Collection of fiction, poetry and essays exploring the forbidden zones of illicit sex and obsessive behavior
|Editor||Amy Scholder, Ira Silverberg|
Ron Athey is one of the most important, prolific and influential performance artists of the past four decades. Queer Communion, an exploration of Athey’s career, refuses the linear narratives of art discourse and instead pays homage to the intensities of each mode of Athey’s performative practice and each community he engages.
A popular lesbian ‘commercial,’ 110 images of sensual touching montages in A, B, C, D rolls of ‘kinaesthetic’ editing.
Documentation of the event marking World AIDS Day. Included a screening of Ron Vawter’s performance at the ICA in 1993 as part of LIFT and a conversation between Neil Bartlett and Nancy Reilly.
Documentation of the evening which featured a screening of short films and performance documentation by artists working around ritual, performance and queer futurity.
An evening with artists readings of extracts from significant books held in LADA’s Study Room. Part of LADA at 20.
Documentation of projects undertaken by Adrien Sina, Tomasz Kitliński and Paweł Leszkowicz. Includes interviews, photos and promotional material from venues including Marlborough Pub and Theatre, Courtauld Institute of Art and Tate Britain.
Part of the Library of Performing Rights ( P3041).
A heady brew of feminist critique of the art world and extreme body horror.
Recounts Preciado’s transformation from Beatriz into Paul B., and examines other processes of political, cultural and sexual transition.
Seeking to overthrow all constraints on what can be done with and to the body, Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire.
Draws on Wojnarowicz’s work to explore the role of abandoned landscape in this explosion of queer culture in NYC.
Part of the Library of Performing Rights (P3041).
Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.