Part of the Trashing Performance programme – the second year of Performance Matters – 25-29th October 2011.
Contributes to the ongoing critical discussions of performance and its disappearance, of the ephemeral and its reproduction, of archives and mediatised recordings of liveness.
Starting from the premise that live performance is experienced in a material, local context, the chapters analyse the intricate and complex workings of queer dramaturgy within specific venues, cities, nations or transnationally.
The article explores the way in which humour is being used by contemporary women performance artists to state the obvious.
Video documentation of contributions to the Performing Idea Symposium, investigating the shifting relations between performance practice and discourse, event and writing; Toynbee Studios, 5-9/10/2010.
Includes nine files, containing videos of contributions on In Silence, Performative Writing, Reciprocal Aesthetics and Living Archives.
Zine by Fan Riot Press, which explores the intersection of fan fiction, criticism and performance documentation.
The first publication to address queer feminist politics, methods and theories in relation to the visual arts, including new media, installation and performance art. Despite the crucial contribution of considerations of 'queer' to feminism in other disciplines of the humanities, and the strong impact of feminist art history on queer visual theory, a visible and influential queer feminist art history has remained elusive.
Documentation of The Subjectivity and Feminisms Research Group’s Performance Dinners, in which artists and academics are invited to ‘perform’ their response to the evening’s theme, addressing the relationship between subjectivity and the artwork, particularly in regard to feminist theories. Contributors: Mo Throp, Maria Walsh, Verina Gfader, Georgina Starr, Kate Smith, Leda Papaconstantinou, Monika Oechsler, Katherine Meynell, Despina Meimaroglou, Rebecca Fortnum, Sutapa Biswas, Laura Malacart, Catherine Maffioletti, Claire MacDonald, Dominika Kieruzel, Susan Kelly, Rebecca Hallifax, Lucy Gunning, Fran Cottell, Brian Dawn Chalkley, Jo Bruton, Katie Baker, Gill Addison, Claudia Kappenberg, Celestin Edwards, Maria Walsh, Sarah Tremlett, Ana Laura Lopez de la Torres, Sissu Tarka, Sarah Smith, Lucy Reynolds, Anita Ponton, Susannah Pal, Jo Mitchell, Catherine Maffioletti, Claire Walsh, Marcia Farquhar, Sharon Bennett, Oreet Ashery, Yolande Burgin, Rose Cronin, Elisha Foust, Oriana Fox, Dominika Kieruzel, Elena Loizidou, Kristen Lovelock, Caroline Smith
For over 20 years Marina Abramović has collected materials from film, dance, theatre, music, rituals and performance. For her lecture at Live Culture she wound through a personal visual archive of performance related materials focused around the performing body, its mental and physical limits.This documentation has since been presented with the permission of the artist as part of the Performance Matters, Performing Idea, Performance Lecture Archive; an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.
This journal can be found in ‘Miscellaneous’.
British Library Sound Archive recording and documentation of Potentials of Performance events (26-27 October 2012). This third themed year of the Performance Matters project features a vibrant series of commissions exploring and exploding the dialogue as a potential format for thinking through and testing possible futures. Specially invited respondents working across the creative and critical field of performance (Nicola Cinibere, La JohnJoseph, Eirini Kartsaki, Harun Morrison, Joe Kelleher) gather to reflect upon the works experienced over the two days. Following, an informal conversation between the projects co-directors (Gavin Butt, Lois Keidan, Adrian Heathfield) looking back at the three-year project, its insights and paradoxes, and looking forward to the future of performance.
British Library Sound Archive recording and documentation of Potentials of Performance events (26-27 October 2012). This third themed year of the Performance Matters project features a vibrant series of commissions exploring and exploding the dialogue as a potential format for thinking through and testing possible futures. Set in an ideal world where the labour of performance can take time and place, can be witness and witnessed, can live and let live, uneventful is a series of compositional vignettes that exist as enduring acts of love and labour ‘in the making.’