A short animation about the regionally extinct lion.
Part of Life Art Library at MIF 2019: Animals of Manchester; Saturday 20 and Sunday 21 July 2019.
| Artist / Author | Every house has a door |
|---|---|
| Digital Ref | EF5296 |
| Date | 2015 |
| Type | Digital File |
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.
This story is a product of lockdown, of not being able to create gatherings and experiences with, and for, other people. It is an account of intensely personal histories and experiences, that usually stay behind the screens. It is also a document of the Heteraclub project and the safe space created there, in which hundreds of women shared their stories of love and pleasure.
Documentation of the event marking the end of Restock, Reflect, Rethink Four, a project about Live Art and Cultural Privilege.
Manning extends her previous inquiries into the politics of movement to the concept of the minor gesture.
Materials from the activation day against the Hostile Environment policy. Organised by Migrants in Culture and Keep it Complex.
In the oversize cabinet.
The concluding volume to Moten’s landmark trilogy consent not to be a single being.
The second volume of the landmark trilogy consent not to be a single being.
Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.
Analyses the artist’s oeuvre in the contexts of liveness, visual art and participatory practices.
Documentation from the collaboration between LADA, Sibylle Peters of Theatre of Research and Tate Families & Early Years. 26 to 29 October 2017.
Documenting words and stories found as part of a treasure trail through Bethnal Green’s gardens and growing spaces.
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.