A linguistic/fictional journey into questions of authorship, language and institutional rethoric.
|Editor||Pieternel Vermoortel, Francesco Pedraglio, Anca Rujoiu, Astrid Korporaal, Bianca Baroni|
|Publisher||FormContent and mousse Publishing|
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).
Eight issues of the interview zine about performance.
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.
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).
Shows how contemporary art is a powerful yet largely unacknowledged player in the articulation of depression in Western culture, both adopting and challenging scientific definitions of the condition. Ross explores the ways in which contemporary art performs the detached aesthetics of depression, exposing the viewer's loss of connection and ultimately redefining the function of the image.
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,
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.
Catalogue published to accompany the Serpentine Galleries Spring Season exhibitions (2 March – 21 May 2017).
Investigates an array of staged situations, from choreographed exhibitions, immaterial museums, theatres of negotiation, and discursive marathons, to street carnivals and subversive public-art projects, and asks how ‘theatre-like’ strategies and techniques can in fact enable ‘reality making’ situations in art, and how, as a consequence, curating itself becomes staged, dramatised, choreographed, and composed.