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| Editor | Mick Douglas |
|---|---|
| Publisher | Yoda Press India and RMIT University Press Australia |
| ISBN | 0 86459 364 3 |
| Reference | P0852 |
| Date | 2005 |
| Type | Publication |
Contemporary Theatre Review Volume 32 Issue Number 1 February 2022
p21-45
Common Salt was a performance around a table – a ‘show and tell’ by artists Sheila Ghelani and Sue Palmer. It explored the colonial, geographical and natural history of England and India taking an expansive and emotional time-travel, from the first Enclosure Act and the start of the East India Company in the 1600s, to 21st century narratives of trade, empire and culture.
In the performance Sue and Sheila activated insights into our shared past, laying out a ‘home museum’ of objects and stories about borders and collections, the Great Hedge of India, a forgotten naturalist – all accompanied by original Shruti box laments.
This book documents and explores the project, placing the performance text, images and reflections from both artists alongside writings by invited guests – from curators and artists to audience members.
Common Salt is designed by John Hunter (aka RULER) and published by LADA.
A trilogy of hybrid art films of collaborative performances in epic locations around the world. Included the three films (Performances at the End of the World, Performances at the Holy Centre, Performances at the Core of the Looking-Glass) and a text about the project.
Zine of the project documenting and tracing the Ambedkarite movement in the 1970s.
Draws strength from conversations with the performance artist Ron Athey and readings from Illness as Metaphor, by Susan Sontag.
Please note that Queen Mary University of London holds the entire archive of the late artist.
A romantic exploration performance about love and human relationships.
Please note that Queen Mary University of London holds the entire archive of the late artist.
All appointment negatives and notes from the first year of the Vorticist project (Oct 2007 – Dec 2008) printed in a cloth bound and embossed book.
Signed and numbered edition of 100 (77/100).
Includes original footage of The American Moon (1960) and Flower (1963), a recent performance of Prune Flat (1965), and Ghost, Whitman’s recent theater work, as well as short documentaries about the works.
Presents images of a theatre struggling to move beyond the exchange of desires, beyond even the carnal itself. The performers attempt to break the endless cycle of impersonation and to submit themselves to the supreme gaze. In the glass cabinet.
The audience mingle with the performers on the performance floor, which might be a kind of soirée or Don Giovanni’s ball. In the glass cabinet.
The audience is divided. Those who can afford it are escorted to their private viewing area, to be served champagne and smoked salmon throughout the show. The rest risk the edges of the performance space, clad only in black lingerie. In the glass cabinet.
Pulls together rich elements of music, physical space, visual arts, text and movement; contemplates violence, without relying on sensational anecdote.