The Gratitude of Monsters
Notes
The Strange Names Collective is a live-art collective consisting of Philip Stanier and regular collaborators. This video document includes a triptych of comically nightmarish performances challenging ideas of progress and civilization.
| Artist / Author | The Strange Names Collective |
|---|---|
| Reference | D1145 |
| Date | 2008 |
| Type | DVD |
Keywords
Similar items
Copy of Oral Histories of the Revolution
Next Wave Festival 2014 Magazine : New Grand Narrative
Pg. 32
Oral Histories of the Revolution, Tania El Khoury
Burlington Contemporary Journal Issue 8: Drawing
This special issue of Burlington Contemporary Journal is dedicated to drawing and has been realised in collaboration with Drawing Room. Surveying work made over the last sixty years, this issue examines the radical potential of drawing and its varied role in artistic practice. The issue includes artist commissions by Jade Montserrat and Emma McNally, and a profile of Massinissa Selmani by Roger Malbert.
Regenerating the future without reproducing it: Donna Haraways’s Nature-cultural, Multi-species kinship
Maska 196-197 summer 2019 edition on Re/De-Generation. In Slovenian and English.
Criticism : In Search of Its Placing
From the special edition of Maska on the occasion of the 25th anniversary of the Contemporary Dance Association Slovenia. In Slovenian and English.
Education : On the Necessity of Necessity or How to Get Across the Wall Alive
From the special edition of Maska on the occasion of the 25th anniversary of the Contemporary Dance Association Slovenia. In Slovenian and English.
Acts of Affect: siren eun young jung’s Yeoseong Gukgeuk Project
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.
Anomalous Tradition, Queer Enchantment: On the Work of siren eun young jung
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.
Sonia Boyce: Reclassifying Classification
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.
P.27-35
Nizan Shaked traces the interventions of Sonia Boyce’s work in received categories of artistic practice, considering how these interventions suggest means of classification beyond media, artistic intention and identity.
Shortlist LIVE! Issue 2
Publication on a new entity of events as part of ANTI Festival, where the artists shortlisted for the International Prize of Live Art present their work.
In English and Finnish.
Elmgreen & Dragset : Inconvenient Truths
Art Review Issue 26 / October 2008
pg. 74-81
Feature on Elmgreen & Dragset : Inconvenient Truths
Stages of Evil: Occultism in Western Theater and Drama
In Stages of Evil, Robert Lima explores the sociohistorical implications of Christian and pagan representations of evil and the theatrical creativity that occultism has engendered. By examining examples of alchemy, astronomy, demonology, exorcism, fairies, vampires, witchcraft, hauntings, and voodoo in prominent plays, Stages of Evil explores American and European perceptions of occultism from medieval times to the modern age.
André Stitt: Dingo - A treatment towards a new communionism
Over three days in August 2007 Cardiff-based performance artist André Stitt undertook a major ‘akshun’ work at Artspace. Utilizing Joseph Beuys’ famous “I Like America and America Likes Me (or ‘Coyote’)” performance of 1974 as a template through which a performative engagement with acts of arrival and the attendant trauma of colonialism could be developed, Stitt shared a caged-in area of the gallery with a dingo, exploring forms of possible connection between the human figure and dog. This book provides extensive documentation and critical reflection upon one of the most significant and sustained performance works undertaken in Sydney in recent years.
