Using interdisciplinary cultural studies to examine the gothicism in queer art, literature, and thought the author argues that during the twentieth and twenty-first centuries a queer culture has emerged that challenges and responds to traumatic marginalization by creating a distinctly gothic aesthetic.
Part of the Library of Performing Rights (P3041).
In the course of discussing all the facets of neoliberal psychopolitics fuelling our contemporary crisis of freedom, Han elaborates an analytical framework that provides an original theory of Big Data and a lucid phenomenology of emotion.
Explores the possibilities for organization and resistance under the contemporary status quo, and anticipates the emergence of a new and disobedient self-government of the precarious.
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street.
The essential reader for today's creative leaders and cultural practitioners, including original contributions by artists, scholars, activists, critics, curators and writers who examine the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. It is about consequences and causes of cultural boycott.
Exhibition catalogue. Alternative Space Loop, 16 December 2016 – 12 January 2017.
What is seriousness exactly, and where does it reside? Is it a desirable value in contemporary culture? Or is it bound up with elite class and institutional cultures?
Drawing threads from the meta to the micro level inevitably leads to a conversation about power – who has it, who doesn’t, who should have it, how it is adjudicated. TransActions #2 picks up on this context and sets out to pose questions for the field of socially-engaged art and education practice in 2017.
Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.
Tells the story of feminist performance theory. It explores key debates from its 40-year history, engages with the work of groundbreaking thinkers including Elin Diamond, Jill Dolan, Peggy Phelan and Elaine Aston, and includes case studies of recent performances by established and emerging feminist artists.
First issue of zine from the people behind the queer dance party for you & your friends.
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.
Madison presents the neglected yet compelling and necessary story of local activists in South Saharan Africa who employ modes of performance as tactics of resistance and intervention in their day-to-day struggles for human rights.
Written part of a doctoral dissertation, presenting the artistic works (performances, live-art projects and works on video ) and setting them in a larger context. The research presents the transformation that has taken place starting from the industrialism and modernism.
Arts professionals respond to questions on the current surge in liveness—live art, one-on-one performance, participatory events, real time live/digital interactivity and resurgent performance art.
A critical discussion of the public sphere in the current neoliberal capitalist democracy from the perspective of performance.
As the Creative City model for urban regeneration founders on the rocks of the recession, and the New Labour public art commissioning frenzy it triggered recedes, the authors take stock of an era of highly instrumentalised public art making.