Gómez-Peña Unplugged is an anthology of recent and rewritten classic writings from Guillermo Gómez-Peña, a figure who stands alone as unique and ground-breaking in the history of performance art and as the artistic director of transdisciplinary performance troupe La Pocha Nostra.
La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes.
A performance-based short film, in which the artist inquire through bodily actions the creation and function of visible and invisible signs in response to the geologic.
Includes the film, trailer, stills, and film description.
Brochure for the Live Art programme at the Liverpool Biennial 2002 (18-21 September).
Pleading in the Blood: The Art and Performances of Ron Athey presents the first critical overview of this major artist’s work. It demonstrates how Athey foresaw and precipitated the central place afforded they body and identity politics in art and critical theory in the 1990s and beyond.
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.
Post-event hard cover catalogue documenting the exhibition and live performances presented at the III Venice International Performance Art Week. 10-17 December 2016.
Video documentation of contributions to the Performing Idea Symposium, investigating the shifting relations between performance practice and discourse, event and writing; Toynbee Studios, 5-9/10/2010.
Includes nine files, containing videos of contributions on In Silence, Performative Writing, Reciprocal Aesthetics and Living Archives.
The most provocative voices of the Digital Age grapple with the direction of digital technology and its concomitant issues, including virtual identities and their relationship to the physical self, the collision of commercial and community interests on the Net, the Net threat to intellectual property, and the merger of art, popular culture, and commerce in interactive media.
In this invitation to reflect on the power of performance, Diana Taylor explores many of the ‘performance’ uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.