Text and photographic documentation of the work of Jörg Köppl and Peter Začek.
Kindly donated as part of the Swiss Live Art Study Room Guide.
Text in German.
Zine focusing on the questions that speculative fiction can ask which are especially important now.
Second edition of the artwork exploring the potential of Live Art to bridge generations.
A manifesto for the active and creative pedestrian – envisioning a walking that is neither a functional necessity (to shops, to work) nor a passive appreciation of (or complaint about) the urban environment.
Resisting the control of the image, transcending from the 2-dimensional, practicing being-a-body-in-the-world.
A practical handbook on the lost art of getting lost, reading the signs around you, following their lead, and creating your own.
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).
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.
What happens when a 12-18 month old is let loose in a soft, safe space with someone who follows and reflects their every sound, move and mood? The interaction between babies, performers and the audience of parents and carers is what makes this an utterly unpredictable event.
Includes a 10 minute edit and a video of the 45 minute performance a the 2005 Melbourne Festival.
Part of the Study Room Guide on Live Art and Kids (P3091).
Newspaper published to celebrate the company’s 25th anniversary.
This video for camera was made at home with the artist's one year old son: he is invited, or given reason, to interact with household, domestic, materials – in isolation and removed from some context.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Dual performance to Skype camera
Blood, 2013 (1:47); Block, 2013 (1:48); Lançar- to throw 2013 (0:39); Alinhar – to Align, 2013 (0:58); Cloud try 3, 2013 (0:51); Red line, 2015 (0:50); A short story, 2015 (1:04); Annunciation 1 & 2, 2015 (2:08)
Dual performance to the camera
Skull-line, cranial suture, 2014 (0:46); Measuring the room, 2014 (1:27); Tables, 2015 (2:05); To do with you, 2016 (2:20); Push, 2011 (1:25); Dictionario (excerpt), 2011; And –And, 2016 (3:44)
Collection of scores and texts markinf thirty years of Forced Entertainment. Contributors were invited to write about their experience of Forced Entertainment following one rule: each text must be exactly 365 words long.
Includes: Weaveair (2000); Creatures (1998); Octopus at the Shoreditch Gallery – London (1995 – 2000); M Groisman Dance Co (1997); Transference (1999)
A collection of video documents from Here, Now DIY Depot, an interactive performance event curated by Panther, (Madeleine Hodge and Sarah Rodigari) and featuring artists from around Australia who make work outside traditional theatre contexts.
A collection of instruments that deploy security and surveillance technologies in unusual and playful contexts, prompting visitors to reflect on their personal sense of security and their relationship with public fears (of petty crime, terrorism, etc.). The first instrument to be built is a steel harp with strings of razor wire, which requires the harpist to wear protective gauntlets to play it.
Contributions from Gabriella Giannachi, Duncan Rowland, Steve Benford, Jonathan Foster, Matt Adams & Alan Chamberain
A documentary game about understanding, mediation and place. It connects two sites that although they are only five miles apart geographically are separated by a much larger cultural gulf.
This publication responds to and takes its name from a tour of the Cambridge night devised by artists Townley and Bradby. The tour took in places, ideas and patterns of nocturnal behaviour within Cambridge city centre. It was part of Nightjar curated by Jo Mardell, a series of temporary artworks and encounters between dusk and dawn in October 2009.works and encounters between dusk and dawn in October 2009.
Includes 249 performances in the words of their creators and a comprehensive index of the terms used to describe them.