Catalogue > By Keyword > game
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Blast Theory turns 25
Newspaper published to celebrate the company’s 25th anniversary.
I Love My Baby and My Baby Loves Me
This video for camera was made at home with the artist's one year old son: he is invited, or given reason, to interact with household, domestic, materials – in isolation and removed from some context.
12 minutes.
Part of Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (P3025).
Patricia Azevedo and Clare Charnley collection
Includes:
Dual performance to Skype camera
Blood, 2013 (1:47); Block, 2013 (1:48); Lançar- to throw 2013 (0:39); Alinhar – to Align, 2013 (0:58); Cloud try 3, 2013 (0:51); Red line, 2015 (0:50); A short story, 2015 (1:04); Annunciation 1 & 2, 2015 (2:08)
Dual performance to the camera
Skull-line, cranial suture, 2014 (0:46); Measuring the room, 2014 (1:27); Tables, 2015 (2:05); To do with you, 2016 (2:20); Push, 2011 (1:25); Dictionario (excerpt), 2011; And –And, 2016 (3:44)
30 Texts for 30 Years
Collection of scores and texts markinf thirty years of Forced Entertainment. Contributors were invited to write about their experience of Forced Entertainment following one rule: each text must be exactly 365 words long.
The Current Situation
Exhibition guide of a gigantic interpretation of the family buzz wire game which visitors to the gallery are invited to play with.
Blast Theory: A Machine To See With
Documentary footage of Blast Theory's A Machine To See With.
Blast Theory: I’d Hide You
Footage documenting Blast Theory's I'd Hide You.
Michel Groisman Compilation
Includes: Weaveair (2000); Creatures (1998); Octopus at the Shoreditch Gallery – London (1995 – 2000); M Groisman Dance Co (1997); Transference (1999)
Here, Now DIY Depot
A collection of video documents from Here, Now DIY Depot, an interactive performance event curated by Panther, (Madeleine Hodge and Sarah Rodigari) and featuring artists from around Australia who make work outside traditional theatre contexts.
Orchestra of Anxiety
A collection of instruments that deploy security and surveillance technologies in unusual and playful contexts, prompting visitors to reflect on their personal sense of security and their relationship with public fears (of petty crime, terrorism, etc.). The first instrument to be built is a steel harp with strings of razor wire, which requires the harpist to wear protective gauntlets to play it.
