Steirischer Herbst is an interdisciplinary festival for contemporary art. Since 1968, it has taken place annually in Graz and Styria, Austria, combining the visual arts, performance, theater, opera, music, and literature to varying degrees. This programme lists events during the 2016 edition of the festival.
Documentation of projects undertaken by Adrien Sina, Tomasz Kitliński and Paweł Leszkowicz. Includes interviews, photos and promotional material from venues including Marlborough Pub and Theatre, Courtauld Institute of Art and Tate Britain.
Part of the Library of Performing Rights ( P3041).
A publication documenting the first 40 years of Artsadmin.
On the Edge 88 festival in September 1988.
In misc. folder 7.
Published on the occasion of the eponymous exhibition Ludwig Museum, Budapest, 30 January – 18 March. Presents the programmes implemented during the four-year CAPP project.
In Hungarian and English.
Discusses interrelations between painting and video art. Argues that once the surface of the painting is thought of in relation to the membrane of the eye as if the painting’s surface were part of the eye itself, the painting’s surface would have to be thought of as a membrane of visible excitation that is hard to separate from vision.
This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it–to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries.
Papers from the conference, held in Glasgow in December 1990. The conference addressed the implications for the arts of the political and economic changes in Eastern Europe.
Published on the occasion of Beautiful Creatures at Oboro, March 9 – April 13, 2013.
Part of the Library of Performing Rights (LPR) (P3041).
Drawing threads from the meta to the micro level inevitably leads to a conversation about power – who has it, who doesn’t, who should have it, how it is adjudicated. TransActions #2 picks up on this context and sets out to pose questions for the field of socially-engaged art and education practice in 2017.