A collection of case studies from Live Art UK, the publication responds to the recent successes of Live Art and highlights those artists, projects and initiatives which are re-politicising and re-energising our arts spaces, sharing radical works and ideas with a public who are themselves being forced to do more with less.
Part of the Library of Performing Rights (P3041).
A graphic novel adaptation of the performance Splat! by The Famous.
LADA screening programme for In Pursuit of Pain, a Wellcome Collection Friday Late Spectacular.
Bob Flanagan: Cystic Fibrosis Song (1977)
Cassils: Inextinguishable Fire (2015)
Wafaa Bilal: Shoot an Iraqi (2007)
Oleg Kulik: Dog House
Orlan: Succesful Operation (1990)
Marina Abramovic: On Rhythm 0 (2013)
Ron Athey: Ron’s Story (2001)
Rocío Boliver: Times Go By and I Can’t Forget You
Two screening programmes of radical work for SPILL 2014:
Marginalised Bodies – A screening of artists working with their queer, disabled, black and female bodies in brilliant and subversive ways. Featuring La Ribot, Harold Offeh, Kira O’Reilly, Disabled Avant Garde, George Chakravarthi, and many more. Contained by the secrecy of the night hours and the wearing of horse blinkers; the performance score involves actions of cutting, tattooing, writing and speaking. The work explores domestication and the feral through actions that open and restrict the body (such as fasting, cutting and urinating).
Club & Underground Culture – A screening of live performance and work to camera rooted in underground and club culture. Featuring mavericks, outsiders, legends, gender terrorists and out and out freaks, including David Hoyle, CHRISTEENE, Ursula Martinez, Rocío Boliver, Duckie and many more.
Point. 1: I was just listening to Radio 4 telling me about komodo dragons laying virgin birth eggs, and David Attenborough once taught me about a plant at the bottom of a sea that grows flowers, which become jellyfish, that then give birth to seeds that become plants.
Point. 2: I am a makeshift domestic goddess and my life is in a makeshift world, I’ve got all the right whisks and piping bags, but my apron is stained.
If You Want Bigger Yorkshires You Need a Bigger Tin is a show about Lucy’s ‘to trans, or not to trans’ search for her femininity.
Performance Film Installation is a new publication designed to mark five years of solo and collaborative performances, films and installations by Natasha Davis, and coinciding with the London premiere of Internal Terrains at Chelsea Theatre as part of Sacred. A diverse range of authors and artists have generously responded to an invitation to provide insights into various aspects of Natasha's practice.
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).
Reflects the ways in which the practices of artists who work with Live Art have engaged with, represented, and problematised issues of disability in innovative and radical ways, and the ways in which Live Art has been, and continues to be, a potent platform for artists to explore notions of physicality, identity and representation.
a leaflet to accompany the performance as part of SPILL 09, includes essay by Adelaide Bannerman. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Festival documentation. This item is part of the Study Room Guide On Disability and New Artistic Models by Aaron Williamson (P1529)
The significance and cultural value of experimental theatre and performance practices, their relation to other disciplines and potential to affect cultural change.
The range of lineages and ideas which inform and shape contemporary radical theatre and performance making.
Talking about it: the development of new contexts, new languages, and new cultural frameworks?
What kind of models exist, or might exist, that can respond to the kind of touring work that changes and evolves as it moves from location to location, context to context, and constituency to constituency. Creating equitable and reciprocal dialogues, networks and resources amongst artists and producers, and exploring the responsibilities of artists and producers to the contexts they are working within.
The ideas and experiences this kind of work can offer and the kinds of audiences can it offer them to.
Shelved in Miscellaneous Journals section.