An evening with artists readings of extracts from significant books held in LADA’s Study Room. Part of LADA at 20.
The first major survey of the artist’s interdisciplinary practices. Bringing together newly commissioned and other writings by major thinkers in and beyond visual and performance studies, and extensive documentation of the artist’s work from two decades of practice, it navigates through and between performance, biotechnical practices, image-making, and writing.
Second edition of the artwork exploring the potential of Live Art to bridge generations.
Explores performance art through live manifestations and reiterations in photographs, film and video.
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
Proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art.
Examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib.
Exhibition catalogue; 22/10/2017 – 15/04/2018. The exhibition was a follow-up of The SEA – salut d’honneur Jan Hoet (2015).
This major survey charts the development of live art across six continents since the turn of the twenty- first century, revealing how it has become an increasingly essential vehicle for communicating ideas across the globe in the new millennium.
From war and environmental pollution to racism and sexual assault, the publication analyzes the consequences of trauma as seen in the works of artists like Marina Abramović, Pope.L, and Chris Burden.
Analyzes the cultural work of spectacular suffering in late-medieval France and the twenty-first century, reading recent dramatizations of torture and performances of self-mutilating conceptual art against late-medieval saint plays.
Part of the Library of Performing Rights (P3041)
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
An exploration of walking and mapping as both form and content in art projects using old and new technologies, shoe leather and GPS.
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
Guides the reader through a thicket of seemingly arcane meanings of nonrepresentational art forms, and brings clarity to the intentions and agendas of these artists, as well as to their real world contexts.
Questions whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture, the visual to the verbal, and the apolitical to the political, Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo and permissibility.
The author's concerns – which include the social meaning of illusion and the cultural manifestation of power – take the reader from Eleanora Duse to Laurie Anderson; from the puppet theatre of Kleist to Kantor's theatre of the dead; and from the Kutiyattam temple dancers in Kerala to Womanhouse in Los Angeles.
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
Twenty two 3 minute shorts directed by international filmmakers to mark the 60th Anniversary of the Universal Declaration of Human Rights.
Part of the Library of Performing Rights (LPR) (P3041).
MA Performance Thesis, 2016.
Exploring the potential of Live Art to bridge generations andrawing on key Live Art themes and seminal works, PLAYING UP takes the form of a game played by adults and kids together.
A polemical thinking-through of the whole concept of theatre as a ‘space’, and a politically motivated exploration of how, and where, that theatrical space meets the real world that surrounds and suffuses it.
Exploring the potential of Live Art to bridge generations andrawing on key Live Art themes and seminal works, PLAYING UP takes the form of a game played by adults and kids together. In German.
Recording a series of events held in London and Edinburgh in July and August 2016 celebrating the work of women using walking in their practice.
Book published in conjunction with the eponymous exhibition at Moderna Museet, Stockholm (February-May 2017), Louisiana Museum of Modern Art, Humlebaek (June-October 2-17) and Bundeskunsthalle, Bonn (April-August 2018).
Art students who experiment, think differently and take risks are often praised for their efforts. But what happens when students become interested in developing performance-based work involving risk of injury and physical pain?
Catalogue of the first-ever major overview of the works of the artist; includes photographs, performance art pieces, and works that Ulay has kept private for years and which are now being made public for the first time. Schirn Kunsthalle Frankfurt, 13, October 2016 to 8, January 2017. In German and English.
Covering 21 countries and more than 250 artists, this text demonstrates the manner in which performance art in the region developed concurrently with the genre in the West, highlighting the unique contributions of Eastern European artists.
Part of the Study Room Guide on Live Art and Displacement (P3107).
How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.
Part of the Study Room Guide on Live Art and Displacement (P3107).
The volume is drawn from the ongoing video work art is/poetry is/music is (Speaking Portraits), which features over 1000 artists–painters, poets, musicians, dancers, actors, video-/filmmakers–in eleven countries saying what art is. art is offers an intimate view of seventy of those engaged in art as performance.
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.
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
Bennett looks at the collaborative processes that intertwine these two cultural practices. She argues that discourses of performance studies can open up new avenues of inquiry about the production and reception of the museum experience and its place in contemporary culture.
Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison.
On Thursday October 2, 2014, LADA presented ALAG, its first-ever fundraising event, which took place at the Royal Vauxhall Tavern in London.
In this invitation to reflect on the power of performance, Diana Taylor explores many of the 'performance' uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.
Learn to think, see and live like an artist with this inspirational and practical guide on how to live a creative life written by the world’s most thought-provoking artists.
Review of the exhibition Performance Now, Queensland University of Technology (QUT) Art Museum, 6 Dec 2014-1 March 2015, Brisbane.
Endurance was a three-day programme of screenings, performances and exhibition exploring the physical and mental limits of human experience (24 April – 26 June 2008 at VIVID, Birmingham). This forder includes flyers, programme and booklet with programme notes and texts by Tracey Warr, Kay Winwood, Deborah Kermode.
The book is based on an ongoing, long-term, extensive photographic project spanning over a five-year period, which follows a group of women (artists) through their pregnancies into motherhood.
This publication explores the ethical challenges with which performance art confronts its viewers speak to the reimagining of the audience.
This book examines the rise of women artists in the late 20th century, viewed through the work of 12 key figures.
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
Attempts to describe how artistic imagination can produce new situations, based on the potentials of the singular 'body' within its environment.