A typeface narrative revolving around an I, a pair of ravenous eyes, a mouth, and a peptic ulcer called O.
Catalogue of an exhibition of artwork commissioned for particularly notable and challenging sites throughout Britain & Northern Ireland.
Documents the large scale, public art event March of Women spilling out onto the streets of Bridgeton on the eve of International Women’s Day 2015.
Book review.
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
Programme for the international festival of live arts, incorporating the National Review of Live Art (NRLA); 3/2-15/3 2003. Includes Adrian Heathfield on Goat Island, Lois Keidan on live art platforms and Marianne van Kerkhoven on Raimund Hoghe.
Contains performance programme, performance texts and 3 CDs/DVDs, which include still images, a 6 minute edit and video of the full performance.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Catalogue of an exhibition held at the Kunsthalle, Basel, 1981, at the Whitechapel Art Gallery, London, 1982, and at the Stedelijk Van Abbemuseum, Eindhoven, 1982.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
In 1987, Paul Bright, a rebellious young Scottish director set out to stage James Hogg’s cult novel Confessions of a Justified Sinner in a series of radical productions across Scotland. In 2010, Untitled Projects began work with the actor George Anton to assemble an archive and exhibition of this almost-forgotten feat of theatre.
NLRA documentation.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
This item is referenced in the Making Routes Study Room Guide (P1964).
From publication ‘The National Review of Live Art 1979-2010 a Personal HIstory’ (essays, anecdotes, drawings, and images), edited by Dee Heddon and Jennie Klein, March 2010.
Festival review. 2009.
National Review of Live Art 2007 took place 7-11 February at Tramway, Glasgow.
Ron Athey interviewed by Russell McEwan.
This item is part of Brutal Silences: the Study Room Guide On Live Art In Ireland by Anna Maria Healy and Helena Walsh (P1661)
Explains the thinking behind the creation of Peeping at Bosch (10-13 July 2008).
Explores the role of the international researcher in communicating information about the Rwandan genocide to non-Rwandan audiences. National Review of Live Art, 10 February 2008.
Disc 2 of 2, see REF. D1105/D1106.
Glasgow based artist/activist presents the findings from years of research and development that will enable the future to happen (T1, Tramway, Glasgow, 10 Feb 2008, 16.00 – 17.00). Disc 2 of 2, see REF. D1103/D1104.
Glasgow based artist/activist presents the findings from years of research and development that will enable the future to happen (T1, Tramway, Glasgow, 10 Feb 2008, 16.00 – 17.00). Disc 1 of 2, see REF. D1103/D1104.
A recitation of the Universal Declaration of Human Rights as an act of memory.
National Review of Live Art, February 2008; Disc 2 of 2, see REF. D1101/D1102.
Reconstructs the radical heterogeneous landscape of Lebanon destroyed by crises and wars. Disc 4 of 4, see REF. D1109/D1112. Part of NRLA 2008.
Reconstructs the radical heterogeneous landscape of Lebanon destroyed by crises and wars. Disc 3 of 4, see REF. D1109/D1112.
Reconstructs the radical heterogeneous landscape of Lebanon destroyed by crises and wars.. Disc 2 of 4, see REF. D1109/D1112.
Reconstructs the radical heterogeneous landscape of Lebanon destroyed by crises and wars. Disc 1 of 4, see REF. D1109/D1112.
Images and stories from the end of the Carbon Era. Video documentation of the National Review of Live Art 2008. Disc 2 of 2, see REF. D1107/D1108.
Documentation from day of performances and interventions around ideas of performance and human rights. Disc 5 of 7, see REF. D1083/D1089.
Documentation from day of performances and interventions around ideas of performance and human rights. Disc 4 of 7, see REF. D1083/D1089.
Documentation from day of performances and interventions around ideas of performance and human rights. Disc 3 of 7, see REF. D1083/D1089.
Documentation from day of performances and interventions around ideas of performance and human rights. Disc 2 of 7, see REF. D1083/D1089.
A recitation of the Universal Declaration of Human Rights as an act of memory.
National Review of Live Art, February 2008;
Disc 1 of 2, see REF. D1101/D1102.
Participants co-create a new passport. Video documentation of NRLA (National Review of Live Art) 2008; 10 Feb 2008
A heated yet informal debate on the ethics of the live art industry. 10 Feb 2008
National Review of Live Art 2008.
Each visitor is invited to donate a drop of blood to be used as ink in the writing of the Universal Declaration of Human Rights. Disc 3 of 3, see REF. D1092/D1094. Documentation from the National Review of Live Art 2008.
Each visitor is invited to donate a drop of blood to be used as ink in the writing of the Universal Declaration of Human Rights. Disc 2 of 3, see REF. D1092/D1094. Documentation from the National Review of Live Art 2008.
Video documentation of NRLA (National Review of Live Art) 2008.
An audio-visual installation in a car. Video documentation of NRLA (National Review of Live Art) 2008; 6-10 Feb 2008.
Documentation from day of performances and interventions around ideas of performance and human rights. Disc 7 of 7, see REF. D1083/D1089.
Documentation from day of performances and interventions around ideas of performance and human rights. Disc 6 of 7, see REF. D1083/D1089.
Series of articles and conversation on the National Review of Live Art. 6-10 Feb 2008
Interviews and conversation on the National Review of Live Art. 6 -10 Feb 2008
Unbound pages. This item is part of the Study Room Guide on One to One Performance by Rachel Zerihan (P1320)