Combines extracts from over 70 international practitioners, companies, collectives and makers from the fields of dance, theatre, music, live and performance art, and activism to form a sourcebook for students, researchers and practitioners.
The essential reader for today's creative leaders and cultural practitioners, including original contributions by artists, scholars, activists, critics, curators and writers who examine the historical precedent of South Africa; the current cultural boycott of Israel; freedom of speech and self-censorship; and long-distance activism. It is about consequences and causes of cultural boycott.
Catalogue published to accompany the Serpentine Galleries Spring Season exhibitions (2 March – 21 May 2017).
*currently unavailable*
Takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out.
Examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art. In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media.
Part of the Study Room Guide on Live Art and Displacement (P3107).
This publication takes as a starting point the premise that art is best understood in dialogue with the social sphere, and examines how the exchange between art, knowledge and use has historically been set up and played out.
Part of the Study Room Guide on Live Art and Displacement (P3107).
Learn to think, see and live like an artist with this inspirational and practical guide on how to live a creative life written by the world’s most thought-provoking artists.
An international survey that brings together 40 of the most influential approaches to art in public.
Part of the Study Room Guide on Live Art and Displacement (P3107).
This publication charts very different tactics and strategies, written by practitioners from all over the world, mapping the broad field of engaged art and artistic activism in our times. Essays by Stephen Duncombe & Steve Lambert, Alanna Lockward, Florian Malzacher, Chantal Mouffe, Gerald Raunig and Jonas Staal.
A collection gathering the voices of some catalysts of contemporary performance: artists, cultural engineers, curators, collectors.
A collection of essays on the installation and performance work of Cuban artist Tania Bruguera. Contributors: Domenico Scudero, Lucrezia Cippitelli, Irma Arestizabal, Roberto Pinto, Simonetta Lux
Contemporary women artists.
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
Programme notes from Tate Tanks 18 July – 28 October.
See D1703 for Bruguera in conversation at Performance Matters: Trashing Performance. This item is referenced in the Dreams for an Institution Guide (P2313).
To coincide with the 6th Liverpool Biennial 18 September – 28 November 2010.
Tatlin’s Whisper #6 (Havana version was a participative action at the central courtyard of the Wifredo Lam Centre (the institution that organizes the Havana Biennial). A stage with a podium, two microphones, and a huge golden-brown curtain as a background were placed at one end. The set was reminiscent of the staple set used by Fidel Castro for his speeches. The microphones were connected to an amplifier with speakers, one of them at the building’s entrance, pointing to the street. Two actors, a woman and a man dressed in Cuban military uniforms, stood at each side of the podium. The woman had a white dove in her hands. Admission to the event was free, but the space was filled with people from the Cuban art world, mainly young artists, students, writers, and Cuban and international visitors to the Biennial. Two handed disposable cameras were handed out to the public by Bruguera to document the event. Then people were summoned to speak their minds on the podium for one minute. In other art contexts this would not have any special relevance. In Cuba, it was an historic event: for the first time in half a century a free public tribune was allowed for people to express their ideas.This documentation has been presented with permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
In Spanish and English – re-catalogued on 24.11.2010
This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
An overview of Span2 International Performance Art festival, from 2001