Mishandled Archive offers a way of imagining, creating and disseminating an archive.
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.
This volume is inspired and informed by the square-squattings and neighborhood assemblies of the “real democracy” movements as well as by recent explorations of the assembly form in performance art and participatory theater.
The publication is comprised of eight essays, two interviews, and 15 case studies of political theatre makers, and investigates the performing arts as a political laboratory of the present. It explores how theatre, dance, and performance reveal their essential agnosticism, provoking the potential to actively change society rather than merely serving as a cover-up for the dysfunctions, fractures, and wounds of society.
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
Audio CD of Symposium and performances for Performing Idea.Track List:
Folder of articles and reviews in relation to Out of Now – The Lifeworks of Tehching Hsieh by Adrian Heathfield and Tehching Hsieh.
PromisesJoe Kelleher, Giulia Palladini, Silvia Bottiroli9th October 2010, 3.30pm Toynbee StudiosThe dialogue has already begun. It begins with the appearance of the work. A 39 year-old theatre festival, for example, in a town without a theatre; a festival that breaks with four decades of tradition in order to re-examine and renew that tradition; that addresses the urban texture not as a void that needs filling but a space of generation; that imagines a spectator in motion, whose trajectory is governed, as curator Chiara Guidi writes, by a sensation of lost powers, and by tiredness perhaps, but who may be capable of conjuring from this trajectory ‘a place filled with promises.’ Or else the emergence of a new practice, work still in its nascence, work being done with the young, for example a company dedicated to the non-spectacular rigours of collective dance, and to mining the minimum pause, tracing the presence of a rhythm, as director Claudia Castellucci puts it, between one beat and another. But also then the channels, the forums, the platforms of exchange through which events and practices such as these and many others are debated over and contested and sustained, by a self-reflexive critical writing, and also by a commitment, as the editors of the journal Art’O: culture and politics of the scenic arts put it, to the idea of a future of performance even in those spaces most emptied out by current ideology.Joe Kelleher’s dialogue for Performing Idea is being pursued through an engagement with events, practices, and platforms such as these, and with the people doing this work, artists, curators, arts administrators, writers and other spectators, who have taken into their care and are mapping out, sustaining, and re-inventing the promises of performance in the Italy of the early twenty-first century.