In the Name of Art gives a progressive meaning in terms of the existence and the argument of art in Taiwan. It approaches the early situation and looks at visual subjects initiated during the Japanese colonial period and the post-war era with a modern view. In addition to documenting, the series discusses the contemporary art scene since the 1980s under several milestone issues such as gender, ethnicity, and globalization.

Pod3 is an experimental performance installation developed over four days by participants of the Awakenings Festival in collaboration with Back to Back Theatre. Running time 5 minutes.

Designed to be performed in a sheltered outdoor civic space, Small Metal Objects seeks to realise the inner realm and simultaneously re-interpret the exterior urban environment as a new performance landscape. Running time 45 minutes.

Publication and 2 DVDs, one multimedia, one audio/video.

herst. Theorie Zur Praxis follows the path of the festival (21 September – 14 October 2012) in Austria, by providing reflections, portraits and interviews by or on participants of the festival.

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 booklet tells the story of just one building in the vast metropolis of London – 60 Farringdon Road. Neither particularly distinguished nor particularly old, the building’s past – and that of the immediate neighbourhood of Clerkenwell – illustrates the ebb and flow of city life and commerce, the arriving technologies, fortunes and fashions.

Nought to Sixty was a six-month programme of exhibitions and events at the Institute of Contemporary Arts, London, held to celebrate the organisation’s sixtieth anniversary. It presented sixty projects from artists, artists’ groups and commentators from the emerging art scenes in Britain and Ireland, including a large number of week-long exhibitions, but also performances, gigs, screenings, talks, publications, off-site projects and social events. This book is a record of an extraordinary six months.

The first historical and theoretical overview of socially engaged participatory art, known in the US as ‘social practice’. Follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic.