A trilogy of hybrid art films of collaborative performances in epic locations around the world. Included the three films (Performances at the End of the World, Performances at the Holy Centre, Performances at the Core of the Looking-Glass) and a text about the project.
An argument for both spiritual and political revolution, the book proposes the content of a religion that can survive faith in a transcendent God and in life after death.
The essays in this book – some newly written, others gathered from scattered sources – look at the ways in which contemporary science fiction films draw on, rework, and transform established themes and conventions of the genre.
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
Explores the possibilities for organization and resistance under the contemporary status quo, and anticipates the emergence of a new and disobedient self-government of the precarious.
Examines the frustrations and limitations of conventional Western academic research on social change and describes the struggle to fashion a new approach based on the principle that people have a universal right to participate in the production of knowledge that directly affects their lives.
Part of the Library of Performing Rights (LPR) (P3041).
The first in-depth study of July's work provides fascinating insights into the lifestyle of the contemporary white Californian middle class.
Documentation from a performance project, which made visible issues around walking with a pram. Through a series of pram walking events around Huntly–town and country–Clare tried to make visible this, and other spaces, and their fitness for people with young children.
Includes the programme and blog posts.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
In this new English edition of the handbook over sixty curators, art historians, and artists take a critical look at the theme of the significance and potential of public art.
Using Jerome Bel's Disabled Theater – a dance piece that features a company of professional disabled actors – as the basis of a broad, interdisciplinary discussion of performance and disability, this volume explores the intersections of politics and aesthetics, inclusion and exclusion, and identity and empowerment.
The publication looks at a number of vigorously debated collaborative projects undertaken over the past twelve years in and outside Denmark by artist Kenneth A. Balfelt. It contains both introductions to five projects, interviews with the people involved in the projects and finally four essays trying to reflect on the impact of these kinds of artworks.
Brian Eno examines the ecology of culture and seeks to demonstrate how the whole complex of individuals and institutions engaged in culture – artists, broadcasters, gallerists, promoters, DJs, managers, lawyers, fans – are symbiotically connected parts of a single huge organism which we call Culture. Miscellaneous folder #5A.
Performance Art Faction (PAF) was an Arts Council England funded, nine month long holistic project made up of artist residencies, research labs, exhibitions, live performances and open platform events. PAF explored the intersections of contemporary performance art, politics and society with the aim of reawakening the innate political potential of our bodies. Contributors: Benjamin Sebastian, Francesca Lisette, Bean, Jessica Worden, Diana Damian, Robin Bale and Victoria Grey.Artists: Fabiola Paz, Jade Montserrat, Kris Grey, Amber Hawk Swanson, Hugh O’Donnell, Maria José Arjona, Arianna Ferrari, Panopoly Lab (Esther Neff and Brian McCorkle), Burmester & Feigl, Owen Parry, Carlos Salazar Lermont, Helena Walsh introducing Speaking of I.M.E.L.D.A and Aliza Shvarts. The publication is a homage to DIY print aesthetics and propaganda art, and includes: Commissioned essays from artists/academics/agitators, Film & Photographic documentation, Open Call & Research Lab roll calls, PAF memorabilia, PAF Artists' bios & photographs, ]ps[ manifesto. Shelved in Oversize publications section.
Between the Borders are a collective of people with and without citizenship in the UK, who produce diverse publications and events. This folder contains Between the Borders episode #2 and #3, two zine publications which aim to open up a dialogue about the complex structures surrounding asylum and migration. It also includes an informative leaflet and a DVD.
The magazine features a wide range of contributions from writers and artists, politicians to poets discussing the true impact that arts and culture can have on society.
A retelling the history of art practice and exposing the ways in which neoliberal norms and values have seeped into every aspect of our lives.
Report from the National Committee for Responsive Philanthropy.
This article can be found in the Miscellaneous Articles 3 Binder.
A functioning outdoor lecture theatre in a roadside refuse skip and ad hoc lecture series on the subject of what is and what is not trash.
Part of the Trashing Performance programme, 25-29th October 2011.
Discusses contemporary art and the relations between art, politics and society. Their dialogue ranges widely from censorship and obscenity to the social conditions of artistic creativity, and focusses on the central themes in the work of both authors.
Platform Study Room Guide (P1820). This item is referenced in the Dreams for an Institution Guide (P2313).
Flávia Müller Medeiros was commissioned by COLONY to make a new work, a film made on residency in Vilnius, Lithuania, capturing the activity of people in the new town square.
Asking exactly what we mean by political art or the politics of art, Rancière goes on to look at what the tradition of critical art, and the desire to insert art into life, has achieved. Has the militant critique of the consumption of images and commodities become, ironically, a sad affirmation of its omnipotence?
Documentation from Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010.
Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.
This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)
Monographic publication on Anderson’s work. Chronological survey of Anderson’s work throughout the 1970s, 1980s and 1990s, including collaborations and context.
This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Includes 249 performances in the words of their creators and a comprehensive index of the terms used to describe them.