Starting with the questions: Does it Work? and How Can We Know? this article explores the effect and affect, or affect, of activist art.

Interview conducted by Lynnette Morgan, as part of the Collaborative Arts Partnership Programme residency. 

An object consisting of two parts: a publication of articles and transcripts which reflect upon the 15 years of discourse that brought dance and choreographic practice and theory together in Dansbaren; and a tablecloth of topics—a tool for continuing dialogues which invites the reader to lay it on the table, welcome others to the table, and put dance and choreography discussions, literally, on the table. 

The report looks at the history of the movement and puts it in a policy context; 120 case studies of organisations were identified and numerous examples of all art forms; especially dance, drama, music, singing and the visual arts.

Part of the Know How: The Study Room Guide on Live Art Live Art and working with older individuals and communities. (P3140)

How did performance artists of the ’60s and ’70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the ’80s, ’90s and today? This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Examines the activist, participatory, coauthored aesthetic experiences being created in contemporary art.  In a series of fifteen conversations, artists comment on their experiences working cooperatively, joined at times by colleagues from related fields, including social policy, architecture, art history, urban planning, and new media.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Exploring theater works created for, by, and with refugees, this hybrid collection of essays combines newly commissioned scholarly work with examples of writing by refugees themselves.
Part of the Study Room Guide on Live Art and Displacement (P3107).

Does immersive theatre model a particular kind of politics, or a particular kind of audience? What’s involved in the production and consumption of immersive theatre aesthetics? Is a productive audience always an empowered audience? And do the terms of an audience’s empowerment stand up to political scrutiny?

Catalogue of the eponymous film and video-based exhibition; Moderna Museet Malmö 21/5/2016-5/3/2017

In Swedish and English.

Part of the Study Room Guide on Live Art and Displacement (P3107).

Article on the eponymous exhibition which aims to raise awareness and purge the discrimination against Roma communities. In Hungarian and English.
In misc folder 7. Part of the Study Room Guide on Live Art and Displacement (P3107).