The ‘do-it-yourself’ artwork: Participation from Fluxus to new mediaThis volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part 1 addresses the emergence of spectator participation in the 1960s, whilst Part 2 brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part 3 map out a range of theoretical approaches to the ‘do-it-yourself’ artwork.

Includes: Lazy Student Too Apathetic To Get A Job Please Give Generously; Things #1; I Can’t Get No Consumer Satisfaction!; I Await Your Swift Reply; Postal

Performance Matters, Performing Idea – Reciprocal Aesthetics7th October3:00-7:30pmToynbee StudiosWith: Ron Athey, Wafaa Bilal, Maaike Bleeker, Shannon Jackson and Julie Tolentino The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.’ Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared?

Monography on Ma Liuming’s work, published by Chinese Contemporary. This item is part of the Study Room Guide On Performance in China by Adele Tan (P1114) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)

Contaminate the city was a workshop formulated to explore site-specific and participatory performance practice.

Programme for There’s a Strange Wind Blowing by Serena Korda, Tintype Gallery, 2010.

Dead Season Live Art 2010, Margate. Limbo Arts. See P1496 for full Dead Season Live Art programme.

Dead Season Live Art, 2010, Margate, Limbo Arts.See P1496 for full Dead Season Live Art programme.

Fresh AiR Platform is an opportunity for emerging artists to introduce their work to audiences, Katy Baird, I Don’t Remember Exactly When It Happened…, mentored by Oreet Ashery, Queen Mary University of London.

Review of Mirza & Butler’s project.

Features a guest writer and offers information on Create events and services.

Videos of two performances by Katherine Araniello: Terminal Services (2009) and Vital Statistics (2009)

Part of Access All Areas Screening Programme. Also available with subtitles as ED1427SUB. This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)