In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.

Publication 'arrived' after participation in a six-day festival curated by  ]performance S p a c e[ in 2016.

Explores the proposition presented by the incredible task of suspending a body from helium balloons, the relationship between the performer and the space, the object and the viewer, the possible and the impossible.

The project received overwhelming worldwide attention and spawned provocative online debates; ultimately, Bilal was named Chicago Tribune’s Artist of the Year. Structured in two parallel narratives, the story of Bilal’s life journey and his Domestic Tension experience, Shoot an Iraqi is for anyone who seeks insight into the current conflict in Iraq and for those fascinated by interactive art technologies and the ever-expanding world of online gaming.

In each annual volume, contributors document works made in the previous year. By including performances regardless of their country of origin, genre, aims, or popularity, INDEX reveals the breathtaking variety of practices used in performance work today.

In 2011, Brian Lobel played a brutal game of friendship maintenance: over 5 days in cafés in both London and Kuopio, Finland, Brian gave strangers one minute to decide which of his 1300 Facebook friends to keep or delete. Indluces the performance script, reflective essays, interviews  and angry emails. 

In this invitation to reflect on the power of performance, Diana Taylor explores many of the ‘performance’ uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world.

For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. This volume presents documentation of The House With the Ocean View alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, Cindy Carr, RoseLee Goldberg and Peggy Phelan.

Charting the rise of the immersive theatre phenomenon, this is the first survey of immersive theories and practices for students, scholars and practitioners of contemporary performance. It includes interviews with immersive artists and examines key topics such as site-specific performance and immersive technologies.

Short film of the performance. Filmed at Duh? Art & Stupidity show at Focal Point Gallery, Southend on Sea, November 2015. 
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