This series of interviews, held by curator and writer Gilane Tawadros are focussed entirely on Stuart Brisley’s practice and directed by him. The artist’s narration of his practice demonstrates an unswerving resistance to controlling the narrative or fixing the meaning of his works.
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.
On Forced Entertainment, prediction, and the community of audience.
A short video derived from the photographs, rehearsal footage and other documentation of And I – a single channel eight-hour video of Marcia Farquhar speaking without edits of sustained pauses.
Part of LADA Screens 7.The film was availble online between 24 Feb and 9 March on the LADA Screens Channel.
Newspaper published for the event originally scheduled for 29th March 2019 in Leeds.
On Taylor Mac: a 24-Decade History of Popular Music
A portable archive that features Montano’s journal writings during 1984-1998, 18 of her ecstatic tantric tales, 52 of her drawings, 119 photo documents related to her performances, 13 essays and interviews by art historians, curators and writers.
Part of the Library of Performing Rights (P3041).
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.
Publication on the week-long, 24/7 durational performance art event which took place in a three-bedroom house, showcasing 10 international artists living and working together and live-streamed on Youtube.
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
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.
Publication 'arrived' after participation in a six-day festival curated by ]performance S p a c e[ in 2016.
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.
The project received overwhelming worldwide attention and spawned provocative online debates; ultimately, Bilal was named Chicago Tribune’s Artist of the Year. Structured in two parallel narratives, the story of Bilal’s life journey and his Domestic Tension experience, Shoot an Iraqi is for anyone who seeks insight into the current conflict in Iraq and for those fascinated by interactive art technologies and the ever-expanding world of online gaming.
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.
In 2011, Brian Lobel played a brutal game of friendship maintenance: over 5 days in cafés in both London and Kuopio, Finland, Brian gave strangers one minute to decide which of his 1300 Facebook friends to keep or delete. Indluces the performance script, reflective essays, interviews and angry emails.
In this invitation to reflect on the power of performance, Diana Taylor explores many of the ‘performance’ uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.
For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. This volume presents documentation of The House With the Ocean View alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, Cindy Carr, RoseLee Goldberg and Peggy Phelan.
Charting the rise of the immersive theatre phenomenon, this is the first survey of immersive theories and practices for students, scholars and practitioners of contemporary performance. It includes interviews with immersive artists and examines key topics such as site-specific performance and immersive technologies.
Short film of the performance. Filmed at Duh? Art & Stupidity show at Focal Point Gallery, Southend on Sea, November 2015.
3:11
Amanda Coogan collaborates with 13 performers to explores the Church Street disaster of 1913 and its parallel with contemporary Irish society.
The performance took place in the Hugh Lane Gallery over 12 hours. It was captured in this video using timelapse photography, the entire 12 hours resulting in a new 8 minute film.
Film: Paddy Cahill
Sound Design/Composition: Mike Glennon
Part game, part improvisation, this unique 24-hour live experience pits alternating pairs of performers against one another as they test their opponents with an avalanche of questions.
Recording on a hard drive.
Recorded 12-13 April 2013 at the Barbican; part of SPILL.
In a safe box.
On Monday 28 May 2012, Noëmi Lakmaier undertook a slow and exhausting test of endurance – an attempt to crawl from Toynbee Studios towards ‘The Gherkin’.
Film: Hydar Dewachi. 14:39
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.
SD Video 31’ 15 video, colour, sound
Active in Moscow since 1976, the Collective Actions group played a key role in the development of conceptual and performance art in the Soviet Union. Inspired by the work of John Cage, the organizers invited audiences to take part in minimal, outdoor actions in fields and forests on the edges of the city that explored the nature of the aesthetic event. The publication concentrates on the early period of field actions when the problems of documentation—how to capture and convey ephemeral action to non-participants—were just beginning to be considered.
The author provides a philosophical reflection on the issues of democratic bodies and citizenship in Ireland through a survey of the work artist Sandra Johnson.
This exhibition catalogue brings together material from the artist’s private archive: images, texts, diaries and other ephemera that act as points of reference in Abramović’s oeuvre. The publication includes an essay by the exhibition’s curator, Sophie O’ Brien, and also tracks, through diary entries and photographs, Abramović’s journeys in Brazil in 2013, which informed her planning for the exhibition at the Serpentine Gallery.
Video recording of the performance presented as part an extensive programme curated by Lois Keidan and Aaron Wright (Live Art Development Agency) entitled “Just Like A Woman”, composed of lectures, performances, readings, installations, screenings, workshops and debates on performance of identity, is fully dedicated to the impact of performance on feminist histories and the contribution of artists to discourses around contemporary gender politics. From the 19th edition of the City of Women (Mesto žensk) festival – 2-13 October 2013, Ljubljana, Slovenia – entitled “Let’s create a place for ourselves” on public space and politics.
Review of performances from the Sydney Gay and Lesbian Mardi Gras at Performance Space, Carriageworks, Sydney, 13-15 Feb.
Collection of video documents of the Swedish performance artist’s work.
A selection of performance, video and photo work.
An overview of Yingmei Duan's performance and installation work since 1995.
This volume, published in conjunction with the opening of the MAI – Marina Abramović Institute for the Preservation of Performance Art – the only venue of its kind for the conservation, production and enjoyment of long-duration performances – is not only a celebration of the project, but also a summary of Abramović career
Collection/selection of past works since 2000. Images, power point presentation, CV, biographic statement, review of market stall performance in Toronto by Natalie Loveless as part of International Festival of Performance. Power point presentation of images from ‘In Place of Passing’ project initiated by Conolly and facilitated by Beyond Etc.
Kalb weaves his impressive historical knowledge of theatre into detailed descriptions of marathon productions he has seen and studied.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
The catalogue ifrom The Abramović Method exhibition in Milan 2012
The catalogue ifrom The Abramovic Method exhibition in Milan 2012
Swandown is a film-diary travelogue of two artists' journey on a swan-shaped pedalo through the English waterways.
For short edited version see REF. D1898.
In September 2012 the “Truth is concrete”, 24/7 marathon camp took place. With around 300 lectures, panels, tactic talks, performances, concerts, films, workshops and a parallel, self-curated, spontaneous Open marathon, “Truth is concrete” created a 170-hour performative space for thinking and networking in the city of Graz, Austria. Two newspaper style programmes (different cover) in foder.
Collection of documents – programmes, hand-outs, notes, articles – principally on the 8th edition of Black Market International presented at Steirischer Herbst, Graz, Austria, 2007. Blackmarket gathers 100 ideas and experiences presenting the mechanism of symbolic exchange. Two folders in box
Study Boxes contain hand picked selections of DVDs, books and other materials from the LADA Study Room around specific themes. Installed in Festival hubs and other locations, and curated in dialogue with partners, each Study Box can hold between four to ten items and can be used by audiences for a quick browse or a day-long study. After the events the Boxes are returned to the Study Room and listed in this Guide so that users can explore these themes and materials during their visit to the LADA Study Room.
Feature-length documentary film following Marina Abramovic as she prepares for a major retrospective of her work, taking place at the Museum of Modern Art in New York.
Performance Research Journal edition concerning the foot. Articles featured: CARL LAVERY & NICOLAS WHYBROW Editorial ‘Pas de deux’ MARTIN WELTON Getting Things Off the Ground: Pedestrain Feelings ALEXANDER KELLY [artist’s pages] The Distance Between Us ADRIAN KEAR Thinking Limping: Richard Maxwell’s ‘Neutral Hero’ and the tragic impediment of contemporary theatre ESTHER PILKINGTON & MARTIN NACHBAR We Always Arrive in the Theatre on Foot: A walk to the theatre in sixteen steps and eighteen footnotes JOHN HALL Foot, Mouth and Ear: Some thoughts on prosody and performance MATTHEW GOULISH & LIN HIXSON On Foot Commonplace Book JASON GROVES Before the Law of Human Motor Functions: Walter Benjamin’s poetics of the step KIFF BAMFORD Acconci’s Pied-a-terre: Taking the archive for a walk STEPHEN HODGE ‘Before I compose a piece, I walk around it several times, accompanied by myself’ DEE HEDDON Turning 40: 40 Turns: Walking and friendship TOWNLEY AND BRADBY Conversations After Dark HAYDEN LORIMER Surfaces and Slopes MIKE PEARSON Warplands: Alkborough PERDITA PHILLIPS Walk ’til You Run Out of Water GREGG WHELAN Running Through a Field: Performance and humanness MARGARET AMES Memory, Identity and a Desire to Dance ADRIAN HOWELLS [artist’s pages] Foot Washing for the Sole JOHANNES BIRRINGER The Un-Seeing Eyes of the Foot: In memoriam Kazuo Ohno SIMON PERSIGHETTI A Mis-Guide Walks to the Shoe Museum. This item is referenced in the Making Routes Study Room Guide (P1964). This item is part of the Study Room Guide to Remoteness (P2600).
A history and theory of ideas about identity in relation to visual arts discourses and practices in Euro-American culture.
Documents and critically examines one of the most fecund periods in the history of live art.