Inckudes: A Conversation With My Father, Songs for Breaking Britain, Equations for a Moving Body.
Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison.
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.
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
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
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
Sarah Lehrer-Graiwer explores one of Lee Lozano's most challenging and elusive works, 'Dropout Piece'.
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
Essay commissioned by ArtsAdmin for Noemi Lakmaier’s piece ‘One Morning in May’. Located in Miscellaneous Articles folder 4.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Engages critical dance studies, philosophy, performance studies, cultural and post-colonial studies to propose new and creative dialogues between these disciplines.
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.
British Library Sound Archive recording and documentation of the “Performance Matters” events, 30 April 2010. Terry O’Connor responds to the theme of ‘duration’. with Adrian Heathfield. Also see ref. D1920-1; D1923 and D1316-D1319.
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.
Documents and critically examines one of the most fecund periods in the history of live art.
Catalogue for an exhibition of Pane’s work at the Hangar a Bananes, Nantes in 2009, curated by Blandine Chavanne
Interview with Iwona Blazwick. See also 11 Rooms Exhibition Catalogue (P1646) and The Artist is Present publication (P1613).
A Study Room Guide featuring selected performances from eleven artists who interrogate and interrupt the silences that exist in Ireland.
Shown at The Lowry Theatre at Manchester International Festival 2011
Amanda Coogan, Yellow Re-Performed in Dublin Theatre Festival, performed nightly between 30 Sept – 5 October 2010, description and discussion of the performance. Collective experience, endurance, women, living installation. Also see footage of this event, catalogue ref. no. D1749
Amanda Coogan: Yellow Re-Performed, Six from a live performance. Extracts from an unfinished film – from a live performance – 2011. This item is part of Brutal Silences: the Study Room Guide On Live Art In Ireland by Anna Maria Healy and Helena Walsh (P1661)
This item is part of Brutal Silences: the Study Room Guide On Live Art In Ireland by Anna Maria Healt and Helena Walsh (P1661)
Reflects the body as source of language, the image as the parameter of expression and the sound (such as noise, language) as medium of meaning.
This item is part of Brutal Silences: the Study Room Guide On Live Art In Ireland by Anna Maria Healy and Helena Walsh (P1661)
Performance Matters, Performing Idea – Reciprocal Aesthetics 7th October 3:00-7:30pm Toynbee Studios. The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.' Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared? This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Performance research article.
Photography by Manuel Vason. Documenting some of the work of Franko B. Includes his collage work, an interview with Gray Watson, and a text by Sarah Wilson.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195) and the Study Room Guide on One to One Performance by Rachel Zerihan (P1320) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).