Catalogue > By Keyword > presence
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Inside (Improvised performance)
A one-off 30 performance produced in relation to Teching Hsieh's Outdoor film. Part of LADA Screens 4.
One Year Performance 1981–1982 (Outdoor Piece)
In his third one-year performance piece, from 26 September 1981 through 26 September 1982, Hsieh spent one year outside, not entering buildings or shelter of any sort, including cars, trains, airplanes, boats, or tents.
This video was part of LADA Screens, and was available online between 12 and 26 October 2015.
To Be or Not to Be There
When the performer leaves the scene and makes room for the audience.
Theatres of Learning Disability: Good, Bad, or Plain Ugly?
The first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy.
Part of the Library of Performing Rights (LPR) (P3041).
From Acting to Performance: Essays in Modernism
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
Tell Them I Said No
This collection of essays considers various artists who have withdrawn from the art world or adopted an antagonistic position toward its mechanisms.
On the Dialectics of Charisma in Marina Abramović’s The Artist is Present
The article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective at New York’s Museum of Modern Art in 2010.
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)
Marina Abramovic: the House with the Ocean View
For 12 days in November 2002, Marina Abramovic lived on three open platforms in the Sean Kelly Gallery in New York. She did not eat or speak, nor did have any privacy: the rooms were open and spectators were even invited to observe the artist through a high-powered telescope. This volume presents documentation of The House With the Ocean View alongside essays by the artist, her gallerist Sean Kelly, art historian Thomas McEvilley, curator Chrissie Iles, Cindy Carr, RoseLee Goldberg and Peggy Phelan.
Women Performing Masculinity - Walking In The Way
A collection of postcards documenting a collaborative series of performances by visual artists Frances Mezzetti and Pauline Cummins from 2008 to 2014.
