Catalogue of the 7th Art of Encounter, focuses on anagrammatic encounters. 4/10-26/10 2018.
In german and English.
Investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners.
Documentation from the 672 Hour Live Process Performance in Istanbul, 2018. Includes the poster, individual videos of performances, and a document with details on all performances.
Over the course of 16 months Ithe artist took about 200 photographs of their reflection in the window of a derelict shop on Windsor Avenue, Fairview, Dublin 3. 52 images were selected and each is accompanied by a piece of text.
Brochure for the Live Art programme at the Liverpool Biennial 2002 (18-21 September).
The first major survey of the artist’s interdisciplinary practices. Bringing together newly commissioned and other writings by major thinkers in and beyond visual and performance studies, and extensive documentation of the artist’s work from two decades of practice, it navigates through and between performance, biotechnical practices, image-making, and writing.
. 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.
Documentation of the 12 hour group performance in Kilmainham Gaol, Dublin in May 2016. Part of LADA Screens.
Part of the Library of Performing Rights (P3041).
A video essay reflecting on the work and process of Forced Entertainment combining interview fragments, performance excerpts, backstage and rehearsal room material from diverse projects, focused around an excerpt from the group’s 2001 performance First Night.
Part of LADA Screens 15.
On Forced Entertainment, prediction, and the community of audience.
In his third one-year performance piece, from 26 September 1981 through 26 September 1982, Hsieh spent one year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents.
This video was part of LADA Screens, and was available online between 12 and 26 October 2015.
Includes:
Moon River (and project description), 2018/2019, 10:47
Nest: Inhabit (and project description), 2019, with Samantha Sweeting, 11:42
The Empty Station (and project description), 2017, with Chris Spencer-Lowe, 5:58
Documentation from the exhibition at the Cambridge Darkroom, 1990.
On the Future of Imagination (FOI) Festival 9, Singapore, September 4–7, 2014.
The artist lies motionless for five hours in a glass container that he shares with a colony of ants.
Part of Life Art Library at MIF 2019: Animals of Manchester; Saturday 20 and Sunday 21 July 2019.
The artist shares a living space with Deliah the pig for 72 hours. Film Credit: Rob La Frenais
Part of Life Art Library at MIF 2019: Animals of Manchester; Saturday 20 and Sunday 21 July 2019.
Exhibition catalogue; Summerhall, 2/8 – 24/9 2017.
Includes documentation of:
– Someting Tender
– 3 : 3: 3
– For Always
The first book to explore the various ways the human body has been both an inspiration and a medium for artists over hundreds of thousands of years.
Brings together a variety of essays, photographs and archival materials and on the history of early performance art in East Asia. The publication will include texts by An invaluable new research tool, the publication is available free at events and online.
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)
For the 11th edition of DRAF Curators’ Series, guest curator Victor Wang 王宗孚 launches the Institute of Asian Performance Art (IAPA), an international network to deepen the awareness and understanding of the history of early performance art in Japan, Korea, China and Taiwan.
A unique insight into the relationship between Abramovic's biography and artistic work.
A compilation of research, tracing the development of the artists' sculptural performance Gravitational Feel, which was yet to be realized at the time the book was due to print.
An interview conducted at LADA’s new home in the Garrett Centre, Bethnal Green attempts to find out why the artist gave over his life to art.
Review of Jan Faber's piece, performed at the ICA.
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).
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
Contains Courts drawings, notes, sketches and ideas for performance from his notebooks over a period of five years.
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.
A one hour reading of testimonies from the survivors of the armed conflict in Guatemala.
Part of the Library of Performing Rights (LPR) (P3041).
Publication 'arrived' after participation in a six-day festival curated by ]performance S p a c e[ in 2016.
Embraces the messiness and daily action of the maternal and strives to nurture an understanding of daily maternal practice.
While considering repetition in relation to the difficult pleasures we derive from the theatre, this book explores ways of accounting for such experiences of theatre in memory and writing.
Exhibition catalogue. Biennale Arte 2017, 57th International Art Exhibition – Viva Arte Viva. 13 May – 26 November 2017.
An offline version of the website www.justfornow.net in March 2004.
Part of the Library of Performing Rights (LPR) (P3041).
Three conversations with different interlocutors from a range of fields, designed to present a nuanced portrait of the artist at a particular moment in time.
Provides a feminist reading of Yellow (2008) and How to explainthe sea to an uneaten potato (2008) in order to explore how her performances use corporeal strategies to engage with memory.
The two artists discuss each other's practice.
Programme for a 12-hour live art and video event at Kilmainham Gaol, responding to the iconic historical associations with the 1916 Rising. Curated by Niamh Murphy and Áine Phillips.
Collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre.
Book published in conjunction with the eponymous exhibition at Moderna Museet, Stockholm (February-May 2017), Louisiana Museum of Modern Art, Humlebaek (June-October 2-17) and Bundeskunsthalle, Bonn (April-August 2018).
Unique documentation of a year long performance project by one of America's most interesting performance artists; McMurry set out to do a performance action every day for a year, attempting to confuse art and life.
41 minutes.
Published as part of the eponymous exhibition at the Barbican 14 July – 4 September. Surveys the Icelandic artist's practice from his student work to today.
This item can be found in the locked glass cabinet.
An artist book reinterpreting a range of approaches to thinking and making that Emanuele and Burgoyne enacted through collaboration and collective process. The book evolved from a residency and exhibition at the Centre for Recent Drawing in 2015.