Includes: It’s an Earthquake in My Heart: Reading Companion; The Sea & Poison: Reading Companion; North True South Free; The Lastmaker
Zine from the long term project led by Victoria Sin featuring artists using speculative fiction as a productive medium for intersectional queer experience.
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.
Existing in the space between imaginative proposition and a call to action, the book is an assemblage of provocations, proposals and potential ways of operating — ranging from navigating the city and inhabiting the margins to errant acts of reading; from preparing for the unexpected to learning how to ‘not know’, from minor acts of singular sedition to collective expressions of an insurgent ‘we’.
In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.
Catalogue for the 2014 Flat Time House exhibition, which comprised of elements of the many modes of Reedy’s production across decades, including video and audio works unseen and unheard since the 1970s and 80s.
*currently unavailable*
A catalogue of new writing on performance including essays and dialogues around emergency.
10 practitioners from different backgrounds to reflect on the broad themes of participation, audience, criticality and writing in a series of short essays and provocations inspired by their own practice and numerous works in Compass Festival 2014. Contributors include Andy Abbott, Emma Cocker, Patrick Coyle, Victoria Gray, Gillie Kleiman, Annie Lloyd, Gill Park, Harold Offeh, Nathan Walker, Adam Young. A limited edition hard copy.
This interview explores connections within editor Bonnie Marranca’s work and considers the way in which it has developed in conversation with artists in and around New York.
Documenting 20 years of performance art in Quebec and Canada, the authors describe its beginnings in relation to the artistic, institutional, and political realities prevailing in the early 1970s.