Made to coincide with Tate Modern’s major retrospective, screened 28 Feb 2005, 9.30pm
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
Complete collection of Primary Sources on the International Performing Arts. Includes issues 1 to 8, (1979 – 1981). Includes originals of issues 1 (two copies), 2 (two copies), 3, and 4 (two copies), as well as photocopies of all eight issues.
In the glass cabinet.
Examines innovative and avant-garde works in relation to contemporary events, festivals, commissions, the marketplace, and the changing functions of museums.
Guides the reader through a thicket of seemingly arcane meanings of nonrepresentational art forms, and brings clarity to the intentions and agendas of these artists, as well as to their real world contexts.
Catalogue published to accompany the Serpentine Galleries Spring Season exhibitions (2 March – 21 May 2017).
A collection of essays, documents, & bibiliography reagrding performance art edited by people associated with a Toronto-based arts organization.
Where does our current obsession for interactivity stem from? After the consumer society and the communication era, does art still contribute to the emergence of a rational society? Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting.
Lansley offers unique insight into the processes behind independent choreography and paints a vivid portrait of a rigorous practice that combines dance, performance art, visuals, and a close attention to space and site.
How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.
Part of the Study Room Guide on Live Art and Displacement (P3107).
At the start of 2016, DAS Graduate School started operating from its home in Grootlab, Shell’s former laboratory in Amsterdam North. During the transformation of the building the photographer Thomas Lenden documented the process, now the subject od this publication.
In Dutch and English.
A PhD thesis offering a new account of the emergence of performance forms, including Happenings, participatory art, performance art and performances for the camera, in visual art and related contexts at the ICA.