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Posthuman Spiritualities in Contemporary Performance: Politics, Ecologies and Perceptions
Examines five performance/artworks: The Artist is Present (2010) by Marina Abramović; The Deer Shelter Skyscape (2007) by James Turrell; CAT (1998) by Ansuman Biswas; Journey to the Lower World by Marcus Coates (2004); and the work with pollen by Wolfgang Laib.
Curators’ Series 11 programme
For the 11th edition of DRAF Curators’ Series, guest curator Victor Wang 王宗孚 launches the Institute of Asian Performance Art (IAPA), an international network to deepen the awareness and understanding of the history of early performance art in Japan, Korea, China and Taiwan.
Choreographing Problems: Expressive Concepts in Contemporary Dance and Performance
Illuminates the relationship between philosophy and experimental choreographic practice today in the works of leading European choreographers.
Psychoanalyst Meets Marina Abramovic: Artist meets Jeannette Fischer
A unique insight into the relationship between Abramovic’s biography and artistic work.
Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices
Traces the many ways in which museums have approached performance works from the 1960s onwards, considering the unique challenges of documenting live events.
Performance art’s “master” Tehching Hsieh on the importance of isolation
An interview conducted at LADA’s new home in the Garrett Centre, Bethnal Green attempts to find out why the artist gave over his life to art.
Brgy. South Kensington
Publication on the week-long, 24/7 durational performance art event which took place in a three-bedroom house, showcasing 10 international artists living and working together and live-streamed on Youtube.
This is Theatre… review
Review of Jan Faber's piece, performed at the ICA.
Eleanor Antin: Real Time Streaming catalogue
Illustrated catalogue accompanying the exhibition; Cornerhouse (3 March – 22 April 2001), Arnolfini (18 March – 13 May 2001), Mead Gallery (6 October – 1 December 2001).
Women, the arts and globalization
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
