Being Seen Being Heard, Symposium at Sacred: Keeping the Faith, festival at Chelsea Theatre, London, 24-28 November 2011.
| Artist / Author | Various |
|---|---|
| Reference | D1724 |
| Date | 2011 |
| Type | DVD |
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.
Captured during a weekend-long workshop held in Glasgow as part of DIY16.
Part of the Library of Performing Rights (P3041)
A collection of case studies from Live Art UK, the publication responds to the recent successes of Live Art and highlights those artists, projects and initiatives which are re-politicising and re-energising our arts spaces, sharing radical works and ideas with a public who are themselves being forced to do more with less.
Part of the Library of Performing Rights (P3041).
Delves into themes as wide-ranging yet interconnected as beauty, performativity, activism, and police brutality. Collectively, they attest to how trans people are frequently offered “doors”—entrances to visibility and recognition—that are actually “traps,” accommodating trans bodies and communities only insofar as they cooperate with dominant norms.
Part of the Library of Performing Rights (P3041).
Exhibition catalogue. Hayward Gallery, 12 June – 8 September 2019
Part of the Library of Performing Rights (P3041).
. An introduction to performance in the territory of art: far from proposing a linear history, the volume offers a series of thematic and transversal approaches to performance.
In Spanish.
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).
On Mendieta's late 70s series, in which the artist trekked into the woods and marked the outlines of her body agains the earth.
Examines the embodiment of pain in Máiréad Delaney’s performance.
Part of The Library of Performing Rights (P3041).
Asks whether, and how, it is possible to re-appropriate pornography and think through it critically and creatively for a project of liberation.