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|Artist / Author||Contemporary 2Publication|
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).
The first major survey of the artist’s interdisciplinary practices. Bringing together newly commissioned and other writings by major thinkers in and beyond visual and performance studies, and extensive documentation of the artist’s work from two decades of practice, it navigates through and between performance, biotechnical practices, image-making, and writing.
The fourteen essays bringing together a unique gathering of artists, many of whome make works which arise out of responses to the situation or the environment in which they find themselves.
A short documentary made during a climate change summit, COP15, which took place in Copenhagen in December 2009.
This video was part of LADA Screens, and was available online from 30 November 2015 to 13 December 2015.
HD Video, 37 minutes.
Second edition of the artwork exploring the potential of Live Art to bridge generations.
Zamek Wyobrazni / Castle of Imagination festival programme 1- 3 June 1995.
Publication that emerged from, and was inspired by, an exhibition held across Southampton’s John Hansard Gallery and SeaCity Museum in 2014.
Invited to exhibit at the 56th Venice Biennale, e-flux journal produced a single issue over a four-month span, publishing an article a day both online and on site from Venice.
The emergence of contemporary art, engaging widely with other disciplines, as a platform for exploring animal nature.
In 2014, artist Gustaf Broms composed a list of nine questions that he started to circulate to fellow performance artists. The responses collected are as diverse and wide-ranging as the artists and their own approaches.
Examining a range of performances from the 1960s to the present, as well as protest actions from the lunch counter sit-ins of the US civil rights movement to protest camps in the twenty-first century, this book provides a formal account of endurance and illuminates its ethical and political significance.
Proposes that performance is not a genre of art separate from object making but rather an attitude that has infiltrated the entire terrain of contemporary art.