New Moves Chinese Arts Conference/ A New Vocabulary for Chinese Arts?

“This publication assembling the practices and discourses of ‘Asian contemporary performance’ is assuredly a statement of ‘the world we have made’ for the now and the future, as well as a means of connecting TPAC and other ‘worlds.’ “－Ruo-Yu LIU, Chairwoman of Taipei Performing Arts Center

“While it is now hardly unusual to find choreographers working in an exhibition setting, or visual artists performing on a stage, it is still rare to see practitioners from the different fields working together, as can be found at ADAM.”－John Tain, Head of Research at Asia Art Archive

“With various understandings from multiple disciplines, life journeys and international practices, this publication is neither a collected manifesto, nor an imprint of harmony and integration. On the contrary, it is the very embodiment of incarnations and trajectories of the world history and the network of contemporary corporeality.”－Chun-Yen WANG, Art Critic

An interview with Lois Keidan on the history of the Live Art Development Agency, recorded in 2019 to mark LADA’s 20th Anniversary.

Performance making is a mode of enquiring about culture and a strategy to respond to societal emergencies. Collective acts of thought and expression are an existential urgency as they broaden our understanding of who we are. As the world grappled with lockdowns, fear has permeated our very beings. Notes from Isolation embodies an investigative journey wherein Andrea Pagnes —who, with Verena Stenke, forms the artist duo VestAndPage— explores the essence of existence during the COVID-19 pandemic. He then shares his notes in distant encounters with artists, poets and philosophers friends who navigate the non-linear realms: Marilyn Arsem, Lois Keidan, Joseph Morgan Schofield, Franko B, Guillermo Gómez-Peña, Stelarc, Timothy Morton, Anguezomo Mba Bikoro, and eventually Ron Athey revisiting a conversation they had a while ago. At last, performance matters: politics and science to dissect, recurring patterns of suffering and pain to surpass, religion, colonialism, and gender fluidity found a voice within the societal crises that COVID-19 accentuated. Multiple remote visions and divergent creative thinking are pooled to inspect reality while caring for humanity, as to perhaps find a way out.

‘They close the glass door behind me and say I cannot leave this area. They gave me a blue protective mask and said I must wear it whenever I exit the room or someone enters it. The mask I have to wear closes my mouth but not my eyes. The border is a transparent glass door. We can look to the other side but not cross over. I let go a quiet steeping in being. Time makes me the process.’ — Verena Stenke.

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.

Contemporary Theatre Review, Volume 31 Issue Number 3 August 2021

10 is the latest and last publication from The Institute for the Art and Practice of Dissent at Home (2008 – 2018) and looks at 10 persisting problems of the past 10 years, featuring an array of critical and inspiring voices The Institute has worked with over the last decade.

Forty years since the publication of Naseem Khan’s seminal report The Arts Britain Ignores, how much has changed?

Tells the story of the theatre blogosphere from the dawn of the carefully crafted longform post to today’s digital newsletters and social media threads.

Analyses the artist’s oeuvre in the contexts of liveness, visual art and participatory practices.

Examines fandom as a set of practices for approaching and writing about art.

A toolkit with a mission to look to the future: to support long-term change across the arts sector by sharing knowledge, providing expert support, and encouraging take-up of an intersectional approach to equality, diversity and inclusion.

Part of The Library of Performing Rights (P3041).

Doctoral thesis printed in limited edition of 20 copies; focuses on performative practices and the performativity of artists and their activist counterparts in the Umbrella Movement (2014).

Part of the Library of Performing Rights (P3041)