Mesto Zensk, City of Women: International Festival of Contemporary Arts
Notes
Festivals took place in Ljubljana, 8-13 October 2001, and 2-10 October 2006. Text in both Slovenian and English. http://www.cityofwomen.org
| Reference | P1670 |
|---|---|
| Date | 2006 |
| Type | Publication |
Keywords
Similar items
Criticism : In Search of Its Placing
From the special edition of Maska on the occasion of the 25th anniversary of the Contemporary Dance Association Slovenia. In Slovenian and English.
Education : On the Necessity of Necessity or How to Get Across the Wall Alive
From the special edition of Maska on the occasion of the 25th anniversary of the Contemporary Dance Association Slovenia. In Slovenian and English.
Acts of Affect: siren eun young jung’s Yeoseong Gukgeuk Project
Afterall Journal
Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.
pg. 59-67
In Acts of Affect, siren eun young jung returns to the disappearing Yeoseong Gukgeuk theatre. In her discussion of the project, Ashley Chang examines how masculinity is produced by women.
Anomalous Tradition, Queer Enchantment: On the Work of siren eun young jung
Afterall Journal
Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.
pg.49-57
Hyunjin Kim contextualises siren eun young jung’s audio-visual work at the 2019 Venice Biennale in relation to queer performance in South Korean history.
Sonia Boyce: Reclassifying Classification
Afterall Journal
Issue 49 Spring/Summer 2020 – ‘Extractivism’ – looks at a nexus of practices engaging with environmental issues and extractivist capitalism. In parallel, it covers alternative ways in which artists are occupying spaces of art, history or economics.
P.27-35
Nizan Shaked traces the interventions of Sonia Boyce’s work in received categories of artistic practice, considering how these interventions suggest means of classification beyond media, artistic intention and identity.
Elmgreen & Dragset : Inconvenient Truths
Art Review Issue 26 / October 2008
pg. 74-81
Feature on Elmgreen & Dragset : Inconvenient Truths
Review : All Over the Map
Performance Research Vol 6. No. 1. Spring 2001
Departures
The first of three related issues which engage with the migrations of people, performance and performance cultures, generating writing around differing geographies and histories of travel and travelling performance in a diversity of written and visual forms.
Reviews : All Over the Map
A Review of ‘A Woman Who…Essays, Interviews, Scripts’ Yvonne Rainer
by Claire MacDonald
pp. 121 – 123
Leaving Berlin : On the Performance of Monumental Change
Performance Research Vol 6. No. 1. Spring 2001
Departures
The first of three related issues which engage with the migrations of people, performance and performance cultures, generating writing around differing geographies and histories of travel and travelling performance in a diversity of written and visual forms.
Leaving Berlin : On the Performance of Monumental Change
Nicolas Whybrow
pp. 37 – 45
Tolu Agbelusi
shado Issue 2 : Global Womxnhood
Feature on poet and performer Tolu Agbelusi.
Oluwaseun Babalola
shado Issue 2 : Global Womxnhood
Feature on filmmaker Oluwaseun Babalola.
White Rabbit: Celebrating ten years of Barnes' White Rabbit
Mclarrity, Spike (2021) White rabbit : celebrating ten years of Barnes’ White Rabbit.
Zong! (Wesleyan Poetry)
In November, 1781, the captain of the slave ship Zong ordered that some 150 Africans be murdered by drowning so that the ship’s owners could collect insurance monies. Relying entirely on the words of the legal decision Gregson v. Gilbert-the only extant public document related to the massacre of these African slaves-Zong! tells the story that cannot be told yet must be told. Equal parts song, moan, shout, oath, ululation, curse, and chant, Zong! excavates the legal text. Memory, history, and law collide and metamorphose into the poetics of the fragment. Through the innovative use of fugal and counterpointed repetition, Zong! becomes an anti-narrative lament that stretches the boundaries of the poetic form, haunting the spaces of forgetting and mourning the forgotten.
