An attempt to shed new light on the space known as Brayford island
Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
Reaffirms the central position of the body in various artistic practices through in-depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.
In 2014, artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists. The responses collected are as diverse and wide-ranging as the artists and their own approaches.
An intimate collection of letters, poetry and postscripts by artists and writers that seeks to connect, exchange and witness through the action, idea or form of a love letter. The book builds on a programme that took place at Bios, Athens (2015).
Brings together commissioned pieces by 50 artists and theorists whose works have shaped steirischer herbs over the past decade.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children, or running a “dancing museum,” Charmatz’s work experiments with the body as a vessel for subjectivity, history, and collective action.
Investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how ‘theatre-like’ strategies and techniques can in fact enable ‘reality making’ situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.
Part project part catalogue: split into three distinct sections the book brings together artists and academics to explore the impact of gentrification and the possibility of resistance.
An international collection offering glimpses into the intimate relations inherent in finding, remembering (or imagining), and creating an archive.