Catalogue > By Keyword > Marina Abramović
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WALKING WOMEN: A Study Room Guide on women using walking in their practice
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.
Marina Abramović: The Cleaner
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).
How Do You Write a Risk Assessment for Lips of Thomas?
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?
Ulay: Life-sized
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.
Performance Art in Eastern Europe Since 1960
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).
Performative monuments: The rematerialisation of public art
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).
art is (speaking portraits)
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.
On Repetition: Writing, Performance and Art
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.
Interactive Contemporary Art: Participation in Practice
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.
Ouch: Pain and Performance
A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.
Includes:
Marina Abramovic – On ‘Rhythm O’, 1974, 2013, 3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocío Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item, 2015, 1’57”
Theatre and Museums
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.
So Much Wasted: Hunger, Performance, and the Morbidity of Resistance
Anderson analyzes self-starvation as a significant mode of staging political arguments across the institutional domains of the clinic, the gallery, and the prison.
