Documentation of the evening celebrating the life and Live Art of the brilliant and inspirational artist Katherine Araniello who died on Monday 25 February 2019.
Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.
Videos by artists exploring Live Art and disability. Including videos commissioned for LADA’s “Access All Areas: Live Art and Disability” programme in New York, 2014.
The second issue of the ADHD artist zine.
The first issue of the ADHD artist zine.
Follows two nurses, both named Jackie, who create biographical slideshows for patients as a tool for reflection on posthumous digital legacies, withdrawal, friendships, cultural and social loss, and memory as identity.
Part of LADA Screens 11. The film was available online 16-29 May 2016 on the LADA Screens Channel. Includes a compilation of episodes 1 – 7, split into two files.
Part of the Library of Performing Rights (P3041).
A journey through the history of disability – a history lesson with a difference.
Part of The Library of Performing Rights (P3041).
The collection of interviews can be played here.
Part of On Neurodiversity – A Study Room Guide on Neurodiversity by Daniel Oliver.
30 Nov 2018.
Part of On Neurodiversity – A Study Room Guide on Neurodiversity by Daniel Oliver.
Audio recording from the informal event which included a practical session of creating ‘access and equality riders’ for artists and audiences. LADA, 26 June 2018. 2 audio files.
A tribute to Katherine Araniello, read during the event at LADA, 16th April 2019.
Part of the Library of Performing Rights (P3041)
In misc folder 7.
Exhibition catalogue. Attenborough Arts Centre, 10th May – 14th July 2019.
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.
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 collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.
Project zines; Fierce, intimate oral histories, collaborative stories, D.I.Y. research and interviews from people at the intersection of several kinds of marginalisation.
Part of Library of Performing Rights (P3041).
A zine drawing together reflection by artists participating in the Metal project on the themes of the ‘othered’ body and non-binary identities.
Part of Library of Performing Rights (P3041)
Draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives.
Third issue of the online and printed zine about relationships and configurations in which one person is still while others are not.
Documentation from the Live Art event by disabled artists in the birthplace of the modern Olympic Games, May 2012
Part of the Library of Performing Rights (P3041).
Documentation from the Live Art event by disabled artists in the birthplace of the modern Olympic Games, May 2012
Part of the Library of Performing Rights (P3041).
A programme of events exploring blood in performance for BLOOD: Life Uncut, a season of work for the new Science Gallery, London. Includes:
Janez Janša: Ron’s Story (5 minutes, 2001)
Ernst Fischer and Nicola Hunter: Passion/Flower (2012, 4 minutes)
Regina Jose Galindo: Who Can Erase the Traces (2003, 2 minutes), La
Sangre del Cerdo (2016, 8 minutes)
Franko B: I Miss You! (2003, 2 minutes)
Marisa Carnesky: Dr Carnesky’s Incredible Bleeding Woman (2016, 3 minutes)
jamie lewis hadley: this rose made of leather (2012, 10 minutes)
Kira O’Reilly: Wet Cup (2000, 3 minutes)
Martin O’Brien: If It Were The Apocalypse I’d Eat You To Stay Alive (2015, 8 minutes)
La Ribot: Another Bloody Mary (2000, 10 minutes)
Rocio Boliver: Times Go By and I Can’t Forget You: Between Menopause and Old Age (2013, 4 minutes)
How much of what we understand of ourselves as “human” depends on our physical and mental abilities—how we move (or cannot move) in and interact with the world? And how much of our definition of “human” depends on its difference from “animal”?
Part of the Library of Performing Rights (P3041)
This comprehensive manual outlines copyright law in the UK with special reference to materials relevant to archive and records collections such as maps, legal records, records of local authorities, records of churches and faiths, most notably unpublished works. It also offers advice on rights in the electronic environment and the problems associated with rights clearance; and covers related areas such as moral rights and rights in databases.
Celebrates the ten year anniversary of Shape Arts' award, set up in memory of the sculptor.
Part of the Library of Performing Rights (P3041).
If you grow up in a world where wrinkles are practically illegal, going bald is cause for a mental breakdown, and women over size zero are encouraged to shoot themselves (immediately), what the hell do you do if you’re, gasp … disabled?
Creativity should nourish us all, not just the privileged few.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
Performances in hospices and on beaches; cross-cultural myth making in Wales, New Zealand and the US; communal poetry among mental health system survivors: this book presents a senior practitioner/critic's exploration of arts-based research processes sustained over more than a decade -a subtle engagement with disability culture.
Part of the Library of Performing Rights (LPR) (P3041).
The first book bringing together writing and documentation on Martin O’Brien and marking ten years of his work.
Part of the Library of Performing Rights (LPR) (P3041).
Short video artist profile. Includes clips from different video and performance pieces.
Short video made for the DIY 13 project, a briefly-lived modelling agency set upon depicting the fantasy-fiction average lifestyle that is celebrated in corporate imagery
Autism zine.
Explores the proposition presented by the incredible task of suspending a body from helium balloons, the relationship between the performer and the space, the object and the viewer, the possible and the impossible.
Toolkit from the network of socially progressive residential artist communities.
Part of the Library of Performing Rights (LPR) (P3041).
Video. Commissioned by the Science Museum and Apples and Snakes as part of the Faltered States show. Performed at the Science Museum on 21 March 2003 and at Battersea Arts Centre on 28 March 2003.Part of the Library of Performing Rights (LPR) (P3041).
Raw material from a the Live Art event in Much Wenlock, Shropshire in May 2012.
Part of the Library of Performing Rights (LPR) (P3041).
Unedited documentation of the 2006 street action. Part of TARIDS, Ispwich.
Part of the Library of Performing Rights (LPR) (P3041).
The article interrogates the use of amateur and professional disabled performers in the emerging strain of performance practice known as 'performing failure'.
Analysis of representation and interculturalism in Back to Back Theatre's production.
Explores the processes through which specific populations are figured as ‘revolting’ as well as the practices through which these populations ‘revolt’ against their subjectification.
Part of the Study Room Guide on Live Art and class and cultural privilege. (P3152)
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).
A publication detailing the projects delivered through Unlimited; includes a collection of 16 postcards.
A lasting trace of and a vehicle for the Working Press, a collective publishing imprint which had the subtitle books by and about Working Class Artists, 1986-1996. The publication highlights some important works by working-class artists while providing a valuable resource for anybody interested in working with archive material.
Meet the strangest people who ever lived, and read about: the notorious love affairs of midgets. Originally printed in a small edition and withdrawn after one month by the publisher, the book was out of print for nearly 20 years.
A duet collaboration between two choreographers (one disabled, one non-disabled) working together on dance performances that touch the borders of mainstream assumptions about implicit and explicit images of ‘the contemporary dancer’ and the different potentials for our bodies to be seen as knowing, skilful and passionate.
Contains extracts and a 37 minute edit.
2008.
Highlighting mothers’ lived experiences, this collection examines mothers’ creativity and agency as they perform in everyday life: in mothering, in activism, and in the arts.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).