Publication made as part of a choreographic work investigating the relationship between theoretical, aesthetic and performing aspects of an artistic work. Includes two essays: ÆØÅ and Pointing back.
Programme for the evening of green, monstrous, post-human drag performance.
In the summer of 2006, the two artists travelled across the Pennine Way creating a choreographic pathway – a shared journey and celebration of walking as dance and dancer as traveller.
Copy of a manuscript taken from a 2010 PhD in the Department of Visual Culture at the National College of Art and Design in Dublin.
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)
Video recordings of two performances presented as part an extensive programme curated by Lois Keidan and Aaron Wright (Live Art Development Agency) entitled “Just Like A Woman”, composed of lectures, performances, readings, installations, screenings, workshops and debates on performance of identity, is fully dedicated to the impact of performance on feminist histories and the contribution of artists to discourses around contemporary gender politics. From the 19th edition of the City of Women (Mesto žensk) festival – 2-13 October 2013, Ljubljana, Slovenia – entitled “Let’s create a place for ourselves” on public space and politics.
For over 20 years Marina Abramović has collected materials from film, dance, theatre, music, rituals and performance. For her lecture at Live Culture she wound through a personal visual archive of performance related materials focused around the performing body, its mental and physical limits.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
British Library Sound Archive recording and documentation of Potentials of Performance events (26-27 October 2012). This third themed year of the Performance Matters project features a vibrant series of commissions exploring and exploding the dialogue as a potential format for thinking through and testing possible futures. Séances of Presences is a performance lecture and moving dialogue that tests the potentials of all involved – on and off stage. Mariella Greil and Emily Sweeney dance, talk and write about immanent potentials of relationality, choreographic practice and performance.
Spill National Platform 2009
Sinead O’Donnell and Lisa Marie Johnson: “Performance Lecture” 2010. In conjunction with ‘Exile from Presence’ w/ John Zerzan. National College of Art and Design. Dublin, Ireland.
Documentation has been presented with permission of the artist as part of an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
For over 20 years Marina Abramović has collected materials from film, dance, theatre, music, rituals and performance. For her lecture at Live Culture she wound through a personal visual archive of performance related materials focused around the performing body, its mental and physical limits.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
With post-show discussion.“Pier Paolo Pasolini wrote of throwing the body into the fight. These words inspired me to go on stage. Other inspirations are the reality around me, the time in which I live, my memories of history, people, images, feelings and the power and beauty of music and the confrontation with one’s own body which, in my case, does not correspond with conventional ideals of beauty. To see bodies on stage that do not comply with the norm is important – not only with regard to history but also with regard to present developments, which are leading humans to the status of design objects. On the question of success: it is important to be able to work and to go your own way – with or without success. I simply do what I have to do.“www.raimundhoghe.comThis documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is referenced in the Making Routes Study Room Guide (P1964) and the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Documentation has been presented with permission of the artist as part of an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
Chelsea programme notes:At Art College Chris Dobrowolski discovered that art could theoretically be anything. He made a boat from driftwood and tried to escape…he failed. This led to a series of vehicles from recycled materials all with a deliberate “knocked up in my garden shed” feel about them.In his continuing attempt to escape the art world he has been to the Antarctic with the British Antarctic Survey. His performance lecture will concentrate on his efforts to relate to this blank canvas and his attempt to justify his existence there, whilst everyone around him tries to save the planet.
Also see P1517 and P1518.
This Is Performance Art: Performed Sculpture and Dance 8th April 2010 – 06 June 2010 Camden Arts Centre
A video-lecture, a playful complex analysis of the use and misuse of images for political and ideological purposes in Lebanon and the Middle East
Event documentation, Toynbee Studios
Based on Jeremy Xido’s true life adventures of trying to make a feature film in Angola.
Lecture given by Guillermo Gomez Pena from Live Culture Symposium: Performance and the contemporary at TATE Modern, 29-30 March 2003.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
Lecture given by Ricardo Dominguez from Live Culture Symposium: Performance and the contemporary at TATE Modern, 29-30 March 2003.
Lecture given by William Pope.L from Live Culture Symposium: Performance and the contemporary at TATE Modern, 29-30 March 2003.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
DVD – AUDIO ONLYThis documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
Dead Season Live Art, 2010, Margate, Limbo Arts.See P1496 for full Dead Season Live Art programme.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
This documentation has since been presented with the permission of Revelation Films as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
“Invited at the same time by the Hebbel Theatre in Berlin, the Tanz-Quartier in Vienna and the Centre National de la Danse in Paris to perform The Last Performance (D0624) I decided, instead of presenting the piece, to make a lecture about its issues. I had the feeling that this difficult piece had not been really understood. Maybe the piece was bad. But I believe that the issues of this piece were relevant, which is why I would like to change my medium and to use the tool of the lecture to try to articulate better the stakes of The Last Performance. I will re-contextualise the piece in its theoretical level through the texts of Roland Barthes and Peggy Phelan and in my artistic situation at that time.”Jérôme Bel www.jeromebel.fr This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Performance by the Nigerian artist.
This item is referenced in the Making Routes Study Room Guide (P1964), the Study Room Guide On (W)Reading Performance Writing by Rachel Lois Clapham (P1433) and the Study Room Guide: you may perform a spell against madness by Lone Twin (P0755)
With post-show discussion. Part of Access All Areas Screening Programme. Also available with subtitles as EV0572SUB.“Pier Paolo Pasolini wrote of throwing the body into the fight. These words inspired me to go on stage. Other inspirations are the reality around me, the time in which I live, my memories of history, people, images, feelings and the power and beauty of music and the confrontation with one's own body which, in my case, does not correspond with conventional ideals of beauty. To see bodies on stage that do not comply with the norm is important – not only with regard to history but also with regard to present developments, which are leading humans to the status of design objects. On the question of success: it is important to be able to work and to go your own way – with or without success. I simply do what I have to do.“www.raimundhoghe.comThis documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)
Includes introduction by Lois Keidan and other plus a post-show discussion largely centered on Arts Council funding and assessment in particular reference to FE’s funding ACE funding cut in 1995.