Delivers a counter blow to the rampant culture of fear fuelled by the likes of CNN, Fox and the Daily Mail. Exploring contemporary and historical manifestations of this controlling force, the conversations in this collection go beyond just scrutinizing what constitutes rational versus irrational fear, or identifying ways in which human fears are manipulated by political players. They reveal how fear antagonizes and changes our subjectivity and, crucially, how the political use of fear has been resisted in different times and places, by different people across the globe.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Jones travels the border regions of the world, documenting the billions of dollars spent on border security projects, and their dire consequences for the majority of the people in the world.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Publication documenting de la Rosa's participation in the 'A world of your own workshop', led by Geraldine Pilgrim.
Transcript from a performance; Live Art and Performance Art sessions, School of Arts, Oxford Brookes University
The book explores what it means to create and experience urban performance – as both an aesthetic and a political practice – in the burgeoning world where cities are built by globalization and neoliberal capital.
Documentation from the LADA event on (post)modern colonialism, held on on 13 Feb 2016.
Incudes a communal text, details on the event, reflections by Leo Kay, Laura Burns, Christine Brault, Isil Sol Vil and Marina Barsy Jane, and photos.
Part of the Study Room Ambassador scheme.
Documentation from the LADA event on (post)modern colonialism, held on on 13 Feb 2016.
Part of the Study Room Ambassador scheme.
Introductory note to the exhibition held at Museo Nacional de Arte Reina Sofia, 25 October 2012 – 11 March 2013.
This Article can be found in miscellenous folder 5B.
Editor Chon A. Noriega collects ephemera gathered from Gamboa’s three-decade-long dadaistic career. The book includes interviews with artists, poetry, fiction, collaged images, documentation of public and staged performances, photographic portraits of Chicano men, and political writings, including an essay on public schools reflecting his son’s first year in kindergarten.
Sheren explores performance art and politics on the US Frontera since 1984. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century.