Video documentation of the book launch, as part of LADA Screens. Includes 4 videos.
Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture.
The first substantial survey of its kind, the publication brings together documentation of performances, drawings, videos, installations, and sculptures, as well as writings, interviews and visual essays by the artist. A series of commissioned critical essays show her to be a prolific maker of acts, objects, and multiple ‘selves’.
15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
Part of the Library of Performing Rights (P3041).
Follows two nurses, both named Jackie, who create biographical slideshows for patients as a tool for reflection on posthumous digital legacies, withdrawal, friendships, cultural and social loss, and memory as identity.
Part of LADA Screens 11. The film was available online 16-29 May 2016 on the LADA Screens Channel. Includes a compilation of episodes 1 – 7, split into two files.
Part of the Library of Performing Rights (P3041).
A short video derived from the photographs, rehearsal footage and other documentation of And I – a single channel eight-hour video of Marcia Farquhar speaking without edits of sustained pauses.
Part of LADA Screens 7.The film was availble online between 24 Feb and 9 March on the LADA Screens Channel.
The fourteen essays bringing together a unique gathering of artists, many of whome make works which arise out of responses to the situation or the environment in which they find themselves.
Considers the inter‐disciplinarity of ‘Live Art’ as a field of work and as a performance practice.
From the British Live Art: Essays and Documentation issue.
An evening considering questions of archives and legacies through the art and lives of four extraordinary and influential artists who have died in recent years – Ian Hinchliffe, Rose Finn-Kelcey, Lol Coxhill and Roger Ely. Inspired by the acquistion of the Ian Hinchliffe archive by Queen Mary.
16 November 2017
A tribute to Katherine Araniello, read during the event at LADA, 16th April 2019.
Part of the Library of Performing Rights (P3041)
In misc folder 7.
Documents the lives of 23 white women in interracial relationships with African and Afro-Caribbean men from the 1940s to 2000. Each women’s story is told in their own voice or by their children.
Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
Consisting of twelve chapters written by leading scholars in the field, and a long interview with Schlingensief himself, the book will provide the reader with the first comprehensive study of the intriguing body of work that Schlingensief has developed over the last thirty years.
Part of Library of Performing Rights (P3041).
A collection of texts and images on the bodies of artists and writers who battled with the frustration of their own physicality and whose work reckoned with these limitations and continued beyond them.
Exhibition catalogue. 12/11 – 4/12 1987. In German.
A detailed look at the extensive 14-18 NOW programme, which was set up to bring a creative response to the centenary of the First World War.
Examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture.
Part of Library of Performing Rights (P3041)
Explores performance art through live manifestations and reiterations in photographs, film and video.
Brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship.
The “Artists' Book” of the post-war period: a unique collaborative work by four artists associated with various avant-garde art movements, including Fluxus and Nouveau Réalisme.
A return to the theme of the issue around ‘the migrations of people’ and ‘writing around differing geographies and histories of travel’.
Marks the finissage of Abboud's solo exhibition The Horse, the Bird, the Tree and the Stone at Bildmuseet (Sweden, 21 May – 17 September 2017) and the inauguration of her solo show The pomegranate and the sleeping ghoul at Darat al Funun-The Khalid Shoman Foundation (Jordan, 10 October 2017 – 11 January 2018).
A cinematic journey through love, death and language.
75 minutes.
This collection of writings by the author of Capitalist Realism, argues that we are haunted by futures that failed to happen. Fisher searches for the traces of these lost futures.
This article gives examples of a number of initiatives by individual writers, artist collectives, and festivals that test forms of critical writing that are as experimental as the practices to which they relate.
Archive and essay on the artistic exploration of exorcism. Includes a dissertation, CDs, DVDs, and objects.
In the glass cabinet.
Contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatised recordings of liveness.
A chronological review of a decade of endeavours by one of the most astute Slovenian projects of contemporary performing arts. The publication with extensive visual material and excerpts from texts documents 29 performances accompanied by Dr Blaž Lukan’s essay Erasing the Audience which analyses the company’s performing strategies.
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
The first of its kind in English, this book is more than a city guide to Hong Kong through the medium of film; it is a unique exploration of the relationship between location and place and genre innovations in Hong Kong cinema.
On the production style of Goat Island.
Draws upon cognitive and affect theory to examine applications of contemporary performance practices in educational, social and community contexts. The writing is situated in the spaces between making and performance, exploring the processes of creating work defined variously as collaborative, participatory and socially engaged.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
On 26 December 2003 an earthquake destroyed over 90% of one of the most ancient cities of Iran, Bam. Nearly half of the inhabitants lost their lives and the impressive citadel was turned into dust. It also destroyed the most famous photo studios located in the old parts of the city. Iranian art historian and photographer Parisa Damandan decided to pay tribute to the victims by excavating, collecting and restoring the archives of five studios, supported by the Prince Claus Fund and AIDA Nederland. She was able to save at least 30,000 negatives, all memories of life in Bam before the city was ruined.
The contributors to this book, writing from a variety of subject disciplines and interests, explore a range of the uses of autobiography from the nineteenth-century to the present day, and from Africa, USA, the Middle East, France, New Zealand, as well as Britain.
Documentation from the DIY 14 project, exploring how personal documents and performance can animate each other within a specific context of travelling and migration.
What happens when you give a live artist the keys to the library?
Thirty-six mini scenarios of torture and execution which transform the small immaculate bodies of fruit into figures that seem to increasingly identify themselves with human beings.
Thirty-six mini scenarios of torture and execution which transform the small immaculate bodies of fruit into figures that seem to increasingly identify themselves with human beings.
The dancers develop movements in response to a photo – creating in real time.
Part of the Library of Performing Rights (LPR) (P3041).
Publication on solo, collective and multi-lingual recitations from memory of the Universal Declaration of Human Rights.
Part of the Library of Performing Rights (LPR) (P3041).
Investigates the crisis in contemporary theatre, and celebrates the subversive in performance.
Part of the Library of Performing Rights (LPR) (P3041).
Catalogue published in conjunction with the exhibition by Yongsoon Min ;13 August to 12 September 2004 at the SSamzie Space Galleries. In English and Korean.
Part of the Library of Performing Rights (LPR) (P3041).
The first book to provide a collection of key writings about the process of documenting performance, focused not on questions of liveness or the artistic qualities of documents, but rather on the professional approaches to recovering, preserving and disseminating knowledge of live performance.
Provides a feminist reading of Yellow (2008) and How to explainthe sea to an uneaten potato (2008) in order to explore how her performances use corporeal strategies to engage with memory.
The first comprehensive overview and reconsideration of 30 years of art made in response to the AIDS epidemic in the United States. This book foregrounds the role of HIV/AIDS in shifting the development of American art away from the cool conceptual foundations of postmodernism and toward a new, more insistently political and autobiographical voice.
Published on the occasion of the exhibition at the Tacoma Art Museum (October 2015 – January 2016)
On the process and politics of live critical responses to a live stream of Forced Entertainment’s And on a Thousandth Night.
Reflects, through a celebratory and playful lens, on the seminal moments of contemporary international performance that have visited the city from the late 1980s until 2016, a year from when the Arches closed.