Field Notes II documents the second Summer School on Cultural Diversity and Collaborative Practice, held in July 2019.
Chump Change was produced by Aislinn Evans and features contributions by Stephen Pritchard, Raju Rage, Harry Josephine Giles, and Maz Murray (therightlube).
Text and photographic documentation of the work of Jörg Köppl and Peter Začek.
Kindly donated as part of the Swiss Live Art Study Room Guide.
Text in German.
This book focuses on the possibility of rethinking the static model of installation and exhibition and exploring the way in which ‘performative’ approaches, adopted by artists and curators alike, can reframe the exhibition and its work as an environment subject to formal, temporal or relational transformation.
Documentation from the public screening of Adrian Howells’ works featuring presentations from Adrian’s collaborators and colleagues. The event launched LADA screens 13 and the publication It’s All Allowed: The Performances of Adrian Howells. Selected works of Adrian Howells were available online 18 July – 1 August 2016 on the LADA Screens Channel.
Follows two nurses, both named Jackie, who create biographical slideshows for patients as a tool for reflection on posthumous digital legacies, withdrawal, friendships, cultural and social loss, and memory as identity.
Part of LADA Screens 11. The film was available online 16-29 May 2016 on the LADA Screens Channel. Includes a compilation of episodes 1 – 7, split into two files.
Part of the Library of Performing Rights (P3041).
The fourteen essays bringing together a unique gathering of artists, many of whome make works which arise out of responses to the situation or the environment in which they find themselves.
A recipe book produced following a series of public events involving local South Essex foods, their source, preparation and consumption.
The culmination of a year-long project at BalinHouseProjects (BHP), an artist-run, not-for-profit space by Eduardo Padilha at his flat in Tabard Gardens North Estate.
Part of Library of Performing Rights (P3041).
A collection of historical essays, critical papers, case studies, interviews, and comments from scholars and practitioners that shed new light on the field of collaborative art.
Focuses on the intersection of social and public projects, and the possibilities of art practice in public space.
Part of Library of Performing Rights (P3041)
The universal basic income idea is, overall, profoundly performative, in that it attempts to model the ultimate pragmatism of wider social nets of generosity, and does so by representing the embodied conditions that might be brought into being by such generosity. In this way, the utopian heuristic of an unconditional, guaranteed income is said to be an ‘instrument of freedom’ and a ‘device for economic sanity’. The question is though, as is often the case: freedom and sanity for whom?
Part of the Library of Performing Rights (P3041).
Publication accompanying a survey exhibition of image-making, community activism and public works produced by the seminal AIDS activist art collective Gran Fury between 1987 and 1995.
In misc. folder 7.
Part of the Library of Performing Rights (P3041).
Publication on the annual conference about socially engaged art organised by Heart of Glass in St Helens. Participants were invited to collectively source local ingredients and create, serve and eat a meal.
Programme for the event exploring questions of negotiation, exchange and representation in contemporary collaborative arts practice. (20-23 June 2018, Dublin.)
Exhibition programme. The LAB Gallery, Dublin, 18 June – 19 August 2018.
Reflects on CAPP (Collaborative Arts Partnership Programme), which took place 2015-2018.
Describes the framework in which Deveron Projects works and contributes to the social wellbeing of Huntly.
Interview with Meredith Monk.
Festival catalogue, 14-16 October 1999, Timisoara. In Romanian and English.
What do we understand by collaborative artistic practices in Spain? After three years of research, this publication bears witness to the diversity of points of view and opinions by Spanish artists and key agents working in this field.
The aim in bringing these voices together in a single publication is that they will add to the already existing discussion in English and will influence future theoretical discourses more broadly.
Elaborates a new perspective on performance that links ecology and aesthetics.
Documents the crisis in American urban housing policies and portrays how artists have fought against government neglect, shortsighted housing policies and unfettered real estate speculation.
Part of the Library of Performing Rights (LPR) (P3041).
The art of sloth and reverie as oppositional (in)activities.
Documentation from the DIY 12 project: can you start a University of Live Art in your front room, garden shed or local pub?
What happens when you give a live artist the keys to the library?
Artist biography and promotional material for Pocket Theatre M (Džepno pozorište M), founded on the premises of a psychiatric clinic.
Part of the Library of Performing Rights (LPR) (P3041).
Documentation from two performances, presented at Brisbane Arts (2007) and MAJU JAYA Performance Art Festival (2007).
Part of the Library of Performing Rights (LPR) (P3041).
Investigates the crisis in contemporary theatre, and celebrates the subversive in performance.
Part of the Library of Performing Rights (LPR) (P3041).
Exhibition catalogue; 11 October – 3 December 2005; Kunsthalle Darmstadt. In English ad German.
Part of the Library of Performing Rights (LPR) (P3041).
The project received overwhelming worldwide attention and spawned provocative online debates; ultimately, Bilal was named Chicago Tribune's Artist of the Year. Structured in two parallel narratives, the story of Bilal's life journey and his Domestic Tension experience, Shoot an Iraqi is for anyone who seeks insight into the current conflict in Iraq and for those fascinated by interactive art technologies and the ever-expanding world of online gaming.
Report by the 2016 Travel Fellowship holder.
Report by the 2016 Travel Fellowship holder.
Book review.
A cofounder of the United Kingdom’s legendary 1980s performance theatre company Impact Theatre Co-op, MacDonald composed Utopia, a sequence of commissioned play texts, between 1987 and 2008. This edition brings together both the plays and the story of how the plays came to be made and written.
The essay interrogates Hadas Ophrat's piece Insomnia.
An artist book which samples his performance and art practices over 14 years, with text by Victoria Wynne-Jones, Mark Amery and Gradon Diprose.
Citing Howells’ permissive mantra as its title, the book includes new writing from leading scholars and artists, as well as writing by Howells himself, an extensive interview, scores, and visual materials, which together offer new insight into the artist’s ground-breaking process.
Includes: Foreign Sky, Beast of Me, Still Hear the Wound
Catalogued with a spanned DVD.
Weaves together the various voices for the art collective to offer readers both an analysis and an experience of the group's performance: the inner voice of the performance; the critical voice of the witness; and the frustrating redactions reflecting Tate and BP's hidden contracts.
An article dissecting how arts interfere and engage with politics.
In misc folder 7.
Analysis of representation and interculturalism in Back to Back Theatre's production.
Includes: Foreign Sky, Beast of Me and Still Hear the Wound.
Catalogued with a spanned DVD.
A new publication celebrating the various communities of barbershops across East London. Comissioned by CUT Festival: The Art of Barbering.
Publication on the group exhibition exploring current international developments in socially engaged art practices. CAA, 28 January – 12 March 2017.
Four interviews and ten essays, case studies, manifestos and anti-manifestos by theatre makers, curators, critics, and scholars, presenting various examples of audience participation in theatre and linking them to problems of participation in democracy and to socially engaged art.
During 2016 Blast Theory and Tony White worked with a group of young people in libraries in Telford and Wrekin to re-imagine libraries, story telling and their place in the world. On 29 October 2016, over the course of 9 hours from 3pm to midnight, the young people took control of their local libraries, and performed live to a worldwide audience. This book is a result of that process.
Drawn from empirical and extensive experience and research, the book provides a curriculum and framework for thinking about the complexity of socially engaged practices. Locating the methodologies of this work in between disciplines, Helguera draws on histories of performance, pedagogy, sociology, ethnography, linguistics, community and public practices.
Part of the Study Room Guide on Live Art and class and cultural privilege. (P3152)