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cinema, the minimalist music of Philip Glass as well as New American performance art and dance. Canadian director Michael Snow’s La Région centrale (1971), one of the masterpieces of experimental film-making which she first saw at the Anthology Film Archives, the newly opened New York showcase for avant-garde cinema, had a decisive impact on the development of her film aesthetic. Mangolte recalls that she and Akerman
international reputation for performance art, in large measure due to the respect garnered by Raša Todosijević, Zoran Popović, Neša Paripović, Gergelj Urkom, Abramović, and Era Milivojević, artists known as the Group of Six, who Blažević supported through her curatorial leadership. Other women leaders and organizers included Biljana Tomić and Bojana Pejić. Tomić had a history of organizing ephemeral and performative works at the Belgrade International Experimental Theater Festival (BITEF), a curatorial objective she later continued at the SKC. Experimentation and highly
performance art struggling for its own identity, especially in the first years of sound film, and, for many theorists, the anti-cinema par excellence. ‘Pas d’épousailles du théâtre et du cinématographe’, wrote Robert Bresson in his journal of the 1950s, ‘sans extermination des deux’ 1 (Bresson 1975 : 21); but Bresson’s theatre is a pasteboard affair, an easy scapegoat for a frozen, actorly style of cinema
phones and uploaded without permission to YouTube, as well as published reviews and less formal responses posted to blogs and social media. I also draw on artists’ own accounts of their practice, whether articulated through press releases and marketing, or through interviews with journalists and academics as in the form of Dominic Johnson’s invaluable oral history of performance art, The Art of Living (2015). In moving between these sources alongside my own first-hand experiences as an audience member, I attempt to capture some sense of the contingent materiality of
Andrew Unruh, who sold his drum kit and started making percussion with bits of metal liberated from a local skip and experimenting with found sound; like a modern-day Henry Cowell. 808 The fledgling band began to find their own distinctive direction of total performance, art and kinetic sound, including a quite brilliant June 1980 appearance under the Berlin Autobahn, which they filmed. This performance in the concrete wasteland was a powerful statement beating the inside of a pillar of the Stadtautobahn bridge, turning the
Bland uncovers how fanzines became an integral part of the industrial culture that emerged parallel (and often overlapped) with punk from the mid-1970s. Often drawn from avant garde performance art and cultural theories designed to challenge, deconstruct and demystify the forces of ‘control’ (media, government, religion, language, ritual) that shape ‘reality’, industrial bands such as Throbbing Gristle and zines such as Stabmental committed to recovering lost knowledge and disseminating information. Lastly in this section, Pete Dale returns to punk’s DIY ethos to
Film Culture (Flicks Books, 1997), p. 11. 4 Stuart Laing, Representations of Working-Class Life: 1957–1964 (Macmillan, 1986), p. 113. 5 John Ellis, ‘Cinema as performance art’, in Justine Ashby and Andrew Higson (eds), British
tirelessly through his various projects for race equality in this country and the promotion of performance art. In this interview with Dr Jenny Barrett, which took place at the Liverpool symposium of the ‘Arts, Culture and Ethics in Black and White’ project in November 2015, Kunle talks about the issues that drive his work and his hopes for Black British artists and filmmakers in the centenary year of D. W
internal battles of depression, existentialism, sex, death and romantic vistas and relationships on a less detached more human level. What started as an esoteric, almost performance art, with incidental jarring music has become a dark matter blockbuster, with its influence on huge bands like Nine Inch Nails and Rammstein seeing it inhabit a whole new meaning while many of its key players remain creatively active exploring their own obsessions deep in their own rabbit holes. ***** On 18 October 1976, an arts
situated in public or working-class spaces, such as city squares or even inside an active mine in Trbovlje, NSK's artworks were “public” in appearance, but “underground” in content. That is to say, NSK deliberately activated tensions between aesthetics and politics in vigilantly manufactured music and theater performances, art exhibitions, and artistic interventions in political spectacles like the Youth Day celebration in public, but their artistic power came from the friction between the “underground” Yugoslav alternative and a repeatedly confused public