Article and interview by Paterson and Weinberg with Boal.

An interview with Blondell Cummings.

Also contains ‘A True Story About Two People’

Documentation has been presented with permission of the artist as part of an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.

Documentation has been presented with permission of the artist as part of an interactive video archive housed at the Whitechapel Gallery between 2-9 October 2010. The archive looked at examples of the performance lecture as a form of artistic and critical expression and its potential to address a broad range of cultural issues and philosophical ideas.

Three ordinary, awkward people address audience members directly in a witty, frequently disastrous attempt to show them how to live a better life. Provocative writer/director revisits one of her company’s most outrageously funny works

The ‘do-it-yourself’ artwork: Participation from Fluxus to new mediaThis volume consists of fifteen essays by art historians, critics and curators, which are divided into three sections. Part 1 addresses the emergence of spectator participation in the 1960s, whilst Part 2 brings together in-depth case studies of specific participatory practices in the 1960s, 1970s and 1990s, analysing the issues that they raise in their very modes of operation. The more general critical essays in Part 3 map out a range of theoretical approaches to the ‘do-it-yourself’ artwork.

Includes: Lazy Student Too Apathetic To Get A Job Please Give Generously; Things #1; I Can’t Get No Consumer Satisfaction!; I Await Your Swift Reply; Postal

Performance Matters, Performing Idea – Reciprocal Aesthetics7th October3:00-7:30pmToynbee StudiosWith: Ron Athey, Wafaa Bilal, Maaike Bleeker, Shannon Jackson and Julie Tolentino The participation of the spectator in making the meaning of the work of art has been a staple of art and performance practices long before the recent charged debates on ‘relational aesthetics.’ Yet art, however solitary, is arguably always a kind of collaboration and involves itself in some form of exchange. What can be at stake in this exchange? Speakers will examine the notion and limits of the idea that contemporary art and performance is a reciprocal affair. They will ask what gets transacted in contemporary art? What is given and what is taken, what is shared and what cannot be shared?

Monography on Ma Liuming’s work, published by Chinese Contemporary. This item is part of the Study Room Guide On Performance in China by Adele Tan (P1114) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)