Korea Performance Art 1967-2005

From the artist: This is a neurodivergently true story about neurotransgressive performance (which I call proper performance). It contains some magic green liquid and a bit of an accidental erection.

A short text and image piece by artist Kira O'Reilly, accompanied by a photo of O'Reilly's "Menopause Gym."

Making performance works for four decades, British experimental theatre collective Forced Entertainment has become globally renowned for its singular aesthetic and audacious events, melding narrative fragments with strange acts, broken poetry, audience provocations, and comcial failure. With its low-fi theatre, intimate text-based works, and epic durational spectacles, the group has profoundly influenced the international performance scene, evoking and testing the politics of contemporary life.

Based on The Search for Power lecture-performance, this book contains the performance script, designed archival documents, and reflections by the collaborating artist and historian.

Sabrina Strings weaves together an eye-opening historical narrative ranging from the Renaissance to the current moment, analyzing important works of art, newspaper and magazine articles, and scientific literature and medical journals–where fat bodies were once praised–showing that fat phobia, as it relates to black women, did not originate with medical findings, but with the Enlightenment era belief that fatness was evidence of “savagery” and racial inferiority.
Fearing the Black Body argues that the contemporary ideal of slenderness is, at its very core, racialized and racist. An important and original work, it reveals that fat phobia isn’t about health at all, but rather a means of using the body to validate race, class, and gender prejudice.

Sonia Boyce (b.1962) is a groundbreaking artist whose practice is founded on taking creative risks. Unafraid to play against set expectations about how art should behave, her collaborative interactions between audience and performer enable spontaneous and intimate social encounters, resulting in the creation of work that is simultaneously self-aware, visceral and open-ended.

This book is a much-anticipated introduction to the life and work of this extraordinary artist. Touching on her engagement with the work of other feminist artists and her time as a leading figure in the 1980s Black British Art movement, it contextualizes Boyce’s journey from her early pastel drawings and collages to her pivotal shift to film, sound, and performance art. Highlighting her artistic innovation as she experiments with medium to explore and question culture, identity and the boundaries between the public and private spheres in unexpected ways, it celebrates the visionary practice of a truly uncompromising artist.

What is performance? 31 performative programs to confuse the question.

Both in English and Spanish.

Por que falamos em arte nordestina ou arte nortista, mas raramente ouvimos a expressão arte sudestina para nos referirmos às produções do Rio de Janeiro ou de São Paulo, por exemplo? Essa pergunta, aparentemente simples, revela muito sobre o modo como o Sudeste foi historicamente alçado, e se impôs à condição de centro normativo da cultura brasileira. A produção artística dessa região costuma ser tomada como “a arte brasileira”, dispensando adjetivos regionais, enquanto as produções do Norte e do Nordeste foram historicamente enquadradas nas margens, exceções ou exotismos dentro desse panorama…

Accompanying a major exhibition opening in spring 2017, this stunning volume offers an unprecedented glimpse across five centuries of historic costume and glamorous fashions worn by members of the Cavendish family, from the eighteenth-century fashion leader Georgiana, Duchess of Devonshire, to the twenty-first-century supermodel Stella Tennant.

Chatsworth has been home to the Cavendish family and the hereditary dukes of Devonshire since the original Elizabethan house was built on the site purchased by Sir William Cavendish in 1549. A famous historic house in England, Chatsworth is renowned as much for its fashionable history as its majestic dresses and tiaras, its magnificent lace and splendid uniforms as its unrivalled collection of art, its palatial gardens, and its celebrated family dynasty. House Style: Five Centuries of Fashion at Chatsworth takes the reader through images of show-stopping ensembles by the most celebrated designers of the day, from the Victorian era’s Jean Philippe Worth to Alexander McQueen, and also features historic examples of ceremonial, military, court costume, fancy dress, and estate liveries, as well as clothing worn by members of the family to ride, hunt, shoot, and fish. New images of the rare surviving garments and gorgeous contemporary photographs are accompanied by new essays from leading historians and fashion critics. An exclusive invitation into the glamorous world of Chatsworth, this book is a true collectible for Anglophiles, fashion-history aficionados, and those fascinated by aristocratic style.

This book is in Spanish.

Spanish title: GAM: Diez años de transformación cultural

The trilogy of novels by Samuel Beckett is his best known work outside the theatre, dating from the same period as Waiting for Godot, and as such is central to the main body of his work. This new edition has been corrected from the errors that appeared in some previous editions. Many people believe it to be the most important volume of prose in the English language after Joyce’s Ulysses, although written originally in French, a language that the author adopted to escape from the richness of Irish speech rhythms.

Most critics today consider the trilogy to be Beckett’s major achievement, more controlled than the brilliant early work, more easily readable than the complex How It Is and the later plays and texts. Malloy has two parts, the parallel narratives of the old Molloy, passing time by telling himself stories and remembering his past journeys, and of the waspish Moran, a private detective sent to find him, whose deterioration during his quest bears a strange similarity to Molloy’s. Malone Dies appears to be a continuation of Molloy’s narrative, only this time the speaker knows that the end is almost at hand. The additional poignancy of the stories he tells himself is largely related to the sense of time running our, and the prose seems heightened from the earlier book. In the third novel The Unnamable, the narrator, again under a different name or names, is aware of the approaching silence and tries to keep it at bay with thoughts, reveries, stories and inventions. The prose undergoes a complete change as we find ourselves listening to the sounds of panic, written in a punctuation of the human breath that the narrator has ever greater difficulty in drawing into his lungs, while the mind races giddily ever faster. The end is terrifying, bu t finishes, strangely, on a note of hope. Molloy has been translated by Patrick Bowles in collaboration with the author, the rest of the trilogy by Mr Beckett himself.