This series of interviews, held by curator and writer Gilane Tawadros are focussed entirely on Stuart Brisley’s practice and directed by him. The artist’s narration of his practice demonstrates an unswerving resistance to controlling the narrative or fixing the meaning of his works.
A Way Away uses the mode of correspondence course to explore ideas around distance – spatial and temporal, physical and social, imagined and real.
Video documentation of the book launch, as part of LADA Screens. Includes 4 videos.
A performance-based feature film produced and filmed on location during the month-long performance walk from Northern Germany through Poland to the Russian region of Kaliningrad, in May/June 2015.
Includes feature film, trailer, poster, stills from the movie, and film description.
Investigates critical approaches to performance, ultimately aiming to stimulate new discussion between theorists and practitioners.
Documentation from the 672 Hour Live Process Performance in Istanbul, 2018. Includes the poster, individual videos of performances, and a document with details on all performances.
Brochure for the Live Art programme at the Liverpool Biennial 2002 (18-21 September).
The first substantial survey of its kind, the publication brings together documentation of performances, drawings, videos, installations, and sculptures, as well as writings, interviews and visual essays by the artist. A series of commissioned critical essays show her to be a prolific maker of acts, objects, and multiple ‘selves’.
. An introduction to performance in the territory of art: far from proposing a linear history, the volume offers a series of thematic and transversal approaches to performance.
On Forced Entertainment, prediction, and the community of audience.
The fourteen essays bringing together a unique gathering of artists, many of whome make works which arise out of responses to the situation or the environment in which they find themselves.
In his third one-year performance piece, from 26 September 1981 through 26 September 1982, Hsieh spent one year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents.
This video was part of LADA Screens, and was available online between 12 and 26 October 2015.
A one-off 30 performance produced in relation to Teching Hsieh's Outdoor film. Part of LADA Screens 4.
How do artists respond to the question of collective survival in the face of crisis? Can writing articulate, subvert and test the ever-present question of the future in modes that are nonlinear, affective and even choreographic? What are our hopes, fears and desires?
Part of Library of Performing Rights (P3041).
Exhibition booklet; Leamington Spa Art Gallery & Museum, 30 November 2018 – 24 February 2019
In 2014, artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists. The responses collected are as diverse and wide-ranging as the artists and their own approaches.
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
It is to the future that we look for redemption and progress; but it is also where we project our personal and apocalyptic anxieties. By questioning notions of certainty, truth, and totality, Augé finds ways to separate the future from our eternal, terrified present and liberates the mind to allow it to conceptualize our possible futures afresh.
Examines the construct of memory, the passage of time, and the “end of history.”
Examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib.
For the 11th edition of DRAF Curators’ Series, guest curator Victor Wang 王宗孚 launches the Institute of Asian Performance Art (IAPA), an international network to deepen the awareness and understanding of the history of early performance art in Japan, Korea, China and Taiwan.
A unique insight into the relationship between Abramovic’s biography and artistic work.
Illuminates the relationship between philosophy and experimental choreographic practice today in the works of leading European choreographers.
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
An interview conducted at LADA’s new home in the Garrett Centre, Bethnal Green attempts to find out why the artist gave over his life to art.
Publication on the week-long, 24/7 durational performance art event which took place in a three-bedroom house, showcasing 10 international artists living and working together and live-streamed on Youtube.
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
Illustrated catalogue accompanying the exhibition; Cornerhouse (3 March – 22 April 2001), Arnolfini (18 March – 13 May 2001), Mead Gallery (6 October – 1 December 2001).
Publication documenting a project in which three artists took up paid, part-time employment.
Part of the Library of Performing Rights (LPR) (P3041).
Embraces the messiness and daily action of the maternal and strives to nurture an understanding of daily maternal practice.
Exhibition catalogue. Biennale Arte 2017, 57th International Art Exhibition – Viva Arte Viva. 13 May – 26 November 2017.
The dancers develop movements in response to a photo – creating in real time.
Part of the Library of Performing Rights (LPR) (P3041).
Derived from exercises contributed to workshops by performers with The Ting: The Theatre of Mistakes. First published published 1976.
The essays explore the broad range of poetico-philosophical questions that have long been circulating in the Cixousian universe: the self and the other, autobiographies of writing, love’s labors lost and found, sexual difference, feminism and feminine hours, the prehistory of the work of art and reading the visual arts, animal (w)rites and trans-species relations, literary theory, post-colonial theory, death and life.
Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.
Unique documentation of a year long performance project by one of America's most interesting performance artists; McMurry set out to do a performance action every day for a year, attempting to confuse art and life.
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.
This collection of essays sheds new light on the political, ethical and aesthetic potential of participatory artworks and tests the very latest theoretical approaches to this subject.
The monograph follows the studio practice, public performance works, and gallery and museum shows that took place between 1969–1973 in which documentation of conceptual performance works in slide, film, video, and photographic form exhibited alone or as a component of installation.
Eight essays that examine the way narratives determine our understanding of old age and condition how the experience is lived.
This provocative book meets the supposedly ‘live’ practices of performance and the ‘no-longer-live’ historical past at their own dangerous crossroads. Focussing on the ‘and’ of the title, it addresses the tangled relations between the terms, practices, ideas, and aims embedded in these compatriot – but often oppositional – arts and acts of time.
The publication explores art created in public spaces in Brazil, since 2000. In Portuguese and English. Published under the Creative Commons licence.
This book examines the recent changes in the labour of an artist and addresses them from the perspective of performance.
This book explores the relationship between place and forms of thought and creative activity, relating Outlandia, an off-grid artists’ fieldstation, and the artists there, to the tradition of generative thinking and making structures that have included Goethe’s Gartenhaus in Weimar, Henry Thoreau’s cabin at Walden Pond and Dylan Thomas’s writing shack in Laugharne.