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Catherine Spencer

, notably Pose , Fine! , Shape and Giveaway . Photography has long held a precarious, vexed place within critical assessments of Kaprow’s work, and accounts of performance art more generally. In ‘The Happenings are Dead – Long Live the Happenings!’ Kaprow cast photographs as belated and partial, inert residues of a lost flesh-and-blood entity, like nail clippings or stray hairs. 60 Kelley characterises Kaprow’s professed attitude toward photography as one of ‘indifference’, observing that ‘he was not opposed to the documentation of an event as long as the act of

in Beyond the Happening
The global exposition and the museum
Jane Chin Davidson

the social conventions of society at large.’74 The artistic use of contemporary performance art innovates the ritual tradition that once functioned to facilitate the moral order, expressing now for the entire global community beyond the Chinese community. Global warming and climate change are moral issues, since they are directly caused by human activity, and Lee’s performance proposes a ritualized perspective toward the problem that affects all humans. Whether enlisting the body of the viewer or expressing through body art, the human subject in the work of art

in Staging art and Chineseness
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A dancerly art history
Paisid Aramphongphan

the other. The live body has been a central component of advanced art practices since the 1960s. Art historians usually call this mode of expression body art or performance art. Past approaches to this genre or medium in visual art practice often fold it into object-based modernist and postmodernist narratives, thus a focus on specific performance “pieces” as stand-alone objects of analysis. The discrete pieces are usually arranged or incorporated into an art historical order (even as to demonstrate their critique of it), cutting off performance art’s conceptual

in Horizontal together
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Andy Campbell

. The included objects strongly implied activation but were never used in performance, making the ‘kits’ dynamos of potentiality. During this time Blake was serving on the board and curatorial committee of the non-profit arts venture that became New Langton Arts, which opened in 1975 in the heart of South of Market. For Blake, leather culture was not only related to the machinations of redevelopment in the city in which they lived, but was also related to their growing appreciation of performance 165 7.9 166 Bound together and performance art: ‘I think that the

in Bound together
Fearghus Roulston

cultural imaginary of east Belfast in the period when Hector was growing up. 35 Reflecting on the way in which punk had enlarged his sense of the potential world, he said: ‘But you know people were like, sorta performance art was creeping in [pauses], paintings and stuff, fanzines. So there was a lotta sorta possibilities were springing to mind where there had been effectively zero, like. You worked at the shipyard or Shorts.’  36 The shipyard, in the context of the

in Belfast punk and the Troubles
Sruti Bala

: questions that are not necessarily asked when studying proscenium theatre productions or installation-based performance art or any other interactive forms; questions that lead to different kinds of analyses, in terms of how they frame and bring to life the subjects of study vis-à-vis the existing frameworks of the discipline. When posited as a genre, participatory art therefore does not merely register or serve as a repository for a homogeneous community of practices, in the sense of ‘genus’, but also ‘generates’ and makes these practices visible in ‘general’ terms

in The gestures of participatory art
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David Annwn Jones

of the opening of these spaces’ (Kennedy, 2016 , personal correspondence). 59 Christine Kennedy, scripts from The White Lady’s Casket , 1996 9.5 Performance art, body art, tattoos and facepaint

in Gothic effigy
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Stephen Greer

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

in Queer exceptions
An interview with Dieter Roelstraete
Bénédicte Miyamoto
Marie Ruiz

these sorts of immersive experiences through the means of recordings, installations, or performance art, rather than actually producing objects. The fact that mediums are more and more becoming places where events are set up and not just where exhibitions are hung, this might actually be something that develops around this idea that you have to give empathy and not just a message that has been cut and pasted by the curators. Dieter Roelstraete: Of course, the art world for the last 20 years has been moving towards a place, an atmosphere, which has become very

in Art and migration
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Adventures in reality: why (punk) fanzines matter
Matthew Worley
Keith Gildart
Anna Gough-Yates
Sian Lincoln
Bill Osgerby
Lucy Robinson
John Street
, and
Pete Webb

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

in Ripped, torn and cut