Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture.
Report about the Arts and Humanities Resarch Council funded prject.
Berlin is once more capital of queer arts and tourism. Queerness is more visible today than it has been for decades, but at what cost? This book argues that queer subjects have become a lovely sight only through being cast in the shadow of the new folk devil, the ‘homophobic migrant’ who is rendered by society as hateful, homophobic and disposable.
Part of the Library of Performing Rights (P3041)
Combines performance analysis with contemporary political philosophy to advance new ways of understanding both political performance and the performativity of the politics of the street.
Reflects on CAPP (Collaborative Arts Partnership Programme), which took place 2015-2018.
Develops and encourages you to inhabit — through narratives or spatialized experiences — Deep Maps of places you want to understand in a robust, inclusive, and expansive ways, which is not possible with traditional mapping.
Combining philosophy and aesthetics, this is a unique exploration of creative practice as a form of thinking.
Reflections on how institutions inform art, curatorial, educational, and research practices while they shape the world around us.
nitially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigates other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon.
Explores sites where the ideal of community relentlessly recurs, from debates over art and culture in the popular media, to the discourses and practices of nonprofit and nongovernmental organizations, to contemporary narratives of economic transformation or “globalization.”
What is seriousness exactly, and where does it reside? Is it a desirable value in contemporary culture? Or is it bound up with elite class and institutional cultures?
Explores the role of philanthropy in public collections across the UK.
In this follow-up to his influential 2010 book, Dark Matter: Art and Politics in the Age of Enterprise Culture, Sholette engages in critical dialogue with artists’ collectives, counter-institutions, and activist groups to offer an insightful, firsthand account of the relationship between politics and art in neoliberal society.
*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.
Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?
This engaging study examines the issue of crisis in European performance since the collapse of global financial markets in 2008. The book’s chapters examine diverse performances of crisis primarily in three cities with a loaded past and present for Europe, as idea and geopolitical reality: London, Athens and Berlin.
Belgian festival director and curator Frie Leysen challenges Australian artists and arts organisations to be bold, and to challenge an increasingly ossified status quo in her closing keynote address at the 2015 Australian Theatre Forum (ATF). Miscellaneous folder #5A.
In this article, the author contends that politically themed one-on-one performances provide value because their budgets do not fit into a comfortable capitalist model of exchange. To be found in Miscellaneous Articles Folder #4.
This report defines practical steps and frameworks for good practice of collaboration between visual artists, publicly-funded institutions, communities and audiences.
British Library Sound Archive recording and documentation of Potentials of Performance events (26-27 October 2012).
This article is referenced in the Platform Study Room Guide (P1820) and can be found in the Miscellaneous Articles 4 Binder.
This article is referenced in the Platform Study Room Guide (P1820) and can be found in the Miscellaneous Articles 4 Binder.
Documentation of a speech given by Peter Hewitt. 18 March 2002.
Ray Newe discovers what you’ll get for your money.
A sequence of 6 solo performances, each made alternately by Hancock and Kelly in response to the previous piece, made by the other.
Symposium programme notes:This symposium will consider questions of performance, belief, and credit.One way in which some kinds of performance distinguishes itself from other kinds – that sometimes go under the name of ‘theatre’ – is by emphasising that what it is doing is ‘real’, as opposed to the acting and pretending that goes on elsewhere. ‘Performing the Real’ was the subject of the 2009 symposium held as part of SACRED. This time we are turning away from the ‘real’ to think about the many ways in which performance is still interested in make-believe, and how make-believe itself might turn out to be part of the ‘real’.The current financial crisis has revealed how the system upon which we supposedly all depend is itself dependent upon how much we believe in it. Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist.A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. How might performance engage us in thinking and feeling our relationship to money, magic, pretending, imagination: what is it we are looking for in the make-believe world we live in? The symposium will feature: * a discussion with Richard Foreman (Ontological-Hysteric Theater); * keynote presentations from performance scholars Sara Jane Bailes, Jen Mitas, and Nicholas Ridout; * performative provocations from artists Karen Christopher and Sara Juli, also presenting work in the SACRED season; * break-out panels from a range of researchers and artists; * a Long Table discussion hosted by Lois Weaver; * the attendance of Richard Maxwell (New York City Players) and PS122 Director Vallejo Gantner; * the UK premiere of New York City Players’ ADS.
Value is an expression of belief: if we believe that such and such a company, or bank, possesses the assets it purports to possess, then, in effect, those assets exist. The moment we stop believing, the value of the company or bank collapses, and the assets in question cease to exist. A credit crunch is what happens when people suddenly stop believing in the financial system – or when we start to wonder why we believe what we are seeing on stage. Symposium Notes
Performance Matters, Performing Idea – Other Durations5th October 3:00-7:30pmToynbee StudiosWith: Janine Antoni, Matthew Goulish, Bojana Kunst, Boyan Manchev, Fred Moten and Lara ShalsonTime in Western Cultures continues to accelerate and a slower unregulated life is seemingly nowhere to be found. Contemporary art has seen a resurgence of performances of long and short durations and a re-valuation of historical works of duration. Artists are increasingly playing with, inhabiting and transforming the time of the artwork. Speakers will address questions of how we can now think of the time of performance? What are the relations between performance, time and cultural value? How is performance reconfiguring and othering our understandings and experiences of time?
British Library Sound Archive recording and documentation of the “Performance Matters event on 30 April 2010. Evening launch event featuring Walid Raad, Irit Rogoff, Gavin Butt, Adrian Heathfield and Lois Keidan. Four of four (D1316 – D1319).
British Library Sound Archive recording and documentation of the “Performance Matters Lab” event, 30 April 2010. The daytime Performance Laboratory shows experimental durational and scheduled performances by some of the PhD researchers associated with the project at Goldsmiths and Roehampton University, Dr Gavin Butt from Goldsmiths, University of London, Prof. Adrian Heathfield from Roehampton University, and Lois Keidan of the Live Art Development Agency. Part three of four (D1316 – D1319).
British Library Sound Archive recording and documentation of the “Performance Matters Lab” event, 30 April 2010. The daytime Performance Laboratory shows experimental durational and scheduled performances by some of the PhD researchers associated with the project at Goldsmiths and Roehampton University. The day will feature responses and discussions with invited thinkers around issues of duration, transmission, materiality,process, ideas and value.performance aesthetics, critical theory and cultural studies, Dr Gavin Butt from Goldsmiths, University of London, Prof. Adrian Heathfield from Roehampton University, and Lois Keidan of the Live Art Development Agency. performance aesthetics, critical theory and cultural studies, Dr Gavin Butt from Goldsmiths, University of London, Prof. Adrian Heathfield from Roehampton University, and Lois Keidan of the Live Art Development Agency. Fabrizio Manco, Jungmin Song, Terry O’Connor, Mathias Danbolt, R. Justin Hunt, Victoria Chalklin, Oriana Fox, Augusto Corrieri, Owen ParryPart two of four (D1316 – D1319).
Part one of four (D1316 – D1319). British Library Sound Archive recording and documentation of the “Performance Matters Lab” event, 30 April 2010. The daytime Performance Laboratory shows experimental durational and scheduled performances by some of the PhD researchers associated with the project at Goldsmiths and Roehampton University. The day will feature responses and discussions with invited thinkers around issues of duration, transmission, materiality,process, ideas and value.
Artist documentation.
Documentation of the duo's work.
Part of the Library of Performing Rights (LPR).
This article is referenced in the Platform Study Room Guide (P1820) and can be found in the Miscellaneous Articles 4 Binder.
This article is referenced in the Platform Study Room Guide (P1820) and can be found in the Miscellaneous Articles 4 Binder.
This article is referenced in the Platform Study Room Guide (P1820) and can be found in the Miscellaneous Articles 4 Binder.