Performed at 291 Gallery London. This item is part of the Study Room Guide On shit, piss, blood, sweat and tears by Lois Keidan (P2195)
Analyses the artist’s oeuvre in the contexts of liveness, visual art and participatory practices.
On Christoph Schlingensief, solo exhibition at MoMA S1, March-August 2014.
Consisting of twelve chapters written by leading scholars in the field, and a long interview with Schlingensief himself, the book will provide the reader with the first comprehensive study of the intriguing body of work that Schlingensief has developed over the last thirty years.
Part of Library of Performing Rights (P3041).
Offers a richly detailed portrait of the internationally renowned composer, performer, director, and filmmaker.
Presents a broad range of critical and theoretical methods, and applies them to contemporary and historical performance genres. Revised and Enlarged Edition
WUK publication introducing programme shown between March and June 2019. In German and English.
Pulls together rich elements of music, physical space, visual arts, text and movement; contemplates violence, without relying on sensational anecdote.
Brings the fields of performance studies and trauma studies together in conversation where they inform crucial themes such as trauma, testimony, witness, and spectatorship.
In exploring the human-animal relationship from the early modern period to the nineteenth century, this publication questions what it means for an animal to “perform,” examines how conceptions of this relationship have evolved over time, and explores whether and how human understanding of performance is changed by an animal's presence.
Contemplates the interactions of humans with many kinds of critters, especially with those called domestic.
Analyzes the cultural work of spectacular suffering in late-medieval France and the twenty-first century, reading recent dramatizations of torture and performances of self-mutilating conceptual art against late-medieval saint plays.
Part of the Library of Performing Rights (P3041)
Questions whether or not focusing on representations of cruelty makes us cruel. In a journey through high and low culture, the visual to the verbal, and the apolitical to the political, Nelson offers a model of how one might balance strong ethical convictions with an equally strong appreciation for work that tests the limits of taste, taboo and permissibility.