Spanish-language book on feminist artists and the cultural impact of feminism in Mexico.
On Ageing (&Beyond)
Performance Research Volume 24 Issue No 3 April/May 2019
pg 40-48
Contemporary Theatre Review Volume 32 Issue Number 1 February 2022
p4-20
Common Salt was a performance around a table – a ‘show and tell’ by artists Sheila Ghelani and Sue Palmer. It explored the colonial, geographical and natural history of England and India taking an expansive and emotional time-travel, from the first Enclosure Act and the start of the East India Company in the 1600s, to 21st century narratives of trade, empire and culture.
In the performance Sue and Sheila activated insights into our shared past, laying out a ‘home museum’ of objects and stories about borders and collections, the Great Hedge of India, a forgotten naturalist – all accompanied by original Shruti box laments.
This book documents and explores the project, placing the performance text, images and reflections from both artists alongside writings by invited guests – from curators and artists to audience members.
Common Salt is designed by John Hunter (aka RULER) and published by LADA.
Book in English with translations to Serbian and French language
With essays by Dr Marina Grzinic, Dr Suzana Milevska and Tanja Ostojić
Through an exploration of both practice and theory, this book investigates the relationship between listening and the theatrical encounter in the context of Western theatre and performance. Rather than looking to the stage for a politics or ethics of performance, Rajni Shah asks what work needs to happen in order for the stage itself to appear, exploring some of the factors that might allow or prevent a group of individuals to gather together as an ‘audience’.
In this groundbreaking and important book, Danielle McGuire writes about the rape in 1944 of a twenty-four-year-old mother and sharecropper, Recy Taylor, who strolled toward home after an evening of singing and praying at the Rock Hill Holiness Church in Abbeville, Alabama. Seven white men, armed with knives and shotguns, ordered the young woman into their green Chevrolet, raped her, and left her for dead. The president of the local NAACP branch office sent his best investigator and organizer–Rosa Parks–to Abbeville. In taking on this case, Parks launched a movement that exposed a ritualized history of sexual assault against Black women and added fire to the growing call for change.
In June 2020, a group of 23 creative practitioners came together in virtual spaces to think, talk, listen and dream, learning from each other and through the act of dialogue. These writings reflect some of their thinking, on where we are now and some of the paths forward. FIELD notes is a call for change with care and transparency at its core.
The Maternal in Creative Work examines the interrelation between art, creativity and maternal experience, inviting international artists, theorists and cultural workers to discuss their approaches to the central feminist question of the relation between maternity, generation and creativity.
Paper leaves and other constructions
a reading companion to Always Already
compiled and edited by Karen Christopher & Tara Fatehi Irani
Always Already is an 8-hour performance installation by Karen Christopher & Tara Fatehi Irani, which uses materials, text, sound and movement to explore the weaving together of plant, human and machine, including human/plant and human/machine hybrids.
Paper leaves and other constructions is a 32-page booklet, introducing the themes and content of the project, and responding to many of the questions that arose in the creative process. Drawing parallels between a path through life and one through the making of a particular work of performance, the booklet answers the question “how did you do that?”
The booklet includes contributions from Karen, Tara, Payman Kassaei (Professor of Mathematics, Kings College), Felipe Ribeiro (performance artist and researcher), Omikemi (poet), Eirini Kartsaki (performance writer and teacher), and an interview with Henry Dagg (sound sculptor and builder of experimental musical instruments).
Bringing together thirty authors variously invested in dance, performance and/or choreography; This Container is a zine for texts produced through and alongside dance, performance and choreography.
10 is the latest and last publication from The Institute for the Art and Practice of Dissent at Home (2008 – 2018) and looks at 10 persisting problems of the past 10 years, featuring an array of critical and inspiring voices The Institute has worked with over the last decade.
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.