Seeking to overthrow all constraints on what can be done with and to the body, Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire.
It examines the ‘performance of extremity’ as practices at the limits of the histories of performance and art, in performance art’s most fertile and prescient decade, the 1970s. Dominic Johnson recounts and analyses game-changing performance events by six artists: Kerry Trengove, Ulay, Genesis P-Orridge, Anne Bean, the Kipper Kids, and Stephen Cripps.
Part of the Library of Performing Rights (P3041)
Abjection builds awareness of post-porn power, which breaks away from the outdated distinction between eroticism and pornography.
At once forensic and intimate, the biography traces the extreme discipline and literary strategies Acker used to develop her work, and the contradictions she longed to embody.
Challenging and re-positioning the traditional exhibition catalogue as an artwork and commission in its own right, the pub;ication takes its inspiration from the classic Pedro Almodóvar film on the occasion of the group exhibition, La Movida at HOME, Manchester (14 April – 17 July 2017).
Autobiography of an artist who, as a founding member of the avant-garde group Throbbing Gristle and electronic pioneers Chris & Cosey, has consistently challenged the boundaries of music over the past four decades.
Special issue: Simon Stephens – British Playwright in Dialogue with Europe.
From the age of Aristotle to the age of AIDS, writers, thinkers, performers and activists have wresteled with what “performance” is all about. At the same moment, “performativity”–a new concept in language theory–has become a ubiquitous term in literary studies. This volume grapples with the nature of these two key terms whose traces can be found everywhere: in the theatre, in the streets, in philosophy, in questions of race and gender, and in the sentences we speak.
A look at how those outside the racial and sexual mainstream negotiate majority culture—not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Muñoz calls this process “disidentification,” and through a study of its workings, he develops a new perspective on minority performance, survival, and activism.
The collection concentrates on Kelley’s own work, ranging from texts in “voices” that grew out of scripts for performance pieces to expository critical and autobiographical writings.