Documentation of the event marking the end of Restock, Reflect, Rethink Four, a project about Live Art and Cultural Privilege.
Forty years since the publication of Naseem Khan’s seminal report The Arts Britain Ignores, how much has changed?
Materials from the activation day against the Hostile Environment policy. Organised by Migrants in Culture and Keep it Complex.
In the oversize cabinet.
One of the contemporary art world’s most acclaimed mixed-media & performance artists, is the subject of this smart, sassy documentary that showcases her spectacle-rich approach to explorations of gender, racial identity, and sexuality. Bonus features include two deleted scenes.
Captured during a weekend-long workshop held in Glasgow as part of DIY16.
Part of the Library of Performing Rights (P3041)
The concluding volume to Moten’s landmark trilogy consent not to be a single being.
The second volume of the landmark trilogy consent not to be a single being.
Drawing together communiques, covert interviews and underground histories of introvert struggles (Introfada), here for the first time is a detailed documentation of the political demands of shy people.
Signed copy.
Second edition of Material concerns itself with in/visibility in contemporary artistic practice, especially dance.
Delves into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with dominant norms.
Part of the Library of Performing Rights (P3041).
. An introduction to performance in the territory of art: far from proposing a linear history, the volume offers a series of thematic and transversal approaches to performance.
In Spanish.
15 writers explore the experimental, interdisciplinary and radically transgressive field of contemporary live art in South Africa.
Part of the Library of Performing Rights (P3041).
Using interdisciplinary cultural studies to examine the gothicism in queer art, literature, and thought the author argues that during the twentieth and twenty-first centuries a queer culture has emerged that challenges and responds to traumatic marginalization by creating a distinctly gothic aesthetic.
Part of the Library of Performing Rights (P3041).
A critical examination of the varieties of multiculturalism and the way they structure difference.
Documents the lives of 23 white women in interracial relationships with African and Afro-Caribbean men from the 1940s to 2000. Each women’s story is told in their own voice or by their children.
Considering how blackness is imagined in and through performance, the contributors address topics including flight as a persistent theme in African American aesthetics, the circulation of minstrel tropes in Liverpool and in Afro-Mexican settlements in Oaxaca, and the reach of hip-hop politics as people around the world embrace the music and dance.
Part of the Library of Performing Rights (P3041)
The 7th issue of the newspaper is the first one to focus on a region; it commits to reconsidering Americas colonial stories and their marks on its present global condition. In multiple languages.
Part of the Library of Performing Rights (P3041)
On the work of Jefferson Pinder.
Works against the framing of black and brown bodies as sexualized, objectified, and abject, and offers multiple ways of thinking with and through sensation and aesthetics.
Part of the Library of Performing Rights (P3041).
A comprehensive study of queer identities and communities across Asia, re-envisioning the queer through Asian perspectives.
Part of Library of Performing Rights (P3041).
A queer phenomenology, Ahmed contends, reveals how social relations are arranged spatially, how queerness disrupts and reorders these relations by not following the accepted paths, and how a politics of disorientation puts other objects within reach, those that might, at first glance, seem awry.
Explores the histories of race and technology in a world made by slavery, colonialism, and industrialization. Beginning in the late nineteenth century and moving through to the twenty-first, the book argues for the dependent nature of those histories.
How do artists respond to the question of collective survival in the face of crisis? Can writing articulate, subvert and test the ever-present question of the future in modes that are nonlinear, affective and even choreographic? What are our hopes, fears and desires?
Part of Library of Performing Rights (P3041).
Examines sexuality, gender and race in Australia’s vibrant independent theatre and performance culture.
Part of Library of Performing Rights (P3041)
Explores the links between race, sovereignty, and possession through themes of property: owning property, being property, and becoming propertyless.
Bringing together the voices of dance-artists, scholars, teachers and choreographers, the book looks at a range of performing arts from dancehall to ballet, providing valuable insights into dance theory, performance, pedagogy, identity and culture.
Part of the Library of Performing Rights (P3041).
Tells the stories of minoritarian artists who mobilize performance to produce freedom and sustain life in the face of subordination, exploitation, and annihilation.
Part of the Library of Performing Rights (P3041).
Ruminates on the significance of physical and mental roaming for black freedom.
Part of the Library of Performing Rights (P3041).
Deftly illuminates the phenomenon of white fragility and “allows us to understand racism as a practice not restricted to ‘bad people’” (Claudia Rankine).
Reveals a tradition of queer environmentalism in contemporary literature and film from the Americas.
The first volume in the trilogy consent not to be a single being engages in a capacious consideration of the place and force of blackness in African diaspora arts, politics, and life.
Theorizes the racialized structures of inequality that pervade theater and the arts.
Part of The Library of Performing Rights (P3041)
Key intellectuals—inspired by the new movements and by the seminal work of the scholar Cedric J. Robinson—recall the powerful tradition of Black radicalism while defining new directions for the activists and thinkers it inspires.
An exploration of what it means to be fabulous—and why eccentric style, fashion, and creativity are more political than ever.
Explains how Latinx political identities are tied to a long Latin American history of mestizaje—“mixedness” or “hybridity”—and that this border thinking is both a key to understanding bilingual, bicultural Latin cultures and politics and a challenge to America’s infamously black–white racial regime.
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
Published in association with the Baltimore Museum of Art. Exhibition catalogue. Exhibition dates / The Baltimore Museum of Art: October 7, 2018-January 6, 2019 Wexner Center for the Arts: February 2-April 28, 2019
Tackles the excluded, the disposable and the nature of waste by looking to the future of art—the exform.
Four books published as part of STRONG LANGUAGE, published by Tim Etchells:
M John Harrison: Real Dreams
Courttia Newland: That Small Death
Joolz Denby: Dandelion
Selina Thompson: 12 Race Card Answers
A programme of events exploring blood in performance for BLOOD: Life Uncut, a season of work for the new Science Gallery, London. Includes:
Janez Janša: Ron’s Story (5 minutes, 2001)
Ernst Fischer and Nicola Hunter: Passion/Flower (2012, 4 minutes)
Regina Jose Galindo: Who Can Erase the Traces (2003, 2 minutes), La
Sangre del Cerdo (2016, 8 minutes)
Franko B: I Miss You! (2003, 2 minutes)
Marisa Carnesky: Dr Carnesky’s Incredible Bleeding Woman (2016, 3 minutes)
jamie lewis hadley: this rose made of leather (2012, 10 minutes)
Kira O’Reilly: Wet Cup (2000, 3 minutes)
Martin O’Brien: If It Were The Apocalypse I’d Eat You To Stay Alive (2015, 8 minutes)
La Ribot: Another Bloody Mary (2000, 10 minutes)
Rocío Boliver: Times Go By and I Can’t Forget You: Between Menopause and Old Age (2013, 4 minutes)
Dissection of the “new racism,” from one of the greatest radical black intellectuals of our time.
An account of Angela Davis’s incarceration and the struggles surrounding it, but also perhaps the most comprehensive and thorough analysis of the prison system of the United State.
Explicitly addresses significant issues, such as the oppression of women and Eurocentric standards of beauty, the historical rise of the idea of whiteness, and the abridgement of democracy along race, class, and gender lines.
In 2016, two artists embarked a cargo ship and retraced a route of the Transatlantic Slave Triangle – Europe, Africa, the Caribbean – all the while contemplating the notion of home. Both real and imagined, it was a journey to the bottom of the Atlantic Ocean, propelled by questions and grief; a journey backwards in order to go forwards, a diaspora. This show is what they brought back.
Part of the Library of Performing Rights (P3041).
Shows how feminist theory is generated from everyday life and the ordinary experiences of being a feminist at home and at work.
How-to guide for people looking to make a stand. Included are solid pieces of advice, practical tips and inspirational stories from those who have already successfully stood up and made a difference.
Part of the Library of Performing Rights (P3041).
When students at Oxford University called for a statue of Cecil Rhodes to be removed, following similar calls by students in Cape Town, the significance of these protests was felt across continents. This was not simply about tearing down an outward symbol of British imperialism – a monument glorifying a colonial conqueror – but about confronting the toxic inheritance of the past, and challenging the continued underrepresentation of people of colour at universities.
Part of the Library of Performing Rights (P3041).