This film chronicles the life and work of pioneering musician and performance artist Genesis Breyer P-Orridge, starting with Throbbing Gristle in the 1970s to the still very active cult favourite Psychic TV, and how h/er chance encounter with a dominatrix/performance artist in New York called Lady Jaye brought about a singular and enduring artistic collaboration and a brazen partnership that defied all the perceptions of love.

The Conversationalist was inspired by David Fosters Wallace’s cult novel Infinite Jest. Twelve artists were asked to contribute to a tour which took its audiences on a 24 hour journey through some of Berlin’s forgotten buildings and sights. One hour full length seven camera mix of one performance of The Conversationalist filmed at the Steffi Graf Tennis Stadium, Berlin, June 2012.

Full length documentation of performance at Volksbuhne, Berlin, December 2012. Running time 1 hour 38 minutes.

Accompanying booklet in French. Performance programme curated by Madeleine Amsler and Marie-Eve Knoerle.

Full length mix of one performance of Revolution Now! filmed at the ICA, London, 2010. This DVD also includes Gob Squad Essentials, Thirty minutes of edited highlights of the company's current touring projects.

Includes DVD. Text in German and English.

Slides and video documentation from the European Social Forum, London 2004

Do you remember it – or weren’t you there? was an exhibition of work by artists and writers whose starting point was live performance. It was curated by Philip Lee and Cally Trench and presented at the London Gallery West, University of Westminster in 2013.

The first book to focus on the criticism and theory regarding queer visual art. Art & Queer Culture includes not only pictures made and displayed under the rubric of fine art but also those intended for private, underground or otherwise restricted audiences. Scrapbooks, amateur artworks, cartoons, bar murals, anonymous photographs and video installations.

How do artists and curators imagine the audience in their work? How do they weave a picture of the individual viewer’s mental, physical, and emotional experience into the production of art events and what impact do these conceptions have on the finished artworks or exhibitions? Which new perspectives are useful in explaining the changes that have occurred in the art field and the concomitant new viewing positions? These are some of the questions that are the basis for Imagining the Audience.
Text in Swedish and English.