A one-off 30 performance produced in relation to Teching Hsieh's Outdoor film. Part of LADA Screens 4.
In his third one-year performance piece, from 26 September 1981 through 26 September 1982, Hsieh spent one year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents.
This video was part of LADA Screens, and was available online between 12 and 26 October 2015.
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
This collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms.
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.
Dual performance to Skype camera
Blood, 2013 (1:47); Block, 2013 (1:48); Lançar- to throw 2013 (0:39); Alinhar – to Align, 2013 (0:58); Cloud try 3, 2013 (0:51); Red line, 2015 (0:50); A short story, 2015 (1:04); Annunciation 1 & 2, 2015 (2:08)
Dual performance to the camera
Skull-line, cranial suture, 2014 (0:46); Measuring the room, 2014 (1:27); Tables, 2015 (2:05); To do with you, 2016 (2:20); Push, 2011 (1:25); Dictionario (excerpt), 2011; And –And, 2016 (3:44)
For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. This volume presents documentation of The House With the Ocean View alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, Cindy Carr, RoseLee Goldberg and Peggy Phelan.
A collection of postcards documenting a collaborative series of performances by visual artists Frances Mezzetti and Pauline Cummins from 2008 to 2014.
Comprehensive monograph on artist Rose English’s 40-year career to date, including legendary site-specific performances and large-scale spectaculars.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Poses questions over the nature of action, identity and the self in the relationship with media forms.
Franko B' performance Work monograph with essays by Lois Keidan and Stuart Morgan, photos by Nicholas Sinclair. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
A collection of newly commissioned texts that explore the moving image in relation to performance.
Chelsea programme notes:In a world consumed by identity crises and at the same time dominated by advertising, how might a humble being begin to claim back space?Director Richard Maxwell: “ADS captures and refines questions I have been thinking about for a long time. What is presence? What does absence provide? What is it about performance that I like? What is it about people that I like? ” ADS offers participants an opportunity to publicly state their beliefs with one stipulation: Be sincere.”Boundary-pushing…suggests…you can create humane, affecting works of theater without the literal presence of human beings.” – Charles Isherwood, The New York TimesConceived and directed by Richard Maxwell for New York City Players
Performance Matters: Performing Idea – Performative Writing8th October 3.00-7.30pm (not 7th as stated on disk))Toynbee StudiosWith: Hélène Cixous (on video), Matthew Goulish, Adrian Heathfield and Peggy PhelanNew forms of writing on and around contemporary art and performance have emerged in recent years, alongside the emergence of the artist as cultural critic and curator. These forms of writing often problematize the notion of critical distance, deploying creative, dialogic and autobiographical strategies to engage with the multiple affects of the artwork. To what extent may critical thinking and writing be an art form? Speakers will examine the histories, limits and possibilities of the forms of ‘performative writing’, the dynamics of the performing idea.This session on Performative Writing will also comprise a preview of Trashing Performance, the second themed year of Performance Matters, with contributions from Oreet Ashery, Mel Brimfield, Gavin Butt, Dominic Johnson and Bird La Bird.
Part philosophical meditation, part cultural critique, this profoundly original work explores the nature of physical suffering.
This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).
A Performance Documentation of Raumlabor’s Duismulsen U(topie) 18
A collection of one-to-one performance at the South London Gallery; audiences were invited to book a 10 minute interview and record their silence. 8 CDs.
This item is part of the Study Room Guide On Social Engagement and Participation by French Mottershead (P1290
Catalogue of homonymous exhibition held at the Galleria Pack, Milan, 15 April – 15 June 2008. Curation and text by Francesca Alfano Miglietti (FAM). Italian and English language.
Includes 249 performances in the words of their creators and a comprehensive index of the terms used to describe them.