An interview with The Guerrilla Girls. Liquid damage on publication.

Part of The Library of Performing Rights (P3041).

Prevailing ideas of what culture is and who it is for are the real barriers to access and inclusion.

In misc. journals.

African dance and western programmers.

On Les Ballets Africains, Adzido, Phoenix and Irie! at Sadler's Wells, Autumn 1990.

Examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art.  In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media.

Part of the Study Room Guide on Live Art and Displacement (P3107).

A history of British new dance from its origins in the 1960s to the early 1990s.

A collection of courses and syllabi for reference when teaching performance and live art practices. 

Examining the interactions between museums, festivals, tourism, and historic preservation projects, and communities.

There are lots of guides for artists on how to earn a living from art or how to raise funds to support making it, but few which help us ask what the ethical implications are of the routes we choose. In this Study Room Guide, arts, social justice and environmental group Platform has selected some key texts that they think are useful in helping to position yourself ethically with regard to financing or supporting artistic practice through business or corporate sponsorship.

See D1703 for Bruguera in conversation at Performance Matters: Trashing Performance. This item is referenced in the Dreams for an Institution Guide (P2313).

Focuses on the conceptual effort of an author to legitimise his/her work by providing evidence – ‘excuses’ – that make the artwork worthy. Includes a pocket-size reference card.

A Study Room Guide in response to a Study Room Gathering about the state of the institution and its alternatives for (and as) Live Art. We live in a time when many long-standing institutions are in a state of crisis, and precarity is becoming a normalized condition for vast swathes of the population. What kind of stance can a radical politics take towards institutions in these times? This Guide looks at artists’ projects that engage with institutions, both critically and creatively, and considers how performance practice has engaged and challenged institutions in recent years.

Archive of Boris Nielsony works and live art in Germany from the 1990s. Shelved in Oversize publications section.