Tender Blood

A collection of poems and drawings self-published by political theatre maker Maya at an important period during their life and inspired much of their later work.

The Hologram is a feminist health militia that produces networks where we can practice skills like trust, communication, and cooperation that will help us outlast capitalism.

“This new work ‘Care Zine’ came from conversations about our practises, realising at the heart of it we are centred on care for our communities in an ever precarious and changing world. Through zine making as self expression and a cathartic art form, we realised participants benefited from the space to make and play and that play and freedom were a great part of caring from each other."

A live art work and archive book exploring fetish, female eroticism, and symbolic violence through a spatial intervention at a KTV in Chinatown.

From the artist: This is a neurodivergently true story about neurotransgressive performance (which I call proper performance). It contains some magic green liquid and a bit of an accidental erection.

A short text and image piece by artist Kira O'Reilly, accompanied by a photo of O'Reilly's "Menopause Gym."

In a cyclical feat of endurance and precision, Blood Show is a raw, euphoric choreography between 3 figures and 75 litres of fake blood. A call to action to put what’s inside on the outside and defend against a violent gaze, Blood Show questions rebirth and how we all carry our ghosts with us.

Article and performance photos from artist Eirini Kartsaki.

Making performance works for four decades, British experimental theatre collective Forced Entertainment has become globally renowned for its singular aesthetic and audacious events, melding narrative fragments with strange acts, broken poetry, audience provocations, and comcial failure. With its low-fi theatre, intimate text-based works, and epic durational spectacles, the group has profoundly influenced the international performance scene, evoking and testing the politics of contemporary life.

Sabrina Strings weaves together an eye-opening historical narrative ranging from the Renaissance to the current moment, analyzing important works of art, newspaper and magazine articles, and scientific literature and medical journals–where fat bodies were once praised–showing that fat phobia, as it relates to black women, did not originate with medical findings, but with the Enlightenment era belief that fatness was evidence of “savagery” and racial inferiority.
Fearing the Black Body argues that the contemporary ideal of slenderness is, at its very core, racialized and racist. An important and original work, it reveals that fat phobia isn’t about health at all, but rather a means of using the body to validate race, class, and gender prejudice.

Sonia Boyce (b.1962) is a groundbreaking artist whose practice is founded on taking creative risks. Unafraid to play against set expectations about how art should behave, her collaborative interactions between audience and performer enable spontaneous and intimate social encounters, resulting in the creation of work that is simultaneously self-aware, visceral and open-ended.

This book is a much-anticipated introduction to the life and work of this extraordinary artist. Touching on her engagement with the work of other feminist artists and her time as a leading figure in the 1980s Black British Art movement, it contextualizes Boyce’s journey from her early pastel drawings and collages to her pivotal shift to film, sound, and performance art. Highlighting her artistic innovation as she experiments with medium to explore and question culture, identity and the boundaries between the public and private spheres in unexpected ways, it celebrates the visionary practice of a truly uncompromising artist.

What is performance? 31 performative programs to confuse the question.

Both in English and Spanish.