From a lecture given on 7 November 2011 at the Ludwig-Maximilians-Universitat Munchen, and on 1 December 2011 at the Freie Universitat Berlin, Top Girls focuses on media images, since the late 1990s, which were intended to provoke some, imagined group of (always humourless) feminists. These images appeared, in a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way. The prevailing use of irony seemed to exonerate the culprits from the crime of offending against what was caricatured as a kind of extreme, and usually man-hating feminism, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.

This article can be found in miscellaneous articles, folder 5A.

n.paradoxa's 12 Step Guide to Feminist Art, Art History and Criticism invites readers to ask themselves difficult questions about the visibility of women artists, stereotypes of women artists in canons of art history, and to think about different theoretical approaches to a feminist art history of women artists. It offers further reading on a number of issues including: images of women; women as cultural producers; the politics of feminist art; and distinguishing between art in/of the feminine and feminist art.

This Article can be found in, Miscellaneous articles folder 5A

Feminist Futures? sets out to ask if and in what way feminism remains relevant to theatre and performance practice of the twenty-first century. Responding to this question is an excellent, cross-generational mix of theatre scholars and practitioners whose essays engage in lively, cutting edge critical debates on issues such as citizenship, autobiography, cultural heritage, political agency, and body/technology, as circulating in contemporary feminism and performance today.

Exhibition catalogue, Dallas Museum of Art

Artist book. Based on the artist performances during the 1990s.

This item is part of the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)

establishment report for the New Work Network

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

For short edited version see REF. D1898.

In September 2012 the “Truth is concrete”, 24/7 marathon camp took place. With around 300 lectures, panels, tactic talks, performances, concerts, films, workshops and a parallel, self-curated, spontaneous Open marathon, “Truth is concrete” created a 170-hour performative space for thinking and networking in the city of Graz, Austria. Two newspaper style programmes (different cover) in foder.