Case of Emergency: Emergent Writings on Live Art and Performance

Documentation from an online live reading of peer to peer survivor writing organised by the artist Jet Moon in April 2021. This reading features commissioned contributions read by Jet, Dolly Sen, Elinor Rowlands, Ayotomi IF, Andie Macario, and readings by attendees of  two peer to peer survivor writing workshops organised by Jet in March 2021.

Video documentation of an online artist conversation with  Rosalind Fowler, Isik Sayarer and Eva Knutsdotter  in December 2021. This conversation followed an online screening of BREADROCK, I feel like doing this, a film by artist collective Fourthland (Isik Sayarer and Eva Knutsdotter) and artist and filmmaker Rosalind Fowler.

BREADROCK, I feel like doing this is a visceral homage to cultural history, memory and universal myth.  Melding experimental and ethnographic filmmaking, the work presents a series of staged vignettes drawing on the rituals and artefacts of the Estate’s Bangladeshi, European, Kurdish, Serbian, Turkish, Ugandan and West Indian communities, to create new kinships, myths and culture.

An essential introduction to the life and work of Sonia Boyce, a leading contemporary artist whose interdisciplinary practice explores artistic authorship and the creative potential in unexpected play.

Afterall Journal

Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.

pg. 59-67

In Acts of Affect, siren eun young jung returns to the disappearing Yeoseong Gukgeuk theatre. In her discussion of the project, Ashley Chang examines how masculinity is produced by women.

Publication on a new entity of events as part of ANTI Festival, where the artists shortlisted for the International Prize of Live Art present their work.

In English and Finnish.

Over three days in August 2007 Cardiff-based performance artist André Stitt undertook a major ‘akshun’ work at Artspace. Utilizing Joseph Beuys’ famous “I Like America and America Likes Me (or ‘Coyote’)” performance of 1974 as a template through which a performative engagement with acts of arrival and the attendant trauma of colonialism could be developed, Stitt shared a caged-in area of the gallery with a dingo, exploring forms of possible connection between the human figure and dog. This book provides extensive documentation and critical reflection upon one of the most significant and sustained performance works undertaken in Sydney in recent years.

Contemporary Theatre Review, Volume 33, Issue 3 (2023)

Essential Work : Eastern European Immigrants and Models of Participation, Bojana Janković

This article investigates the relationship between a marginalised community of essential workers and dominant models of participation.

shado Issue 2 : Global Womxnhood

Feature on poet and performer Tolu Agbelusi.

Mclarrity, Spike (2021) White rabbit : celebrating ten years of Barnes’ White Rabbit.

Can Taiwan performing/performance art be an avant-garde strategy for cultural exchanging with Shanghai e-Art Festival?

-Referring to the changing face of British Live Art.

Research study by Catherine Jiang.

In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship’s owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert-the only extant public document related to the massacre of these African slaves-Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.

This fully-illustrated book brings together for the first time an account of Baker’s career as an artist – from her first sculptures at Central St Martins in the early 1970s to her most recent work, ‘How to Live’ and ‘Diary Drawings’ – with critical commentary by reviewers and academic practitioners.