Documents a series of site-specific performances by bonelli, which took place at fallen Sound Mirrors along the southeast coast of England in the summer of 2019.
Consisting of twelve chapters written by leading scholars in the field, and a long interview with Schlingensief himself, the book will provide the reader with the first comprehensive study of the intriguing body of work that Schlingensief has developed over the last thirty years.
Part of Library of Performing Rights (P3041).
Deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’” (Claudia Rankine).
It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Augé finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
A unique insight into the relationship between Abramovic’s biography and artistic work.
One to One performance that takes place in a public café and explores surveillance and profiling in “the war on terror.” The eight minute video includes an interview with the artist.
Exhibition catalogue; Hirshhorn Museum and Sculpture Garden, Smithsonian (24 October – 26 May 2014); Musée d’art moderne Grand-Duc Jean (5 July – 12 October 2014); Kunsthaus Graz (15 November 2014 – 15 March 2015).
Examines the frustrations and limitations of conventional Western academic research on social change and describes the struggle to fashion a new approach based on the principle that people have a universal right to participate in the production of knowledge that directly affects their lives.
Part of the Library of Performing Rights (LPR) (P3041).
An open source workshop template drawn from the artists' series of two-day creative workshops in London, San Francisco and Palo Alto. Loose printed pages in large folder.
This anthology of essays, images and dialogues exploring contemporary art’s engagements with risk–physical, social, political and aesthetic–brings readers into the conference from which the book takes its title, a third annual collaboration between the Getty Research Institute and the Southern California Consortium of Art Schools (SoCCAS).
Programme notes:Suspended in the space between two worlds, can one of them ever become home? How do memories preserve identity? Does dust ever settle on the past? Does grass grow over it? Natasha Davis’ third solo show completes her trilogy on body, identity and migration. Her poetic journey evokes migratory bodies burdened with past memories, present fears and future anxieties.Created in collaboration with Martin Langthorne and Bob Karper and with generous mentorship from Ju Row Farr and Dominic Johnson.Preceded by a short performance by an early career artist on the bar stage. Post show Q&A free to ticket holders.
“’Taking Liberties’ deals with subconscious fears. She uses video, photography, objects and installation to convey how people are affected by life experiences. This body of work is a direct response to the artist’s personal experience of illness and references the martyred, executed, tortured body.This installation evokes the fear of the unknown, while simultaneously concealing the pain and fear of the sufferer.”
Begins with Samuel Beckett and considers failure in performance as a hopeful strategy.
Video documentation of homonymous exhibition; 2008 Taiwan International Video Art Exhibition.
Two disks. Chinese and English. Accompanying publication REF. P1222.
Exhibition programme; 2008 Taiwan International Video Art Exhibition
Chinese with English translation.Accompanying dvd REF. D1148.
This documentation was recorded at the Institute of Contemporary Arts (ICA) in London on 2 November 1995.