Jarman (All This Maddening Beauty) and Other Plays

This e-journal edition from performingborders gathers artists and practitioners exploring how their work crosses borders—territorial, cultural, political, and personal. Rooted in connection, resistance, and shared struggles, these contributions reimagine collaboration and solidarity across time and space. With a foreword by their long-time collaborator Diana Damian Martin, this collection is a tapestry of methodologies and practices grounded in survival and creative resistance.

Afterall Journal

Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.

pg. 59-67

In Acts of Affect, siren eun young jung returns to the disappearing Yeoseong Gukgeuk theatre. In her discussion of the project, Ashley Chang examines how masculinity is produced by women.

Afterall Journal

Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.

pg.49-57

Hyunjin Kim contextualises siren eun young jung’s audio-visual work at the 2019 Venice Biennale in relation to queer performance in South Korean history.

Contemporary Theatre Review, Volume 33, Issue 3 (2023)

On Scent in Theatre Audience Research : Sensory Mining and Olfactory Archives, Freya Verlander

This article uses netnographic research methods, as a form of olfactory sensory mining, to investigate the smell-based experiences of audience members at Punchdrunk’s Sleep No More (2011).

shado Issue 2 : Global Womxnhood

Feature on poet and performer Tolu Agbelusi.

shado Issue 02: Global Womxnhood

Feature/Poetry by Fatimah Asghar with Art and introduction by Sabba Khan.

In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship’s owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert-the only extant public document related to the massacre of these African slaves-Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.

This fully-illustrated book brings together for the first time an account of Baker’s career as an artist – from her first sculptures at Central St Martins in the early 1970s to her most recent work, ‘How to Live’ and ‘Diary Drawings’ – with critical commentary by reviewers and academic practitioners.

Training Utopias

Performance Research Volume 25 Issue No. 8 December 2020

Pg173-174

Contemporary Theatre Review Volume 32 Issue Number 1 February 2022

p61-80

Contemporary Theatre Review Volume 32 Issue Number 1 February 2022

p21-45

Contemporary Theatre Review, Volume 31 Issue Number 4 November 2021