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Bodily Remembrances: the performance of memory in recent works by Amanda Coogan
Provides a feminist reading of Yellow (2008) and How to explainthe sea to an uneaten potato (2008) in order to explore how her performances use corporeal strategies to engage with memory.
Performing Failure? Anomalous Amateurs in Jérôme Bel’s Disabled Theater and The Show Must Go On 2015
The article interrogates the use of amateur and professional disabled performers in the emerging strain of performance practice known as ‘performing failure’.
Marina Abramović: The Cleaner
Book published in conjunction with the eponymous exhibition at Moderna Museet, Stockholm (February-May 2017), Louisiana Museum of Modern Art, Humlebaek (June-October 2-17) and Bundeskunsthalle, Bonn (April-August 2018).
Walk Through Walls: A Memoir
This memoir spans Abramovic's five decade career, and tells a life story that is almost as exhilarating and extraordinary as her groundbreaking performance art.
Art Sex Music
Autobiography of an artist who, as a founding member of the avant-garde group Throbbing Gristle and electronic pioneers Chris & Cosey, has consistently challenged the boundaries of music over the past four decades.
Trans-Spectator: The spectator’s bodily participation in Via Negativa’s performance Bi ne bi
Explains the concept of the trans-spectator using the Slovenian theatre group performance (Would Would Not, 2005) as an example.
Schooling the Spectator in O
On Project O’s performances at the Forest Fringe Microfestival, Progress Festival, Theatre Centre, Toronto, Canada, February 2016
On the Dialectics of Charisma in Marina Abramović’s The Artist is Present
The article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective at New York’s Museum of Modern Art in 2010.
Enmeshed bodies, impossible touch: the object-oriented world of Pina Bausch’s Café Müller
The addresses the nonhuman bodies of Café Müller and claim that Bausch’s piece resonates with the work of contemporary philosopher Graham Harman, in that it tries to go beyond human exceptionalism to present a world where all bodies, regardless of their perceived nature, are simultaneously tightly enmeshed together and inaccessible to one another.
Death and the anthropomorphic life of objects in performance
On Marina Abramović’s Nude with Skeleton and other animations.
