How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Combining an art project with critical commentary, Fusco addresses the role of women in the war on terror and explores how female sexuality is being used as a weapon against Islamic terrorists. Using details drawn from actual accounts of detainee treatment in US military prisons, Fusco conceives a field guide of instructional drawings that prompts questions regarding the moral dilemma of torture in general and the use of female sexuality specifically.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Niebisch retraces how the early Avant-Garde movements started out as parasites inhabiting and irritating the emerging mass media circuits of the press, cinema, and wired and wireless communication.

Assemblage reflects interdisciplinary aesthetic practices that call attention to displacement as a disruption in the continuity of place, relationships, identity, movement, memory, and time resulting in a collage of preserved artefacts and mediated possibilities.

In misc folder 7.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Includes:

– Artist bio & CV

– Hermana, 2010, 1'50''

– Himenoplastia, 2004, 7'21''

– Juegos de poder, 2009, 11'10''

– La Verdad, 2013, 1:10'

– Lucha, 2002, 3'38''

– Perra, 2005, 5'31''

Critically engaging with examples of stage combat, rape, terrorism, wrestling and historical re-enactments, Nevitt argues that studying violence through theatre can be part of a desire to create a more peaceful world.

Short and long trailer for Performing Rights, a festival of creative dialogues between artists, academics, activists, and audiences investigating relationships between human rights and performance.

Gardens Speak is an interactive sound installation containing the oral histories of ten ordinary people who were buried in Syrian gardens. Each narrative has been carefully constructed with the friends and family members of the deceased to retell their stories as they themselves would have recounted it.

This book contains the narrative text of those ten oral histories in both English and spoken Arabic, as well as an an introduction by the artist, and illustrations of the audience experience in Gardens Speak.

Pack of cards, featuring officials of the self proclaimed Donetsk and Luhansk People's Republic. 

Larger cards are used in the eponymous performance.

Exhibition catalogue. 18 September – 12 October 2014. Curated by Clemens Poole.

In Ukranian and English.

A curated program of temporary public art installations throughout the city of Kyiv, challenging artists and viewers to creatively address the changing physical, emotional, and social concepts of occupation.

A book on Galindo’s performance work. Text in Italian, Spanish and English.

An extended interview with artist and Iraq war veteran Aaron Hughes