativity are more political than ever.
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
The revival of documentary in art, considered in historical, theoretical, and contemporary contexts.
The essays in this book – some newly written, others gathered from scattered sources – look at the ways in which contemporary science fiction films draw on, rework, and transform established themes and conventions of the genre.
On the Edge 88 festival in September 1988.
In misc. folder 7.
Retrospective review: Cooper Gallery, Dundee, 27 October to 15 December 2018.
In misc. folder 7.