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Field Notes II documents the second Summer School on Cultural Diversity and Collaborative Practice, held in July 2019.
Fauxthentication – Art, Academia, Authorship (or the site-specifics of the Academic Artist) investigates the means of production of the art that can be created within the boundaries of artistic research.
On Filipina labour and amateur performance in Hong Kong.
Performance Research On Amateurs pg 81-87, Volume 25. No 1 January/ February 2020.
This book is packed with thoughtful exercises distilled from twenty-five years of interdisciplinary artist workshops and teaching devising and performance making at universities in the United States and the United Kingdom. Created and curated by Leslie Hill and Helen Paris, artists who work internationally at the interface of academia and professional practice, this collection provides exercises for devising, composing, and editing original works.
Chump Change was produced by Aislinn Evans and features contributions by Stephen Pritchard, Raju Rage, Harry Josephine Giles, and Maz Murray (therightlube).
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.
Text and photographic documentation of the work of Jörg Köppl and Peter Začek.
Kindly donated as part of the Swiss Live Art Study Room Guide.
Text in German.
This book focuses on the possibility of rethinking the static model of installation and exhibition and exploring the way in which ‘performative’ approaches, adopted by artists and curators alike, can reframe the exhibition and its work as an environment subject to formal, temporal or relational transformation.
Audio of the artist in discussion with Jospeh Morgan Scholfield. Event held on 13 February 2020.
A trilogy of hybrid art films of collaborative performances in epic locations around the world. Included the three films (Performances at the End of the World, Performances at the Holy Centre, Performances at the Core of the Looking-Glass) and a text about the project.
Documents a series of site-specific performances which took place at fallen Sound Mirrors along the southeast coast of England in the summer of 2019.
Analyses the artist’s oeuvre in the contexts of liveness, visual art and participatory practices.