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.

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.

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).