Documents Bern’s performance scene. In German.
Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.
. 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.
An occasional publication that aims to collate and investigate ideas around place, or more specifically: “indeterminate geographies”. In the second issue, the topic is ‘suburb’.
On dance and new performance work.
In misc folder 7.
Edited in conversation with Krist Gruijthuijsen, the director of KW Institute for Contemporary Art in Berlin, to accompany the exhibitions ‘David Wojnarowicz Photography & Film 1978–1992’, ‘Reza Abdoh’, and ‘TIES, TALES AND TRACES: Dedicated to Frank Wagner, Independent Curator (1958–2016)’.
A collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the field of collaborative art.
Combining intrepid journalism with her own personal experience, Abraham question what it means to be queer in 2019.
Project publication: on festival collaboration and festival criticism.
Essays on the concept of total theatre, which emerged from the Bauhaus as a new aesthetic of stage design and presentation.
Provides a survey of the work of Christo and his wife, Jeanne-Claude, who specialize in creating art on a monumental scale.
Follows one of the strangest commodity chains of our times to explore the unexpected corners of capitalism.
Focuses on the intersection of social and public projects, and the possibilities of art practice in public space.
Part of Library of Performing Rights (P3041)
Revisits and resuscitates the forgotten heritage of a politicised theatre group – ‘Al Assifa’.
Part of Library of Performing Rights (P3041)
Acknowledging that the future of humankind is global, this volume explores the multi-faceted semantics of ecology in contemporary Indigenous theater and performance.
Part of the Library of Performing Rights (P3041).
In exploring the human-animal relationship from the early modern period to the nineteenth century, this publication questions what it means for an animal to “perform,” examines how conceptions of this relationship have evolved over time, and explores whether and how human understanding of performance is changed by an animal's presence.
What is the relationship between capitalism and mental health? Berardi embarks on an exhilarating journey through philosophy, psychoanalysis and current events, searching for the social roots of the mental malaise of our age.
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)
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.
Wild, hilarious and shameless account of Jayne's life from her cissy-boy childhood in Georgia to her 90s renaissance, as a new wave of superstars claim her as their inspiration.
Part of the Library of Performing Rights (P3041)
An intimate collection of letters, poetry and postscripts by artists and writers that seeks to connect, exchange and witness through the action, idea or form of a love letter. The book builds on a programme that took place at Bios, Athens (2015).
A provocative history of live art traces the precedents of contemporary multi-media events to Bauhaus experimentalism and surveys the Futurists' manifesto-like events, the Dadaists' cabarets, and later “happenings” and “spectacles.”
A chronological review of a decade of endeavours by one of the most astute Slovenian projects of contemporary performing arts. The publication with extensive visual material and excerpts from texts documents 29 performances accompanied by Dr Blaž Lukan’s essay Erasing the Audience which analyses the company's performing strategies.
Brings together commissioned pieces by 50 artists and theorists whose works have shaped steirischer herbs over the past decade.
Programme for the event exploring questions of negotiation, exchange and representation in contemporary collaborative arts practice. (20-23 June 2018, Dublin.)
A comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences, from the beginnings of film in the late nineteenth century to the coming of sound in the late 1920s.
Exhibition programme. The LAB Gallery, Dublin, 18 June – 19 August 2018.
Reflects on CAPP (Collaborative Arts Partnership Programme), which took place 2015-2018.
On Das Stück mit dem Schiff and Amor constante mas alla de la muerte.
The result of five years of practice-based creative research focused on the UPRISING project, the book presents a number of methods for the creation of politically charged interactive public events in the style of a how-to guide.
Part of the Library of Performing Rights (LPR) (P3041).
An assessment of experimental work in the early years of Dance Umbrella (1978-1983).
Review of Jan Faber's piece, performed at the ICA.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women's art practices provide a fascinating instance of women's eccentric experiences of the myriad effects of globalization.
Guides the reader through a thicket of seemingly arcane meanings of nonrepresentational art forms, and brings clarity to the intentions and agendas of these artists, as well as to their real world contexts.
Programme of the performance which takes the first book of the Old Testament as its inspiration.
Elaborates a new perspective on performance that links ecology and aesthetics.
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it–to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries.
Published on the occasion of the Idit Elia Natham exhibition at Standpoint Gallery, London. 16 January – 14 February 2015.
Part of the Library of Performing Rights (LPR) (P3041).
Published on the occasion of the LEER-GUT, an exhibition held at the Kadenz/Geldern Gallery in November 1992.
In German.
Papers from the conference, held in Glasgow in December 1990. The conference addressed the implications for the arts of the political and economic changes in Eastern Europe.
Published on the occasion of Touch Time, the festival which marked the closing of Mickery in 1991. Includes a publication and three programmes.
Exhibition catalogue: Intensity of Affect: performances, actions, installations – retrospective of Zoran Todorovic. Accompanies the project, Warmth, at the the 53rd Biennale di Venezia, held in Venice, at the Serbian Pavilion, June 7-Nov. 22, 2009.
In Serbian and English.
A provocationinterested in exploring the meeting points between the obliteration of the possibility of physical motherhood (rupture of the body), a country disappearing in war (rupture of the land) and the reconstruction of the bio-political-history. Together these assert a new no-motherhood and post-motherland identity away from the exilic ruptures that define the end of the 20th and beginning of the 21st centuries in Europe.
The aim of this book is to offer perspectives on performance art practice with a focus on teaching. This subject has rarely been approached in the literature and this book gives insights and inspiration for all those teaching performance art as well as to anyone else interested in this art form.
Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children, or running a “dancing museum,” Charmatz’s work experiments with the body as a vessel for subjectivity, history, and collective action.
nitially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigates other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon.
Illustrates the black political ideas that radicalized the artistic endeavors of musicians, playwrights, and actors beginning in the 1960s.