Mishandled Archive offers a way of imagining, creating and disseminating an archive.
The archive-book of the 1978-1982 works of performance artist Antonio Syxty, active in Milan in connection with the basement theatre Out Off.
An international collection offering glimpses into the intimate relations inherent in finding, remembering (or imagining), and creating an archive.
Collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre.
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
British Library Sound Archive recording and documentation of Potentials of Performance events (26-27 October 2012). This third themed year of the Performance Matters project features a vibrant series of commissions exploring and exploding the dialogue as a potential format for thinking through and testing possible futures. Specially invited respondents working across the creative and critical field of performance (Nicola Cinibere, La JohnJoseph, Eirini Kartsaki, Harun Morrison, Joe Kelleher) gather to reflect upon the works experienced over the two days. Following, an informal conversation between the projects co-directors (Gavin Butt, Lois Keidan, Adrian Heathfield) looking back at the three-year project, its insights and paradoxes, and looking forward to the future of performance.
Audio CD of Symposium and performances for Performing Idea.Track List:
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.
Leading artists and thinkers assess the relevance of live art now, its impact within the visual arts and the broader cultural sphere.
This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)