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this more performance art and design installation practice to work with people. For example, [we worked] with mental health professionals to explore different symptoms or stories or historical things in different areas. Each room would tell a story or add to your understanding of the piece and its time. We had another ward that was dedicated to science. We worked with Guerrilla Science, who are an art/science crossover company and they helped us to be in touch with artists and scientists who were looking at the impact of the film in terms of
supported by public funding, the rise of corporate sponsorship and private investment informs their availability to potentially exploitative commercial logics.2 First held in 2010, New York’s United Solo Theatre Festival is currently the largest festival dedicated to solo performance with over 120 productions in its 2016 programme. The festival’s offering encompasses an expansive list of genres (‘storytelling, puppetry, dance, multimedia, documentary, musical, improv, stand-up, poetry, magic, performance art, tragedy or comedy’) though is dominated by storytelling
50 2 The martyr: dramaturgies of endurance, exhaustion and confession Mindful of neoliberalism’s preference for subjects who are willing and able to exploit their own well-being and yet drawn to the possibility of testimony which insists that suffering may have transformative political effects, this chapter explores solo performances in which the contested ontology of the martyr articulates the shifting status of endurance as a mode of individual and collective witness. Though endurance in art and performance art can be located within a larger tradition that
Katherine Araniello – performing as herself, under the guise of SickBitchCrips and with Aaron Williamson as the satirical arts organisation, the Disabled Avant- Garde. In Pity (2013), performed at the Lock-up Performance Art Fête in London’s Bethnal Green, Araniello staged herself as a living charity collection doll in the image of collection boxes routinely found outside of Spastic Society charity shops during the 1970s: a sad child with cerebral palsy wearing a brace on their leg and pleading for donations. Bringing to life ‘the persona of the intentions of the
’s ‘original’ performance –itself a copy of a lifetime of repeated performances –was broadly understood as a commentary on the artistic labour required to sustain the effect of theatrical presence in an economy of voyeuristic consumption. David Pollock’s review for The Scotsman, for example, prefaced its praise with the disclaimer that the show was ‘more a piece of performance art’ in which ‘the appreciation is not for the way an artist performs, but the way they repeat the performance night after night, riding the same crests of emotion’ (Pollock 2016). Conversely, critic
taken from a PTV performance art video, First Transmission , which had been available since 1982. 106 Neither fact prevented the Obscene Publications Squad from raiding the Orridge family home prior to the show’s broadcast. Orridge’s friend and former bandmate Peter ‘Sleazy’ Christopherson subsequently formed Coil with his boyfriend, John Balance. 107 More accessible than early industrial music, Coil were nonetheless at the darker end of 1980s electronica. Esotzerica, surrealism, Crowleyism and a strong dose of
were performance art. Then Nils came up and said, ‘I want to manage you’. Basically, he bullied us into repeating what we had done. The 100 Club was now the springboard. We thought, ‘Wow we can get away with that!’ What would it be like if we could play our instruments and write songs?! It was a blessing that we couldn’t play! Nils found us sometime in the Pistols’ rehearsal room on Denmark Street while they were touring in Holland in early January 1977. Then, because of his connection with Malcolm, he
dark sexiness was a perfect parallel to goth while their dramatic songs were also locked into the floorshow. Being in Leeds at that time was a big part of it, of course, and we also had this five year art school background studying performance art and films at college in Leeds. This is what Soft Cell grew out of and where I first met David Ball who had moved there from Blackpool. 930 Yet, it was also the faded grandeur of his seaside background that played into his
her male counterpart Withnail) strives to turn her life into what might be termed a continuous piece of performance art, while Laura, through the power of the written word, tries to leave some more lasting record of her thoughts, sensations and emotions. For each woman, though, life and art are both works-in-progress, the only end of which is death itself. Dogging – a Love Story (2009), like Sex Lives of the Potato Men , features multiple protagonists who are looking for novel sex experiences whenever possible. The film’s title may appear to be oxymoronic (some
-through camouflage shirt revealing her breasts, with matching pants, and standing with one foot resting on a large assault weapon, Kamerić poses like a model, showcasing her slender figure and donning a typical melancholic and mysterious facial expression. “This photo was taken during the hardest and most brutal part of my life,” Kamerić noted, adding, “But the image shows something else.” 102 At the time, Kamerić did not claim to be performing as an artist or engaging in what is categorized as performance art proper. But her