This story is a product of lockdown, of not being able to create gatherings and experiences with, and for, other people. It is an account of intensely personal histories and experiences, that usually stay behind the screens. It is also a document of the Heteraclub project and the safe space created there, in which hundreds of women shared their stories of love and pleasure.
Exhibition publication: Misbehaving Bodies, Wellcome Collection, 29 May 2019 – 26 January 2020.
Part of the Library of Performing Rights (P3041).
Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.
A gathering of international transgender performers and their audiences in Liverpool in November 2011. Part of LADA screens.
Part of the Library of Performing Rights (P3041).
An idyllic location, a perfect spot, but something just isn't quite right, something doesn't fit.
Part of LADA Screens 14. The film was available online 23 August – 6 Spetember 2016 on the LADA Screens Channel.
Charts the choppy waters of gut feelings, capturing the flotsam and jetsam of impulse, desire and fights to the death.
Part of LADA Screens 14.
A consideration of 'new dance' in response to writings of Luce Irigaray.
What is the role of pleasure and pain in the politics of art? Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy.
Part of the Library of Performing Rights (P3041).
Asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation.
Discusses sex, desire and dating with leading figures from the trans and non-binary community.
Includes documentation of:
– Someting Tender
– 3 : 3: 3
– For Always
Peformance video: The Yard Theatre, London, January 2018 (1hr)
For a digital copy see EF5286.
In 1990, Myles chose Rosie from a litter on the street, and their connection instantly made an indelible impact on the writer's way of being. Over the course of sixteen years together, Myles was devoted to the pit bull and their linked quality of life.
Publication accompanying the eponymous film.
Publication on the week-long, 24/7 durational performance art event which took place in a three-bedroom house, showcasing 10 international artists living and working together and live-streamed on Youtube.
Based on her widely praised performance piece Unicorn Gratitude Mystery, Finley’s book explores the Shakespearean dynamics that surface when libidos and loyalties clash in the public and private personas of Donald Trump, Hillary and Bill Clinton, Huma Abedin and Anthony Weiner, and now Harvey Weinstein.
Part of the Library of Performing Rights (LPR) (P3041).
The first annual anthology of commissioned new work by queer authors.
Explores attention structures that invite one-to-one encounters in digitally informed practice.
Live action.
Part of the Library of Performing Rights (LPR) (P3041).
Introducing the idea of performance as a shared transformative experience, this engaging book will help you make sense of the performer/audience interaction in a landscape where boundaries are collapsing.
Book review.
Large format programme for Hotel Obscura (Vienna performances). In German.
Publication on the TWRG which explored structure in and around participation – be it a group, time or space. Three parallel walks, all based on the same texts, took place in three cities: Bilbao, London and Bolzano.
In English, Spanish, Italian and German.
Publication documenting the work of the WRG in 2013 and 2014.
Publication on four walks commissioned by SPACE, which provided the chance to discuss the many and varied viewpoints related to the commons, including resource, community and the process of commoning. This edition includes an essay written by Maru Rojas in response to the project and the commons.
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.
Publication on the project conducted in October 2016. The artist made hand-sewn garments, wearing only one until the next one was made, and exploring the relationship between art and ecology.
Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?
The collection explores repetition in relation to intimacy, laughter, technology, familiarity, and fear proposing a new vocabulary for understanding what is at stake in works that repeat.
Feature on Duets on Ice, Landfall and Dirtday!.
An exploration of the artist's experience of giving birth under general anaesthetic.
AV documentation (no sound); 6 hours.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Stills from the performance, which comprised of over 300 images and took place in 2 parts; part one is performed in a photography studio, with the photographer the only spectator.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Walsh argues that there are many links between theatre and therapy when considering actor training, theatre in therapeutic contexts, and contemporary theatre and performance.
Vienna and Linz festival of one-to-one performances, interventions and experimental theatre, taking place inside two city hotels.
This exhibition catalogue illustrates 'the facts of life' – an interactive installation by Australian artist Lyndal Jones. The artwork questions Charles Darwin's theories of sexual selection and the nature of human attraction and seduction. Ikon Gallery, April-May 2000.
Charting the rise of the immersive theatre phenomenon, this is the first survey of immersive theories and practices for students, scholars and practitioners of contemporary performance. It includes interviews with immersive artists and examines key topics such as site-specific performance and immersive technologies.
This DVD is currently missing. The digital file can be viewed in the Study Room. The reference is EF5195.
One-to-one performance, situated within a garden designed by Scottish artist Minty Donald.
2009.
46 minutes
Arts professionals respond to questions on the current surge in liveness—live art, one-on-one performance, participatory events, real time live/digital interactivity and resurgent performance art.
Includes the pieces: Hoke’s Bluff, Slap Talk, Watch Me Fall, A Western, Frontman and Extraordinary Rendition.
Article on how intimate performance develop the relationship between audience and performer/performance.
Video commisioned for “Documenting Intimacy”, a research initiative piloted by Brian Lobel and Marisa Zanotti to explore documenting one-to-one performance from the perspective of artists.
Video documentation of interactive performance for two audience members set between a street and a second story window.
A pamphlet documenting selected live performance, film and installation by Curious.
Article exploring the intimacy of the performer-spectator relationship in the encounter between the Jacques Ranciére philosophy and the Belgian, Ghent-based theatre performance group Ontroerend Goed's immersive performance work.
An exploration of Adrian Howells's artistic practice of creating work that promotes intimacy and genuine exchange with an audience.
Special issue on ono-to-one encounters, desire, reciprocity and ethics.
Performance artists Leslie Hill and Helen Paris of Curious document their creative processes, performances and audience's responses in a series of illuminating case studies.
A look at the radical, experimental dance presented during the early 1960s at Judson Memorial Church in downtown Manhattan.