Includes an image bank and a video with extracts from different pieces. Documented works includes: Negrophilia!, Andhaka, Miss United Kingdom, Resurrection, The Ambidextrous Universe, Thirteen, Olympia, Barflies, Shakti, Masking, Genesis and Remote Control.
Using memories of her experience of masquerades in Nigeria, the artist employs movement and masks of hair as power objects, which conceal and reveal the black body, the black female.
A catalogue of one of the most important contemporary Roma artists: a comprehensive overview of her oeuvre and a concise insight into the complex questions of the life of ethnic minorities. In Slovenian, Roma and English.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Exhibition catalogue with documentation from the installations in Cardiff, Portsmouth, Derry, London and Berlin.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Nicolae, himself a Romanian Roma, gives voice to the Roma cause, offering a precise and candid look at their current situation.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Explores the issue of borders and border crossing in the era of globalization and transnationalism, analyzing how the nation-state system regulates movements of people.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Article on the eponymous exhibition which aims to raise awareness and purge the discrimination against Roma communities. In Hungarian and English.
In misc folder 7. Part of the Study Room Guide on Live Art and Displacement (P3107).
The book suggests new narratives about canonical artworks of the British Black Art movement, such as Lubaina Himid’s Freedom and Change, Eddie Chambers’ Destruction of the National Front and Sonia Boyce’s Lay Back Keep Quiet and Think of What Made Britain So Great, interrogating their critical agency from an art-historical perspective.
Young introduces key ideas about race, before tracing its relationship with theatre and performance – from Ancient Athens to the present day.
The article analyses discourses surrounding the cancellation of Brett Bailey’s performance by the Barbican in September 2014.