Deals very with the struggle to form new, functioning ideologies for the emerging, digital future. Extract from the book The Global Empire.
Part of the Library of Performing Rights (LPR) (P3041).
An Investigation into the political efficacy of Pussy Riot’s art.
Immediately after Nadezda Tolokonnikova and Maria Alekhina were released, Verwelius contacted the two, setting into motion an extraordinary photo shoot: using the activists’ stories and sketches of the prison camp, he depicted their living and working conditions there as an impressive picture series. In English and Dutch.
This collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms.
Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body.
Starting with the questions: Does it Work? and How Can We Know? this article explores the effect and affect, or affect, of activist art.
Introduction to Loher's play, with particular emphasis on Innocence – the play and Michael Thalheimer's 2012 production.
A LADA screening programme for the 2016 Venice International Performance Art Week: a collection of documentation and artists’ films looking at pain and performance.
Includes:
Marina Abramovic – On ‘Rhythm O’, 1974, 2013, 3’07” ; Ron Athey – Ron’s Story, 2001, 4’44”; Marcel.Li Antunez Roca – Epizoo, 1994, 8’29; Franko B – Don’t Leave Me This Way, 2009, 5’03”; Wafaa Bilal – On ‘Shoot An Iraqi’, 2007, 2’21”; Rocío Boliver – Times Go By and I Can’t Forget You: Between Menopause and Old Age, 2013, 4’18”; Cassils – The Powers That Be, 2016, 2’24”; Bob Flanagan – Cystic Fibrosis Song, 1990’s 1’32”; Regina Jose Galindo – Lucha, 2002, 3’37”; jamie lewis Hadley – this rose made of leather, 2012, 9’10”; Nicola Hunter & Ernst Fischer – Passion/Flower, 2012, 4’02”; Oleg Kulik – Dog House 1996, 4’10”; Martin O’Brien – Taste of Flesh, 2015, 2’59”; Kira O’Reilly – Wet Cup, 2000, 2’29”; ORLAN – Successful Operation, 1990, 6’16”; Petr Pavlensky – Radical Artist In Court – Ukraine Today News Item, 2015, 1’57”
Selected images from the exhibition Translated Acts, curated by Yu Yeon Kim at the Haus der Kulturen der Welt and the Queens Museum of Art in 2001.
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.