Mike Parr – Performances 1971-2008

Next Wave Festival 2014 Magazine : New Grand Narrative

Pg. 32

Oral Histories of the Revolution,  Tania El Khoury

This special issue of Burlington Contemporary Journal is dedicated to drawing and has been realised in collaboration with Drawing Room. Surveying work made over the last sixty years, this issue examines the radical potential of drawing and its varied role in artistic practice. The issue includes artist commissions by Jade Montserrat and Emma McNally, and a profile of Massinissa Selmani by Roger Malbert.

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.

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.

Art Review Issue 26  / October 2008

pg. 74-81

Feature on Elmgreen & Dragset : Inconvenient Truths

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.

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

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.

Between Journeys : an Interview with Lee Wen

Woon Tien Wei

pp. 3 – 7

shado Issue 02: Global Womxnhood

Feature/Poetry by Fatimah Asghar with Art and introduction by Sabba Khan.

A publication with an essay by Stephen Ellcock in which he exemplifies the spiritual and mythological references in Delaine Le Bas’s work and in particular in the installation conceived for the Secession with references from Greek mythology and ancient Egyptian death cults.

Languages: German, English

Can Taiwan performing/performance art be an avant-garde strategy for cultural exchanging with Shanghai e-Art Festival?

-Referring to the changing face of British Live Art.

Research study by Catherine Jiang.

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.