The Continuum: Beyond the Killing Fields

An interview with Lois Keidan on the history of the Live Art Development Agency, recorded in 2019 to mark LADA’s 20th Anniversary.

Documentation from a deep dive into La Pocha Nostra’s archive held at LADA’s Study Room on 5th July 2024, led by artist Ansuman Biswas who has been collaborating with La Pocha Nostra and its founder Guillermo Gómez-Peña since 2002.

This is a video file. For a version with closed captions please visit our vimeo channel. 

Audio documentation of a participatory conversation in response to La Pocha Nostra’s commitment to use performativity as a methodology of resistance and to erase the borders between art and politics, art practice and theory, and artist and spectator, on 2nd August 2024  at The Garrett Centre.

performingborders has been exploring performance and Live Art practices across notions and lived experiences of intersectional borders since 2016, inspired by La Pocha Nostra’s work. Drawing from Guillermo Gómez-Peña’s publication Dangerous Border Crossers: The Artist Talks Back (2000), they explored LADA Study Room’s resources around borders and performances, including the Performing Borders Study Room Guide. They also drew from their own archive to highlight artists whose practices challenge the diversity of experiences at the intersections of cultural, juridical, racial, gendered, class, physical, economic, and everyday borders.

This is an audio file. For a version with closed captions, please visit out vimeo channel. 

Afterall Journal

Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.

pg. 59-67

In Acts of Affect, siren eun young jung returns to the disappearing Yeoseong Gukgeuk theatre. In her discussion of the project, Ashley Chang examines how masculinity is produced by women.

Afterall Journal

Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.

pg.49-57

Hyunjin Kim contextualises siren eun young jung’s audio-visual work at the 2019 Venice Biennale in relation to queer performance in South Korean history.

Contemporary Theatre Review, Volume 33, Issue 3 (2023)

On Scent in Theatre Audience Research : Sensory Mining and Olfactory Archives, Freya Verlander

This article uses netnographic research methods, as a form of olfactory sensory mining, to investigate the smell-based experiences of audience members at Punchdrunk’s Sleep No More (2011).

In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship’s owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert-the only extant public document related to the massacre of these African slaves-Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.

This fully-illustrated book brings together for the first time an account of Baker’s career as an artist – from her first sculptures at Central St Martins in the early 1970s to her most recent work, ‘How to Live’ and ‘Diary Drawings’ – with critical commentary by reviewers and academic practitioners.

Interviews with people at the intersection of disability, queerness, kink, sex work and survivorship.

Training Utopias

Performance Research Volume 25 Issue No. 8 December 2020

Pg173-174

Contemporary Theatre Review Volume 32 Issue Number 1 February 2022

p61-80

Contemporary Theatre Review Volume 32 Issue Number 1 February 2022

p21-45