Lepecki surveys a decade of experimental choreography to uncover the dual meaning of ‘performance’ in the twenty-first century: not just an aesthetic category, but a mode of political power. He demonstrates the enduring ability of performance to critique and subvert this power, examining this relationship through five ‘singularities’ in contemporary dance: thingness, animality, persistence, darkness, and solidity.
The book examines three distinct strands of photographic practice – the documentation of performance works, how performers and photographers have worked collaboratively, and the work of photographers who have a strong performative element to their practice – as well as the construction of self-identity and playful, innovative approaches to portraiture.
On the occasion of the eponymous exhibition, February-June 2016, Tate Modern.
This book presents a theory of audience participation in the theatre, based on the importance of the moment of invitation and how an event changes character when such an invitation is made.
This book examines the recent changes in the labour of an artist and addresses them from the perspective of performance.
Written part of a doctoral dissertation, presenting the artistic works (performances, live-art projects and works on video ) and setting them in a larger context. The research presents the transformation that has taken place starting from the industrialism and modernism.
The first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction.
This book is an investigation of how the use of petroleum, in every aspect of our lives, limits our capacities to think about surviving climate breakdown, and how it shapes the things we do and inhibits our capacities to think future ways out of it. Pocket-size book.
Richard Ashrowan considers the geopoetics of the Anglo/Scots borderline, travelling to several points on the border and beginning a meditation into the meanings that might be revealed within its landscape
Documentation of The Subjectivity and Feminisms Research Group’s Performance Dinners, in which artists and academics are invited to ‘perform’ their response to the evening’s theme, addressing the relationship between subjectivity and the artwork, particularly in regard to feminist theories. Contributors: Mo Throp, Maria Walsh, Verina Gfader, Georgina Starr, Kate Smith, Leda Papaconstantinou, Monika Oechsler, Katherine Meynell, Despina Meimaroglou, Rebecca Fortnum, Sutapa Biswas, Laura Malacart, Catherine Maffioletti, Claire MacDonald, Dominika Kieruzel, Susan Kelly, Rebecca Hallifax, Lucy Gunning, Fran Cottell, Brian Dawn Chalkley, Jo Bruton, Katie Baker, Gill Addison, Claudia Kappenberg, Celestin Edwards, Maria Walsh, Sarah Tremlett, Ana Laura Lopez de la Torres, Sissu Tarka, Sarah Smith, Lucy Reynolds, Anita Ponton, Susannah Pal, Jo Mitchell, Catherine Maffioletti, Claire Walsh, Marcia Farquhar, Sharon Bennett, Oreet Ashery, Yolande Burgin, Rose Cronin, Elisha Foust, Oriana Fox, Dominika Kieruzel, Elena Loizidou, Kristen Lovelock, Caroline Smith
Franko B' performance Work monograph with essays by Lois Keidan and Stuart Morgan, photos by Nicholas Sinclair. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)