Nine minute video of the performance.
. 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.
On creating a short series of monologue pieces for the camera.
A frenzied meditation on theatrical obsession, a festive overture of histrionic suffering and flapping genitalia. In the glass cabinet.
Focusing on a variety of representations, the book stimulates discussions of s/m through the exploration of censorship in the arts, the fetishization of sexual paraphernalia, recombinations of class, race and sexuality, and the politics of psychoanalysis.
Part of the Library of Performing Rights (P3041).
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)
Rocio Boliver: Times Go By and I Can’t Forget You: Between Menopause and Old Age (2013, 4 minutes)
Offers a glimpse of new perspectives on how philosophy performs in the gaps between thinking and acting.
A collection of 14 essays by international scholars and practitioners from across the disciplines of Philosophy, Literature and Theatre and Performance Studies, addressing the nature of the relationship between philosophy and performance.
Argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. Boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
On the politics of disinterestedness.
Is dance an appropriate medium for political debate?
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).
A anguage, a tool to articulate a series of ideas: how outrage and prejudices can be performed; perceptions of the savage and barbaric heathens; tribal nuances and thinking about the Paris of the 1920s as a site of inequality; the spate of negrophilia there; how a change of circumstance for women was reinforced by the war; cultural diversity and tolerance; exoticism and anti-colonial; therefore, transgressive behaviours.
Exhibition catalogue. Biennale Arte 2017, 57th International Art Exhibition – Viva Arte Viva. 13 May – 26 November 2017.
Three drunks in bad wigs and jumble-sale clothes endlessly enact the events surrounding the supposed or imagined death of one of their friends as if, by replaying the events, their truth or otherwise might be revealed.
High quality multi-camera performance documentation recorded at Trent Polytechnic, Nottingham, June 1989, 70 mins. approx.
The wuthors talk about repetition as an internal and integral structuring device in Rajni's trilogy of works, Mr Quiver (2004-6), Dinner with America (2006-8), and Glorious (2009-13), using the meandering form of walking and conversation to think through the circular, incremental and bodily processes within the performance work.
Expanding on the ideas of double wound (Caruth) and nostalgia (Aciman), this article discusses Davis' poetic autobiographic performances as examples of the terror and relief of repeating exilic pain.
Published as part of the eponymous exhibition at the Barbican 14 July – 4 September. Surveys the Icelandic artist's practice from his student work to today.
This item can be found in the locked glass cabinet.
An artist book reinterpreting a range of approaches to thinking and making that Emanuele and Burgoyne enacted through collaboration and collective process. The book evolved from a residency and exhibition at the Centre for Recent Drawing in 2015.
A durational piece which seeks to articulate politics surrounding the viewing of the female body, engendered roles and labour.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
This provocative book meets the supposedly 'live' practices of performance and the 'no-longer-live' historical past at their own dangerous crossroads. Focussing on the 'and' of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
Includes The Wollstonecraft Live Experience! programmes and materials, two programmes for the Stoke Newington Literary Festival, and a list of publications.
The catalogue for an exhibition at Kasa Galeri, October 31 – December 5 2014, curated by Marquard Smith and exploring, with a peculiar British sense of humor, how art can face up to the social and cultural challenges.
Review of Amelia Jones and Adrian Heathfield’s edited volume “Perform, Repeat, Record: Live Art in History” (2012).
Investigates sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs
Part of the Anna Birch collection ‘Fragments to Monuments’, 1 x book, 3 x DVDs. Includes DVD
This publication brings together four ways of looking at Glorious, and includes: a short film made in response to six performances of the show; a music video shot in and around Lancaster and Morecambe; a critical overview of the process behind two iterations of the project; and The Glorious Storybook, a collection of essays and images from throughout the process.
Part of the Library of Performing Rights (LPR) (P3041).
Contemporary live art showcase including performances from the UK, USA and Spain
In Miscellaneous Articles 4 folder. Review of the work by Monica Ross involving a series of public recitations of the Declaration of Human Rights from memory together with other co-recitors.
Bringing together contributors from dance, theatre, visual studies, and art history, the publication addresses the conundrum of how Live Art is positioned within history.
Spill National Platform 2009
From Fresh Air Platform 2010
From Fresh Air Platform 2010
Part of the ‘Documentation Bank’ Collection, an extensive range of artists’ ‘Talking Heads’, documentation of key works, and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
Part of the ‘Documentation Bank’ Collection, an extensive range of artists’ ‘Talking Heads’, documentation of key works, and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
A touring project and performance, inviting local guest performers through workshops.
Presented at The Firkin Crane in association with The Art Trail Festival, Cork City.
This item is referenced in the Dreams for an Institution Guide (P2313).
Curated by the Live Art Development Agency for Liveworks, at Performance Space Sydney 10 – 14 November 2010.
‘Talking Heads’ are short presentations by artists to camera about their practice and approaches to making. The ‘Talking Heads’ films are part of the Agency’s ‘Documentation Bank’ Collection, which consists of an extensive range of artists’ ‘Talking Heads’ films, documentation of artists’ works and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
“Invited at the same time by the Hebbel Theatre in Berlin, the Tanz-Quartier in Vienna and the Centre National de la Danse in Paris to perform The Last Performance (D0624) I decided, instead of presenting the piece, to make a lecture about its issues. I had the feeling that this difficult piece had not been really understood. Maybe the piece was bad. But I believe that the issues of this piece were relevant, which is why I would like to change my medium and to use the tool of the lecture to try to articulate better the stakes of The Last Performance. I will re-contextualise the piece in its theoretical level through the texts of Roland Barthes and Peggy Phelan and in my artistic situation at that time.”Jérôme Bel www.jeromebel.fr This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
FILED IN PUBLICATIONS AS P1150
Catherine Wood examines the political and media context of Rainer’s dance-theatre analysing her radical approach to image-making in live form. Part of One Work series of books, each focused on a single work of art examined by a single author and aimed at provoking debate about significant moments in art.