Lee Wen documentation

Video documentation of an artist conversation with Lucy Sheen on 28th June 2024 at The Garrett Centre. This conversation followed screening of Lucy’s film Abandoned, Adopted Here as part of our LADA Screens programme on Voice, Care and Healing. Following the screening Lucy gave a performative reading of the poem I Know This Face, followed by a panel on the complexities of post-pandemic working in cultural and performative spaces for British East and Southeast Asians. With Jennifer Lim (Chair), Rosa Fong, Lucy Sheen, and Moi Tran.

Abandoned Adopted Here explores the nature of belonging in the British society and the unheard, silenced, and often erased voices of British East and Southeast Asians with mixed heritages and complex identities.

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Video documentation of an artist conversation with Lateisha Davine Lovelace-Hanson, on 26th APril, 2024 at The Garrett Centre. This conversation followed a screening of Lateisha’s film The Gift as part of our LADA Screens programme on Voice, Care and Healing. Lateisha was  joined by collaborators Kes Gill-Martin and Ava Riby-Williams for a discussion and interactive sonic/music offerings.

The Gift (2022) is a single-take style short film, weaving together performance for camera, original sound composition and poetic storytelling that fuses speculative fiction and autobiography. We are invited into the artist’s home, to witness them playfully uncover (and reclaim) stories of grief, body, love, nature and home-making.

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Audio documentation of a participatory conversation in response to La Pocha Nostra’s commitment to use performativity as a methodology of resistance and to erase the borders between art and politics, art practice and theory, and artist and spectator, on 2nd August 2024  at The Garrett Centre.

performingborders has been exploring performance and Live Art practices across notions and lived experiences of intersectional borders since 2016, inspired by La Pocha Nostra’s work. Drawing from Guillermo Gómez-Peña’s publication Dangerous Border Crossers: The Artist Talks Back (2000), they explored LADA Study Room’s resources around borders and performances, including the Performing Borders Study Room Guide. They also drew from their own archive to highlight artists whose practices challenge the diversity of experiences at the intersections of cultural, juridical, racial, gendered, class, physical, economic, and everyday borders.

This is an audio file. For a version with closed captions, please visit out vimeo channel. 

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.

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

Essential Work : Eastern European Immigrants and Models of Participation, Bojana Janković

This article investigates the relationship between a marginalised community of essential workers and dominant models of participation.

Article from Consented Issue 9 : Environment

Can Taiwan performing/performance art be an avant-garde strategy for cultural exchanging with Shanghai e-Art Festival?

-Referring to the changing face of British Live Art.

Research study by Catherine Jiang.

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.

Interviews with people at the intersection of disability, queerness, kink, sex work and survivorship.

Contemporary Theatre Review, Volume 31 Issue Number 3 August 2021

Unframing Photography: Performing the Image to See Otherwise is a new book by transdisciplinary artist Manuel Vason, and his third publication with LADA after the ground-breaking Exposures (2002) and Double Exposures (2014).