Explores how artists engaged with the sonic conditions of modernity through dramatic form, characterization, staging, technology, performance style, and other forms of interaction.
Transcript from a performance; Live Art and Performance Art sessions, School of Arts, Oxford Brookes University
A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.
Includes:
Marina Abramovic – On ‘Rhythm O’, 1974, 2013, 3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocío Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item, 2015, 1’57”
The first work to critically examine the dilemmas and promises of representing feminist motherhood in contemporary art and visual culture.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
This provocative book meets the supposedly ‘live’ practices of performance and the ‘no-longer-live’ historical past at their own dangerous crossroads. Focussing on the ‘and’ of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
All performance depends upon our abilities to create, perceive, remember, imagine and empathize. This book provides an introduction to the evolutionary and cognitive foundations of theatrical performing and spectating and argues that this scientific perspective challenges some of the major assumptions about what takes place in the theatre.
Published to coincide with the 1997 showing at the Art Gallery of New South Wales in Sydney, Australia, of works featuring nudes by around 100 modern and contemporary artists. Includes essays, artists’ bios, bibliography.
Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.
The author reflects on the “Monica Ross: A Symposium” that took place at the British Library, London, on Friday 28 November 2014, in celebration of the institution’s acquisition of Ross’s digital archive.
Lois Keidan discusses “Anniversary – an act of memory”, Monica Ross’s most recent series of work that took the form of a series of recitations of the Universal Declaration of Human Rights (UDHR) from 2005 until her death in 2013. of Acts of Memory.