How have avant-gardes been shaped by racism and contributed to racist power and imperialism? How have the claims made by avant-garde political and artistic groups to liberate humanity been indebted to religious intolerance? And how has the vanguard commitment to radical cultural action contributed to war, terror, and destruction?
Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us.
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.
Textbook from the performance / social experiment. The audience (a.k.a participants) underwent several stages of assessments to decide who remained in the experiment, and who was liberated from it. By the end, only one participant was crowned “LGB”. Presented during the Singapore International Festival of Arts 2016.
Zine on how fact activists see the world.
A book of stories, stories written by activists from the front lines of resistance against capitalism and economic globalization. In German; for the English version see P0424.
This item is part of the Study Room Guide: A Bi(bli)ography of Insurrectionary Imaginati by John Jordan (P0793) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).
Authors offer ways to fight today’s pervasive digital surveillance — the collection of our data by governments, corporations, advertisers, and hackers. To the toolkit of privacy protecting techniques and projects, they propose adding obfuscation: the deliberate use of ambiguous, confusing, or misleading information to interfere with surveillance and data collection projects.
The article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective at New York’s Museum of Modern Art in 2010.
The addresses the nonhuman bodies of Café Müller and claim that Bausch’s piece resonates with the work of contemporary philosopher Graham Harman, in that it tries to go beyond human exceptionalism to present a world where all bodies, regardless of their perceived nature, are simultaneously tightly enmeshed together and inaccessible to one another.