Second edition of the artwork exploring the potential of Live Art to bridge generations.
Exhibition catalogue. 12/11 – 4/12 1987. In German.
Brings together established and emerging practitioners who work with light, as material or subject.
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.
Proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art.
From war and environmental pollution to racism and sexual assault, the publication analyzes the consequences of trauma as seen in the works of artists like Marina Abramović, Pope.L, and Chris Burden.
Newspaper format catalogue. White Columns, New York, 13 September – 20 October 2002.
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.
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
Assembling a remarkable group of scholars, these essays explore how the circulation and exchange of “vectors of the radical” shape the avant-garde.
Exhibition catalogue; Hirshhorn Museum and Sculpture Garden, Smithsonian (24 October – 26 May 2014); Musée d’art moderne Grand-Duc Jean (5 July – 12 October 2014); Kunsthaus Graz (15 November 2014 – 15 March 2015).
Catalogue published to accompany the Serpentine Galleries Spring Season exhibitions (2 March – 21 May 2017).
Accompanies the first extensive overview of Auto-Destructive art pioneer, organized in 2015–16 at the Centre of Contemporary Art in Torun, Kunsthall Oslo and Stiftelsen Kunstnernes Hus in Oslo.
Exploring the potential of Live Art to bridge generations andrawing on key Live Art themes and seminal works, PLAYING UP takes the form of a game played by adults and kids together. In German.
Exploring the potential of Live Art to bridge generations andrawing on key Live Art themes and seminal works, PLAYING UP takes the form of a game played by adults and kids together.
Exhibition catalogue. In Welsh and English.
National Museum Cardiff, 14 November 2015 – 20 March 2016.
Limited Edition Exhibition Catalogue from the first edition of the VENICE INTERNATIONAL PERFORMANCE ART WEEK Hybrid Body – Poetic Body, which took place in December 2012 at Palazzo Bembo, Italy and showcased the works of over 30 international performance artists. Essays included in the publication by Bojana Kunst, Dana Altman, Andrea Pagnes, Francesco Kiais, Gabriela Alonso, Richard Martel Art, Daniela Beltran.
This book draws a vibrant portrait of the artists and performers who gave the 1963 Village its exhilarating force, the avant-garde whose interweaving of public and private life, work and play, art and ordinary experience, began a wholesale reworking of the social and cultural fabric of America.
This anthology traces how and why this identification of art with sexual expression or repression arose and how the terms have shifted in tandem with artistic and theoretical debates.
Special issue with contributions that consider relationships between affirmation and performance.
Created in collaboration with Pussy Riot, this book links together the events leading up to and after the group’s arrest and the themes they fight for – feminism, LGBTQ rights, freedom of speech and the environment.
A comprehensive bibliography of writings on 'Action Art' in the twentieth century.
Institution for the Future is an archive of ideas bringing together reflections by artists, curators and other cultural workers on what an institution for the future should and needs to look like. With contributions from Ade Darmawan, Alexandra Hodby, Alistair Hudson, Dmitry Vilensky, Dorothea von Hantelmann, Elaine W. Ho, Gerald Raunig, Hans Ulrich Obrist, Hu Xiangqian, Ho Tzu Nyen, Jens Hoffmann, Joao Ribas, Jun Yang, Keren Cytter, Liu Ding, Marina Abramovic, Michael Lee, Monika Szewczyk, Nikita Yingqian Cai, Richard Streitmatter-Tran, Roslisham Ismail, Ise, Sam Bower, Seng Yujin, Third Belgrade, Tino Sehgal, Vandy Rattana and Yoko Ono.
Letters from prison, songs, poems, courtroom statements and tributes to Pussy Riot.
Articles, documentation, blogs, and archive materials from the Pinto mi Raya Archivo Activo between 1991-2001.
Collection of archive footage includes concert excerpts and interviews. DVD.
A history of feminist art from the 1960s.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011
This catalogue, published on the occasion of Yoko Ono’s exhibition at the Serpentine Gallery, london 19 June-9 September 2012, includes an interview with the artist by Julia Peyton-Jones and Hans Ulrich Obrist and texts by Chrissie Iles and Alexandra Munroe.
Charts the journey of the 2008 Liverpool Biennial, its artists, and the reactions. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
This book is the printed extension of Janez Jan a’s installation Life [in Progress]. Complete with photo cards and carry bag.Life [in Progress] is composed of written, photo, and video instructions. The spectators are the actors; walking past the instructions they create the performance according to their own rhythm, sensibility, belief and (non-) activity.
Shelved in Oversize publications section.
The ‘do-it-yourself’ artwork: Participation from Fluxus to new mediaThis volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part 1 addresses the emergence of spectator participation in the 1960s, whilst Part 2 brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part 3 map out a range of theoretical approaches to the ‘do-it-yourself’ artwork.
An original and inventive resource for anyone interested in contemporary performance practices and their relationships with audiences.
Reports from a weekend of live art at the Bluecoat. 5-7 April 2008.
Catalogue published on the occasion of the homonymous exhibition at the San Francisco Museum of Modern Art on view 8 November 2008 – 8 February 2009.
Memoir by the avant-garde dancer, choreographer, and filmmaker recounting her childhood years, sexual misadventures, and artistic explorations.
See accompanying lecture notes (A0205)Compiled for the Long Table on Performance and Human Rights, April 2005 for PSi 12. Partnership between EEC, Queen Mary Univerity of London and the Live Art Development Agency
Adrian Sina archive.
Published in conjunction with the exhibition ‘Out Of Actions' at the Museum of Contemporary Art, Los Angeles. Chronological survey of artists working between performance art and more traditional media from 1949 to 1979. This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)