Echo

Audio recording of an evening of conversation with artist Delaine Le Bas and her long term collaborators Ronke Osinowo and Hḗrā Santos.

The conversation was structured around performance texts that track histories of their collaboration. It explored the questions of how their collaborative process works and how they navigate the variable spaces they perform in?

F A U L T L I N E S (2022) is a performance video from SITE, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

cock~salt (2025) is a performance to camera by Claye Bowler, screened at LADA as part of Fringe! Queer Film & Arts Fest exhibition The Body Is a Thing in Time, curated by kane stonestreet.

The Hologram is a feminist health militia that produces networks where we can practice skills like trust, communication, and cooperation that will help us outlast capitalism.

A short text and image piece by artist Kira O'Reilly, accompanied by a photo of O'Reilly's "Menopause Gym."

In a cyclical feat of endurance and precision, Blood Show is a raw, euphoric choreography between 3 figures and 75 litres of fake blood. A call to action to put what’s inside on the outside and defend against a violent gaze, Blood Show questions rebirth and how we all carry our ghosts with us.

Article and performance photos from artist Eirini Kartsaki.

Based on The Search for Power lecture-performance, this book contains the performance script, designed archival documents, and reflections by the collaborating artist and historian.

Sabrina Strings weaves together an eye-opening historical narrative ranging from the Renaissance to the current moment, analyzing important works of art, newspaper and magazine articles, and scientific literature and medical journals–where fat bodies were once praised–showing that fat phobia, as it relates to black women, did not originate with medical findings, but with the Enlightenment era belief that fatness was evidence of “savagery” and racial inferiority.
Fearing the Black Body argues that the contemporary ideal of slenderness is, at its very core, racialized and racist. An important and original work, it reveals that fat phobia isn’t about health at all, but rather a means of using the body to validate race, class, and gender prejudice.

Sonia Boyce (b.1962) is a groundbreaking artist whose practice is founded on taking creative risks. Unafraid to play against set expectations about how art should behave, her collaborative interactions between audience and performer enable spontaneous and intimate social encounters, resulting in the creation of work that is simultaneously self-aware, visceral and open-ended.

This book is a much-anticipated introduction to the life and work of this extraordinary artist. Touching on her engagement with the work of other feminist artists and her time as a leading figure in the 1980s Black British Art movement, it contextualizes Boyce’s journey from her early pastel drawings and collages to her pivotal shift to film, sound, and performance art. Highlighting her artistic innovation as she experiments with medium to explore and question culture, identity and the boundaries between the public and private spheres in unexpected ways, it celebrates the visionary practice of a truly uncompromising artist.

“Iniciando em 29 de novembro de 2022 e indo até 08 de dezembro do mesmo ano, o Festival que teve curadoria geral de Eduardo Bruno e curadoria adjunta de Aires Furtado, Marie Auip e Walídrio Castro, contou com uma programaçao realizado após uma ressaca de alegria e desgaste em decorrência do período eleitoral que acabava de se encerrar no Brasil. Esse livro, é parte desse processo, não é um resumo, muito menos outras partes que compuseram o Festival em sua 4ª edição e ainda continuam se desdobrando. Esperamos que esse livro conecte ao seu desejo de esperançar e construir outros modos de aglomereção e comunidades. Que o corpo se movimente e que o desejo ganhe novas vazões, bom proveito.”

This publication is in Portuguese (Brasil).