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.
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
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).
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.
Elaborates a new perspective on performance that links ecology and aesthetics.
Published on the occasion of the LEER-GUT, an exhibition held at the Kadenz/Geldern Gallery in November 1992.
In German.