Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
Reaffirms the central position of the body in various artistic practices through in-depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.
An intimate collection of letters, poetry and postscripts by artists and writers that seeks to connect, exchange and witness through the action, idea or form of a love letter. The book builds on a programme that took place at Bios, Athens (2015).
Brings together commissioned pieces by 50 artists and theorists whose works have shaped steirischer herbs over the past decade.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children, or running a “dancing museum,” Charmatz’s work experiments with the body as a vessel for subjectivity, history, and collective action.
Investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how ‘theatre-like’ strategies and techniques can in fact enable ‘reality making’ situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.
Part project part catalogue: split into three distinct sections the book brings together artists and academics to explore the impact of gentrification and the possibility of resistance.
An international collection offering glimpses into the intimate relations inherent in finding, remembering (or imagining), and creating an archive.
Collects theoretical dramas written by some of the leading scholars and artists of the contemporary stage. These dialogues, prose poems, and microfictions describe imaginary performance events that explore what might be possible and impossible in the theatre.
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.
From 2012 to 2016, Foreign Affairs, the international performing arts festival of Berliner Festspiele, and the Berlin University of the Arts (UdK) have been investigating the relations between the performing and visual arts. The festival has continuously produced projects with international artists that experiment with various institutional frameworks. This book is both a question and a manual, collecting ideas, knowledge and experiences that stem from the theory and practices developed over the past few years.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2012 and December 2014. Selected through recommendations and an open call for submissions, Volume 4 reflects the dynamic, international contexts that Live Art and radical performance-based practices occupy.
Three reviews on IBT 13.
A limited edition publication exploring a series of innovative live performances and events.
Video documentation of contributions to the Performing Idea Symposium, investigating the shifting relations between performance practice and discourse, event and writing; Toynbee Studios, 5-9/10/2010.
Includes nine files, containing videos of contributions on In Silence, Performative Writing, Reciprocal Aesthetics and Living Archives.
On Thursday October 2, 2014, LADA presented ALAG, its first-ever fundraising event, which took place at the Royal Vauxhall Tavern in London.
Part game, part improvisation, this unique 24-hour live experience pits alternating pairs of performers against one another as they test their opponents with an avalanche of questions.
Recording on a hard drive.
Recorded 12-13 April 2013 at the Barbican; part of SPILL.
In a safe box.
The Future Show is both a performance and an on-going project. It is a piece that tells the story of a one person's future, starting from the end of a performance and going until the end of her life.
A limited edition set of thirteen beautifully designed cards, each by a different artist. The thirteen artists have come together to create a programme of imaginary events for the Battersea Arts Centre's Grand Hall, destroyed in a major fire in march 2015, to help contribute to the rebuilding process and to celebrate the building itself.
This special edition newspaper and supplement was published to coincide with the Hayward Gallery’s exhibition of the same name, which explores how the digital and physical realms of the city interact and overlap. Includes an introductory essay by curator Stephanie Rosenthal and a collation of images and other artistic and textual interventions by writes Chloe Aridjis, Deborah Levy and Stewart Home.
A collection of postcards designed by Katayoon Forouhesh, each representing an imagined performance conveived by 14 Iranian and British independent artists. Part of ABOVE, a festival of imagined performances on rooftops, conceived and curated by Andy Field (Forest Fringe, UK) and Iranian artist-producer Nima Dehghani.
Collection of scores and texts markinf thirty years of Forced Entertainment. Contributors were invited to write about their experience of Forced Entertainment following one rule: each text must be exactly 365 words long.
Special issue on theatre and the public space. Bilingual edition in French and English.
The book is based on an ongoing, long-term, extensive photographic project spanning over a five-year period, which follows a group of women (artists) through their pregnancies into motherhood.
Examines how contemporary performance practices have been driven by questions of The Real and the consequent political implications of the concept's disintigrating authority.
Gathers the voices of unique artists from the worlds of theatre, music and performance to discuss process and the making of interdisciplinary work. Contributors: Tim Etchells, Rinde Eckert, Richard Foreman, Peter Gabriel, David Greig, Guillermo Gomez-Pena, Phelim McDermott, Peter Sellars
A look at the radical, experimental dance presented during the early 1960s at Judson Memorial Church in downtown Manhattan.
'Performing Site-Specific Theatre turns a critical eye to the form of site-specific theatre, investigating the nature of the relationship between 'site' and 'performance'. Contributors: Joanne Thompkins, Anna Birch, Michael McKinnie, Susan Bennett, Julie Sanders, Jane Collins, John Webster, Mike Pearson, Kathleen Irwin, Susan Haedicke, Lesley Ferris, Louise Owen, Keren Zaiontz, Bruce Barton, Richard Windeyer, Helen Iball, Sophie Nield
a linguistic/fictional journey into questions of authorship, language and institutional rethorics
An attempt to shed new light on the space known as Brayford island
Published to coincide with festival in Munchen, 2013.
Boxset contains 40 DVDS documenting public events with contextualising texts. Shelved in Oversize section.
an anthology of source materials for performance
Tim Etchells’ project Unsound Method (after Conrad), responds to Joseph Conrad’s novel Heart of Darkness and comprises several discrete works including: two versions of the novel, a musical score for violin and trumpet, and a video featuring a live performance of the score. In the second publication – Unsound Method II – the pages of Heart of Darkness are again redacted, this time in black, and leaving only words associated with darkness – night, gloom, shadow, black and so on – as visible traces on the page.
Tim Etchells’ project Unsound Method (after Conrad), responds to Joseph Conrad’s novel Heart of Darkness and comprises several discrete works including: two versions of the novel, a musical score for violin and trumpet, and a video featuring a live performance of the score. In the first publication – Unsound Method I – the pages are redacted in white and only words associated with light – day, bright, sun, morning and so on – remain visible, carving out a poem which was always present in the material of the original novel.
Programme Notes: Case studies for locating experimental theatre, revised and expanded second edition is a collection of commissioned essays, case studies and interviews reflecting the exciting and complex relationships between 'mainstream' stages and 'experimental' theatre practices. This revised and expanded edition includes the original contributions (from the first edition, published 2007) whilst illustrating some of the seismic shifts that have taken place across the theatre landscape of the UK since 2007 through profiles of the work of Manchester International Festival, National Theatre Scotland, BAC (Battersea Arts Centre) and Forest Fringe.
Performance Research Journal edition concerning failure. This item is part of the Study Room Guide: On Falling by Amy Sharrocks (P2249).
Art Gwangju 2011 Live Art Development Agency screening programme – a small selection of artist’s films from LADA’s documentation bank
Part of the ‘Documentation Bank’ Collection, an extensive range of artists’ ‘Talking Heads’, documentation of key works, and a selection of Agency projects: http://www.thisisliveart.co.uk/resources/collections/documentation-bank.
Artists an practitioners are interviewed by Franko B: Small Acts at the Millennium. Italian arts magazine, this article is printed in English.
Vlatka Horvat In Other Words, In Other’s Words And Other Words. Printed in tandem with Vlatka Horvat: AS Opposed to the Front, Back, Top and Bottom at Bergen Kunsthall January 21 – February 20 2011