Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
|Editor||Gabriella Giannachi, Jonah Westerman|
On hybridity, drag and performance in Bolivian folklore
Performance Research pg 98-106, On Hybridity Volume 25, No 4, June 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.
‘The book, that started four years ago as a possible form in which my ephemeral works could live on, gradually developed into an intensive writing project about movement and the imaginative power of language.’ Toine Horvers
Paper leaves and other constructions
a reading companion to Always Already
compiled and edited by Karen Christopher & Tara Fatehi Irani
Always Already is an 8-hour performance installation by Karen Christopher & Tara Fatehi Irani, which uses materials, text, sound and movement to explore the weaving together of plant, human and machine, including human/plant and human/machine hybrids.
Paper leaves and other constructions is a 32-page booklet, introducing the themes and content of the project, and responding to many of the questions that arose in the creative process. Drawing parallels between a path through life and one through the making of a particular work of performance, the booklet answers the question “how did you do that?”
The booklet includes contributions from Karen, Tara, Payman Kassaei (Professor of Mathematics, Kings College), Felipe Ribeiro (performance artist and researcher), Omikemi (poet), Eirini Kartsaki (performance writer and teacher), and an interview with Henry Dagg (sound sculptor and builder of experimental musical instruments).
This series of interviews, held by curator and writer Gilane Tawadros are focussed entirely on Stuart Brisley’s practice and directed by him. The artist’s narration of his practice demonstrates an unswerving resistance to controlling the narrative or fixing the meaning of his works.
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.
An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more.
“(…) What could be good practice, in a moment like this? What is the art organisation needed for a no-future public? and what would a sustainable, feminist organisation look like?…”
The text was previously published in Who’s Art For? Art Workers Against Exploitation, edited by R-set/tools for cultural workers (Impasse) in collaboration with Rete al Femminile, postmedia books, 2019.
With 49 contributors of artworks and words, this magazine is a real snapshot of Neurodivergent and survivor women’s voices and visions today.
Contributions are organised into nine chapters: Esoteric Sensory Bodies, Persist, Tangled and Complex, The Specially Initiated Alone, Obscuring those Beneath, Into the Woods, Unearthered/ Returning to the Hills, Precarious Arbitarity / Radically Nuanced, and All that glistens.
A Way Away uses the mode of correspondence course to explore ideas around distance – spatial and temporal, physical and social, imagined and real.