Laurie Anderson: We Are Meaning Machines
Notes
The author discusses with Laurie Anderson her musical collaboration with Kronos Quartet featured in the Adelaide Festival 2013.
Artist / Author | Gail Priest |
---|---|
Publisher | Open City Inc. |
Reference | A0611 |
Date | 2012 |
Journal | realtime |
Journal date | December 2012 / January 2013 |
Journal page | 5 |
Type | Article |
Keywords
Similar items
Copy of Oral Histories of the Revolution
Next Wave Festival 2014 Magazine : New Grand Narrative
Pg. 32
Oral Histories of the Revolution, Tania El Khoury
Sonia Boyce: Reclassifying Classification
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.
P.27-35
Nizan Shaked traces the interventions of Sonia Boyce’s work in received categories of artistic practice, considering how these interventions suggest means of classification beyond media, artistic intention and identity.
Elmgreen & Dragset : Inconvenient Truths
Art Review Issue 26 / October 2008
pg. 74-81
Feature on Elmgreen & Dragset : Inconvenient Truths
André Stitt: Dingo - A treatment towards a new communionism
Over three days in August 2007 Cardiff-based performance artist André Stitt undertook a major ‘akshun’ work at Artspace. Utilizing Joseph Beuys’ famous “I Like America and America Likes Me (or ‘Coyote’)” performance of 1974 as a template through which a performative engagement with acts of arrival and the attendant trauma of colonialism could be developed, Stitt shared a caged-in area of the gallery with a dingo, exploring forms of possible connection between the human figure and dog. This book provides extensive documentation and critical reflection upon one of the most significant and sustained performance works undertaken in Sydney in recent years.
Tolu Agbelusi
shado Issue 2 : Global Womxnhood
Feature on poet and performer Tolu Agbelusi.
Fatimah Asghar
shado Issue 02: Global Womxnhood
Feature/Poetry by Fatimah Asghar with Art and introduction by Sabba Khan.
Zong! (Wesleyan Poetry)
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.
Decolonising Performance Pedagogy - A position paper from Bangalore, South India
Training Utopias
Performance Research Volume 25 Issue No. 8 December 2020
Pg9-10
Critical Anachronisms : Wael Shawky's The Song of Rowland : The Arabic Version
Contemporary Theatre Review Volume 32 Issue Number 1 February 2022
p46-60
Earthlings : A Fanzine For Soil
This zine brings together writings and words from contributors who came together in the summer of 2018 at Bethnal Green Nature Reserve (BGNR) to think about and connect with soil.
Steirischer Herbst Festival Programme 2016
Steirischer Herbst is an interdisciplinary festival for contemporary art. Since 1968, it has taken place annually in Graz and Styria, Austria, combining the visual arts, performance, theater, opera, music, and literature to varying degrees. This programme lists events during the 2016 edition of the festival.
Bewegingen / Movements, 1980-1990
Toine Horvers’ artworks in space and time, photographed by Henk Geraedts.
Text in English and Dutch