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The Persistence of Dance
There is a category of choreographic practice with a lineage stretching back to mid-20th century North America that has re-emerged since the early 1990s: dance as a contemporary art medium. Such work belongs as much to the gallery as does video art or sculpture and is distinct from both performance art and its history as well as from theater-based dance. The Persistence of Dance: Choreography as Concept and Material in Contemporary Art clarifies the continuities and differences between the second-wave dance avant-garde in the 1950s‒1970s and the third-wave starting in the 1990s. Through close readings of key artists such as Maria Hassabi, Sarah Michelson, Boris Charmatz, Meg Stuart, Philip...
Is the Living Body the Last Thing Left Alive?
The choreographic turn in the visual arts from 1958 to 1965 can be identified by the sudden emergence of works created by very different visual artists in very different placesartists such as Allan Kaprow, Carolee Schneeman, and Robert Rauschenberg in the United States; Lygia Pape and Hlio Oiticica in Brazil; the Gutai group in Japan; and Yves Klein in france. each explicitly or implicitly used dance or choreographic procedures to reinvent and reimagine the practice and its history. Dedicated to the renewed encounter between dance and performance, Is the Living Body the Last Thing Left Alive? is a collection of essays and writings taken from the 2014 conference organized by Para Site, Hong Kong. Thirty contributors, coming from a broad field of discourse, joined together to rethink performance as more than a medium but rather as a series of questions and reflections about how art mediates social relations among people. Contributors include Belkis Ayn, Claire Bishop, Boris Buden, Amy Cheng, Bojana Cvejic, Patrick D. flores, and Simryn Gil, and Yangjiang Group, among many others.
Judson Dance Theater: the Work Is Never Done
An exploration of Judson Dance Theater's radical influence on postwar American art history and its lasting impact on contemporary artistic discourse. Taking its name from the Judson Memorial Church, a socially engaged Protestant congregation in New York's Greenwich Village, Judson Dance Theater was organized as a series of open workshops from which its participants developed performances. Redefining the kinds of movement that could count as dance, the Judson participants - Trisha Brown, Lucinda Childs, Philip Corner, Bill Dixon, Judith Dunn, David Gordon, Alex Hay, Deborah Hay, Fred Herko, Robert Morris, Steve Paxton, Rudy Perez, Yvonne Rainer, Robert Rauschenberg, Carolee Schneemann and Ela...
As Soon as I Open My Eyes I See a Film
In the late 1960s and '70s, artists in Yugoslavia rejected the official language of expression licensed by the regime, abstract art, and replaced it with "anti-art"--works on the borderline of the form that balanced between amateurism and professionalism and breached modernist conventions. These artists seized upon the opportunities to disseminate their art offered by film clubs--public institutions that brought together amateur artists and served as enclaves of freedom. As Soon as I Open My Eyes I See a Film explores the crucial period in the Yugoslav art scene and situates it in the broader cultural context of Central and Eastern Europe.
The Bodies of Others
The Bodies of Others explores the politics of gender in motion. From drag ballerinas to faux queens, and from butoh divas to the club mothers of modern dance, the book delves into four decades of drag dances on American stages. Drag dances take us beyond glittery one-liners and into the spaces between gender norms. In these backstage histories, dancers give their bodies over to other selves, opening up the category of realness. The book maps out a drag politics of embodiment, connecting drag dances to queer hope, memory, and mourning. There are aging étoiles, midnight shows, mystical séances, and all of the dust and velvet of divas in their dressing-rooms. But these forty years of drag dances are also a cultural history, including Mark Morris dancing the death of Dido in the shadow of AIDS, and the swans of Les Ballets Trockadero de Monte Carlo sketching an antiracist vision for ballet. Drawing on queer theory, dance history, and the embodied practices of dancers themselves, The Bodies of Others examines the ways in which drag dances undertake the work of a shared queer and trans politics.
A Slow Burning Fire
Yugoslavia's diverse and interconnected art scenes from the 1960s to the 1980s, linked to the country's experience with socialist self-management. In Yugoslavia from the late 1960s to the late 1980s, state-supported Student Cultural Centers became incubators for new art. This era's conceptual and performance art--known as Yugoslavia's New Art Practice--emerged from a network of diverse and densely interconnected art scenes that nurtured the early work of Marina Abramovi&ć, Sanja Ivekovi&ć, Neue Slowenische Kunst (NSK), and others. In this book, Marko Ili&ć offers the first comprehensive examination of the New Art Practice, linking it to Yugoslavia's experience with socialist self-management and the political upheavals of the 1980s.
A Medium Seen Otherwise
"Having undergone profound material, aesthetic, and institutional transformations since the arrival of digital technologies, photography and film frequently intersect in the processes of convergence (the shared technological basis of diverse media in digital code) and remediation (the mutual reshaping of old and new media). However, the foundational relations between film and photography have a long history extending well back into the nineteenth century. This history includes many acclaimed practitioners who have worked in both media, such as Albert Kahn, Helen Levitt, Agnès Varda, Chris Marker, Robert Frank, Wim Wenders, Abbas Kiarostami, and Fiona Tan, but it also involves a range of intermedial forms that combine elements of both media, such as the film still, the film photonovel, and the photofilm. These hybrid forms were long neglected critically because they were considered marginal forms of paratextuality or deviations from medium specificity-the idea that a medium must be deployed according to its own specific capacities compared to other media"--
Producing and living the high-rise: New contexts, old questions?
The purpose of the book is to assess the process of urban verticalization in different contexts through time, to provide insight into the relationships between highrise design and the way inhabitants negotiate them in their everyday lives, to assess how planners, politicians, and designers negotiate residential highrises in the strategies they develop for building the city and to introduce urban narratives and cartographies. Verticalization, although not new, currently takes place in a very different context than post-1945. Today, highrise residential buildings are more than architectural solutions: they are commodities in a global market where capital flows are fixed by developers and munic...
The Art of Assembly
The Art of Assembly surveys theatre today to demonstrate its political potential in both form and content. Drawing on numerous examples from around the world in performance, visual art, and activist art, curator and author Florian Malzacher examines works that draw on the particular possibilities of theatre to navigate the space between representation and participation, at once playfully and with sincerity. In a time of wide-ranging crisis, The Art of Assembly is a plea for a strong definition of the political and for a theatre that is not content merely to reflect the world's ills, but instead acts to change them. A knowledgeable foray through the landscape of political theatre. die tagesze...
Curating Dramaturgies
Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, this book features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts. The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed and experienced by spectators in the last decade. Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. The introductory essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidatingthe ever-evolving field of the visual arts and performance.
