Estate – The Ian Hinchcliffe Retrospective

“This publication assembling the practices and discourses of ‘Asian contemporary performance’ is assuredly a statement of ‘the world we have made’ for the now and the future, as well as a means of connecting TPAC and other ‘worlds.’ “－Ruo-Yu LIU, Chairwoman of Taipei Performing Arts Center

“While it is now hardly unusual to find choreographers working in an exhibition setting, or visual artists performing on a stage, it is still rare to see practitioners from the different fields working together, as can be found at ADAM.”－John Tain, Head of Research at Asia Art Archive

“With various understandings from multiple disciplines, life journeys and international practices, this publication is neither a collected manifesto, nor an imprint of harmony and integration. On the contrary, it is the very embodiment of incarnations and trajectories of the world history and the network of contemporary corporeality.”－Chun-Yen WANG, Art Critic

This book explores the self in modern and contemporary art. Accompanying an exhibition in four chapters of the ISelf Collection at the Whitechapel Gallery, it looks at the complex ways in which artists are thinking about identity as an individual, in relation to others, to society and the wider world.

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.

Resonating with the ethos of open dialogue and the experimentation of women artists’ collectives in the 1970s and 1980s, the publication constructs a dynamic, open, and collaborative arena that foregrounds practices of resistance, collectivity, and self-organization. Exhibition catalogue: Cooper Gallery, 28 October 2016 – 16 December 2016.

Part of Library of Performing Rights (P3041).

In this collection of diverse worksessays, short stories, poems, translationswhich spans a lifetimes engagement with art.

Proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art.

This comprehensive manual outlines copyright law in the UK with special reference to materials relevant to archive and records collections such as maps, legal records, records of local authorities, records of churches and faiths, most notably unpublished works. It also offers advice on rights in the electronic environment and the problems associated with rights clearance; and covers related areas such as moral rights and rights in databases.

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.

Catalogue to accompany a film series held at the Art Gallery of Ontario (1989). 

Captures a series of remarkable collaborative art works instigated by visual artist Janine Antoni, in alliance with preeminent dance-maker and community activist Anna Halprin and pioneer choreographer Stephen Petronio.

Initially galvanized by the sweeping obliteration of architecture and art under the Communist regimes of the Soviet Union and eastern bloc countries, Gamboni investigates other instances of destroyed art and architecture around the globe, uncovering a disquieting and surprisingly widespread phenomenon.

Publication for 'performance art!' Exhibition at Chinretsukan Gallery, The University Art Museum at Tokyo National University of Fine Arts and Music, including documentation, artist statements and comments from the audience.

Part of the Something Human Study Room Guide on Southeast Asian performance (P3334).