In this new English edition of the handbook over sixty curators, art historians, and artists  take a critical look at the theme of the significance and potential of public art.

Amanda Coogan collaborates with 13 performers to explores the Church Street disaster of 1913 and its parallel with contemporary Irish society.

The performance took place in the Hugh Lane Gallery over 12 hours. It was captured in this video using timelapse photography, the entire 12 hours resulting in a new 8 minute film.

Film: Paddy Cahill

Sound Design/Composition: Mike Glennon

Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self- objectification, transforming themselves into art objects.

Tom Holert argues that with Celebration? Realife, Chaimowicz makes a strategic and important meditation on the changing role of the artist, who simultaneously becomes art director, choreographer and participant. The groundbreaking installation Celebration? Realife was originally created for ‘Three Life Situations’ at Gallery House London in 1972.

This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)

A book on the multi-disciplinary and experimental practice of artist David Medalla, who was born in the Philippines. Based in London since the 1960s, he has made an effort to remain independent of the art market and the institutional structure. Artist biography, bibliography and illustrated documentation of works included.

This item is part of the 'Glimpses of before: 1970s UK Performance Art' Study Room Guide by Helena Goldwater (P2497)

The first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction.

Contribution by Jamila Johnson Small for FANON Now – on the legacy of Mirage: Enigmas Of Race, Difference & Desire. The event brought together David A Bailey, artists from the original Mirage project, and artists from subsequent generations, to reflect on the contemporary moment in relation to structural violence, de-colonising culture and relations, and the power of aesthetics and its explorations of complex formations of racial identities.

The publication accompanies the exhibition Tie A String Around the World, at The Philippine Pavilion of the Biennale Arte 2015.

Special Issue; Volume 25, Issue 3.

Published in France in 1965, the book reintroduced the Dada movement to a public that had largely ignored or forgotten it. More than forty years later, it remains both the unavoidable starting point and the essential reference for anyone interested in Dada or the early-twentieth century avant-garde. Translated by Sharmila Ganguly.