A Post-Patriotic Performance

Over three days in August 2007 Cardiff-based performance artist André Stitt undertook a major ‘akshun’ work at Artspace. Utilizing Joseph Beuys’ famous “I Like America and America Likes Me (or ‘Coyote’)” performance of 1974 as a template through which a performative engagement with acts of arrival and the attendant trauma of colonialism could be developed, Stitt shared a caged-in area of the gallery with a dingo, exploring forms of possible connection between the human figure and dog. This book provides extensive documentation and critical reflection upon one of the most significant and sustained performance works undertaken in Sydney in recent years.

This series of interviews, held by curator and writer Gilane Tawadros are focussed entirely on Stuart Brisley’s practice and directed by him. The artist’s narration of his practice demonstrates an unswerving resistance to controlling the narrative or fixing the meaning of his works.

An edited volume that explores the work of the innovative, experimental and internationally acclaimed performance artist Marilyn Arsem, with 200 images.

This book focuses on the possibility of rethinking the static model of installation and exhibition and exploring the way in which ‘performative’ approaches, adopted by artists and curators alike, can reframe the exhibition and its work as an environment subject to formal, temporal or relational transformation.

Documentation of the 12 hour group performance in Kilmainham Gaol, Dublin in May 2016. Part of LADA Screens.

Part of the Library of Performing Rights (P3041).

On Forced Entertainment, prediction, and the community of audience.

Film created as part of The Casement Project, a multi-disciplinary project about Roger Casement, a British knight, Irish rebel and international humanitarian.

Part of the Library of Performing Rights (P3041).

A short video derived from the photographs, rehearsal footage and other documentation of And I – a single channel eight-hour video of Marcia Farquhar speaking without edits of sustained pauses.

Part of LADA Screens 7.The film was availble online between 24 Feb and 9 March on the LADA Screens Channel.

Examines the embodiment of pain in Máiréad Delaney’s performance.

Part of The Library of Performing Rights (P3041).

Newspaper published for the event originally scheduled for 29th March 2019 in Leeds.

On Taylor Mac: a 24-Decade History of Popular Music

Publication on the Summer School delivered by Create (Dublin) and Counterpoints Arts (London).