From the age of Aristotle to the age of AIDS, writers, thinkers, performers and activists have wresteled with what “performance” is all about. At the same moment, “performativity”–a new concept in language theory–has become a ubiquitous term in literary studies. This volume grapples with the nature of these two key terms whose traces can be found everywhere: in the theatre, in the streets, in philosophy, in questions of race and gender, and in the sentences we speak.
|Editor||Andrew Parker and Eve Kosofsky Sedgwick|
On queering censorship in the Aichi Triennale 2019.
Performance Research pg 84-91, On Diffraction, Volume 25, No 5, July/August 2020.
In June 2020, a group of 23 creative practitioners came together in virtual spaces to think, talk, listen and dream, learning from each other and through the act of dialogue. These writings reflect some of their thinking, on where we are now and some of the paths forward. FIELD notes is a call for change with care and transparency at its core.
This book is packed with thoughtful exercises distilled from twenty-five years of interdisciplinary artist workshops and teaching devising and performance making at universities in the United States and the United Kingdom. Created and curated by Leslie Hill and Helen Paris, artists who work internationally at the interface of academia and professional practice, this collection provides exercises for devising, composing, and editing original works.
This is a book about falling as a means of reconfiguring our relationship with living and dying. Dancer, choreographer, educator and therapist Emilyn Claid draws inspiration from her personal and professional experiences to explore alternative approaches to being present in the world.
The Maternal in Creative Work examines the interrelation between art, creativity and maternal experience, inviting international artists, theorists and cultural workers to discuss their approaches to the central feminist question of the relation between maternity, generation and creativity.
Paper leaves and other constructions
a reading companion to Always Already
compiled and edited by Karen Christopher & Tara Fatehi Irani
Always Already is an 8-hour performance installation by Karen Christopher & Tara Fatehi Irani, which uses materials, text, sound and movement to explore the weaving together of plant, human and machine, including human/plant and human/machine hybrids.
Paper leaves and other constructions is a 32-page booklet, introducing the themes and content of the project, and responding to many of the questions that arose in the creative process. Drawing parallels between a path through life and one through the making of a particular work of performance, the booklet answers the question “how did you do that?”
The booklet includes contributions from Karen, Tara, Payman Kassaei (Professor of Mathematics, Kings College), Felipe Ribeiro (performance artist and researcher), Omikemi (poet), Eirini Kartsaki (performance writer and teacher), and an interview with Henry Dagg (sound sculptor and builder of experimental musical instruments).
Canada’s longest-running new works festival is a hotbed of experimentation, where artists explore new possibilities in theatre, dance, music, and performance art.
In 2021, Rhubarb proposes an alternative: the creation of a physical performative publication that attempts to capture the energy of Rhubarb and, perhaps, recreate the live performance experience itself.
Over 20 artists respond to the prompt to bring performances to the page, with some projects published in the festival publication itself, and other interventions performed on the book after printing. Contributions range from colouring pages to a fever-dream drag performance; from a meal to music inspired by the turning of a page; and from choreographic scores to unearthed histories, real or imagined.
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.
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.
An anthology of critical essays that draw on a decade of the authors thinking, writing about and working within contemporary performance as critics, producers, dramaturgs, makers, archivists and more.
“(…) What could be good practice, in a moment like this? What is the art organisation needed for a no-future public? and what would a sustainable, feminist organisation look like?…”
The text was previously published in Who’s Art For? Art Workers Against Exploitation, edited by R-set/tools for cultural workers (Impasse) in collaboration with Rete al Femminile, postmedia books, 2019.
With 49 contributors of artworks and words, this magazine is a real snapshot of Neurodivergent and survivor women’s voices and visions today.
Contributions are organised into nine chapters: Esoteric Sensory Bodies, Persist, Tangled and Complex, The Specially Initiated Alone, Obscuring those Beneath, Into the Woods, Unearthered/ Returning to the Hills, Precarious Arbitarity / Radically Nuanced, and All that glistens.