Documenting the eponymous six year project as well as the current research and thinking around the subject with contributions by prominent artists, academics, activists and chefs.
Part of the Library of Performing Rights ( P3041).
Fourth edition of the journal of sexuality and erotics.
A film documenting the unsanctioned live performance in Tate Britain: in the run up to the international climate talks in Paris as the artists invited Tate to reconsider their sponsorship deal with BP, and to begin to erase this scar from their skin.
Part of LADA Screens 9. The film was availble online between 30 April and 13 May 2016 on the LADA Screens Channel.
An occasional publication that aims to collate and investigate ideas around place, or more specifically: “indeterminate geographies”. In the third issue, the topic is ‘refuge’.
Part of the Library of Performing Rights (P3041)
A publication exploring how the arts sector can better support artists at key stages in their practice.
Zine featuring Caroline Thomas, Francesca Laura Cavallo, Eleni Papazoglou, Lisa Kinsolving, António Branco, Riccardo, Leonie Brandner, Matthew de Kersaint Giraudeau, Wolff-Michael Roth.
In order to become ethically acceptable, surrogacy must change beyond recognition—but we need more surrogacy, not less!
Brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship.
Bringing together the voices of dance-artists, scholars, teachers and choreographers, the book looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture.
Part of the Library of Performing Rights (P3041).
Reveals a tradition of queer environmentalism in contemporary literature and film from the Americas.
Based on the results of an anonymous survey sent to more than 8,000 galleries in the US, UK, and Germany, this is an insightful examination of the business of selling art.
It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps.
Part of the Library of Performing Rights (P3041)
What can we do when arms manufacturers sponsor museums and some of the world's most valuable artworks are used as a fictional currency in a global futures market that has nothing to do with the works themselves? Can we distinguish between creativity and the digital white noise that bombards our everyday lives?
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
Performance video: The Marlborough Pub and Theatre, Brighton, 2015 (42mins)
For a digital copy see EF5286.
An extraordinary response to the artist's experiences within the mental health system. Published in an edition of 200, with each copy personalised by Lucy.
Anthology of interdisciplinary essays which critically examines the interlocking themes of artistic authorship, authenticity, and legacy from legal, art market, and art historical perspective.
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)
A collection of 14 essays by international scholars and practitioners from across the disciplines of Philosophy, Literature and Theatre and Performance Studies, addressing the nature of the relationship between philosophy and performance.
Argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. Boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order.
Intended to help cultural organisations and their governing bodies meet ethical and reputational challenges with a greater sense of confidence, this report stems from a What Next? discussion about the difficult situations organisations can find themselves in when an action sparks controversy, for example, the presentation of a divisive piece of work, or a contentious sponsorship deal.
Explores the development of South Asian dance and the changing priorities it has been given by funding agencies.
On shrinking contexts for dance in London.
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.
Questions whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture, the visual to the verbal, and the apolitical to the political, Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo and permissibility.
Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us.
Devised as part of The End Product for Collective in Edinburgh to conclude and commodify the series of LIVE Broadcasts Harrison made over the course of a year. It features Transmission: Glasgow to London (December 2010), UK Weather Report (April 2011), Personal Political Broadcast (May 2011) and Best of the Rest (November 2011).
Exploring the ritual / performance / intervention that marks the tattoo-receivers journey from birth in parallel with the rise in carbon emissions that cause climate change.
Part of the Library of Performing Rights (LPR) (P3041).
The essential reader for today's creative leaders and cultural practitioners, including original contributions by artists, scholars, activists, critics, curators and writers who examine the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. It is about consequences and causes of cultural boycott.
Published to accompany a major exhibition at Tate Britain, this fully illustrated catalogue explores the history of attacks on art in Britain, from the reformation of the sixteenth century to the present day, demonstrating how religious, political, moral and aesthetic controversy can become arenas for assaults on art.
Case studies, workshops and surveys analyse the barriers and opportunities arts organisations face in playing a civic role.
A virtual platform on which shares of companies dealing with problems are floated.
Part of the Library of Performing Rights (LPR) (P3041).
Investigates the crisis in contemporary theatre, and celebrates the subversive in performance.
Part of the Library of Performing Rights (LPR) (P3041).
Publication of the third Strategic Meeting for Directors and Theatremakers, focusing on the work of professionals in Europe and the Arab world. Includes transcripts in English and Arabic.
Part of the Library of Performing Rights (LPR) (P3041).
Authors offer ways to fight today’s pervasive digital surveillance — the collection of our data by governments, corporations, advertisers, and hackers. To the toolkit of privacy protecting techniques and projects, they propose adding obfuscation: the deliberate use of ambiguous, confusing, or misleading information to interfere with surveillance and data collection projects.
Challenging and re-positioning the traditional exhibition catalogue as an artwork and commission in its own right, the pub;ication takes its inspiration from the classic Pedro Almodóvar film on the occasion of the group exhibition, La Movida at HOME, Manchester (14 April – 17 July 2017).
Links avant-garde performance practices with religious histories in the United States, setting contemporary performances of endurance art within a broader context of prophetic, religious discourse in the United States
Book review.
The article interrogates the use of amateur and professional disabled performers in the emerging strain of performance practice known as ‘performing failure’.
Autobiography of an artist who, as a founding member of the avant-garde group Throbbing Gristle and electronic pioneers Chris & Cosey, has consistently challenged the boundaries of music over the past four decades.
Art students who experiment, think differently and take risks are often praised for their efforts. But what happens when students become interested in developing performance-based work involving risk of injury and physical pain?
The article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective at New York’s Museum of Modern Art in 2010.
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
Weaves together the various voices for the art collective to offer readers both an analysis and an experience of the group’s performance: the inner voice of the performance; the critical voice of the witness; and the frustrating redactions reflecting Tate and BP’s hidden contracts.
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
Includes: Salavation poster and flyer, a production package, and a usb with video and photo documentation.