Investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how ‘theatre-like’ strategies and techniques can in fact enable ‘reality making’ situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.

Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.

The project received overwhelming worldwide attention and spawned provocative online debates; ultimately, Bilal was named Chicago Tribune’s Artist of the Year. Structured in two parallel narratives, the story of Bilal’s life journey and his Domestic Tension experience, Shoot an Iraqi is for anyone who seeks insight into the current conflict in Iraq and for those fascinated by interactive art technologies and the ever-expanding world of online gaming.

In this follow-up to his influential 2010 book, Dark Matter: Art and Politics in the Age of Enterprise Culture, Sholette engages in critical dialogue with artists’ collectives, counter-institutions, and activist groups to offer an insightful, firsthand account of the relationship between politics and art in neoliberal society.

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.

Seeks to show how a clear understanding of class makes sense of what is at stake in a broad number of contemporary art’s most persistent debates, from definitions of political art, to the troubled status of “outsider” and street art, to the question of how we maintain faith in art itself in a dysfunctional world.

Part of the Study Room Guide on Live Art and class and cultural privilege. (P3152)

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.

An artist book reinterpreting a range of approaches to thinking and making that Emanuele and Burgoyne enacted through collaboration and collective process. The book evolved from a residency and exhibition at the Centre for Recent Drawing in 2015.

Video documentation of contributions to the Performing Idea Symposium, investigating the shifting relations between performance practice and discourse, event and writing; Toynbee Studios, 5-9/10/2010.

Includes nine files, containing videos of contributions on In Silence, Performative Writing, Reciprocal Aesthetics and Living Archives.

Exhibition catalogue: The Rochester Contemporary, 30/4-23/5 2004. Includes reproductions of artwork, critical essays and fiction.

Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).

From Tate Papers no.12

Found in miscellaneous article folder #5B

This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)

Published to mark the acquisition of UNWORD for Leeds Museums & Galleries Collection and its display in “Important Mischief: British Sculpture from the 1960s and ’70s” in Leeds City Art Gallery, March – November 2006. Found in miscellaneous article folder #5B

This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)