Vlatka Horvat In Other Words, In Other’s Words And Other Words. Printed in tandem with Vlatka Horvat: AS Opposed to the Front, Back, Top and Bottom at Bergen Kunsthall January 21 – February 20 2011
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.
A collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2015 and December 2017. Selected through recommendations and an open call for submissions, Volume 5 reflects the dynamic, international contexts that Live Art and radical performance practices occupy.
Part of Library of Performing Rights (P3041).
Reaffirms the central position of the body in various artistic practices through in-depth conversations with choreographers, composers, visual artists, hip hop artists, dramaturges, a light designer and a puppeteer.
Maps the artistic processes over a nine month period of the making of the art work Not a Decorator..
An intimate collection of letters, poetry and postscripts by artists and writers that seeks to connect, exchange and witness through the action, idea or form of a love letter. The book builds on a programme that took place at Bios, Athens (2015).
Brings together commissioned pieces by 50 artists and theorists whose works have shaped steirischer herbs over the past decade.
Explores the agency and materiality of the archival document through a collection of critical writings and original artworks,
-Corridors, Stairways & Corners
-A Lexicon ofLabour Movements
-The Italic I (Tacturiency)
Generously donated to LADA's Study Room by Clare Thornton.
In the glass cabinet.
Coinciding with a solo exhibition which presented new pieces alongside selected earlier mixed media works from the past decade, this publication contains contextual and experimental texts by writers, artists, academics.
Whether he’s creating a dance composed solely of everyday actions, working with an ensemble of children, or running a “dancing museum,” Charmatz’s work experiments with the body as a vessel for subjectivity, history, and collective action.
10 practitioners from different backgrounds reflect on the broad themes of participation, audience, criticality and writing in a series of short essays and provocations inspired by their own practice and numerous works in Compass Festival 2014.