Artists from the Tempting Failure 2018 festival, photographed on an instant camera in the moments after their performance.
|Artist / Author||Hellen Burrough|
Vanishing Points is a new anthology of cultural criticism, focusing on the making, watching and conditions of Live Art and performance in the UK today. Vanishing Points is edited by Salome Wagaine, with deputy editors Ava Wong Davies and Ben Kulvichit, and designed by Chani Wisdom.
On diffractive Co-conspiracy in Queer, Crip Live Art Production.
Performance Research pg 92-100, On Diffraction, Volume 25, No 5, July/August 2020.
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.
‘The book, that started four years ago as a possible form in which my ephemeral works could live on, gradually developed into an intensive writing project about movement and the imaginative power of language.’ Toine Horvers
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.
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.
This series of interviews, held by curator and writer Gilane Tawadros are focussed entirely on Stuart Brisley’s practice and directed by him. The artist’s narration of his practice demonstrates an unswerving resistance to controlling the narrative or fixing the meaning of his works.
An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.
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.
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.
This book was produced as part of ‘Challenging Archives’, at. the University of Bristol Theatre Collection: a Wellcome funded project to catalogue and conserve the archive of the artist Franco B. Maddy Costa and Mary Paterson were writers in residence for the project from 2018-2020.
Mishandled Archive offers a way of imagining, creating and disseminating an archive.