Filed under book | Tags: · art, art education, cinema, documentary film, film, installation art, media art, performance, photography, video
Publication documents the activities of the Center for Audio Visual Studies (CAS) at FAMU in Prague, founded in 2005. Featuring 30 works by the CAS students and alumni as well as texts by the teachers Helena Bendová, Martin Blažíček, Miroslav Petříček, Tomáš Pospiszyl, Eric Rosenzveig and Miloš Vojtěchovský
Publikace CAS: Co to je? není výstavním katalogem ani sborníkem z odborné konference. Pohybuje se někde mezi, podobně jako je mezioborové studium v Centru audiovizuálních studií FAMU. Jádrem publikace jsou dokumentace různorodých projektů dnes už třicítky studentů či absolventů CAS, ale i práce jejich učitelů. Do knihy například přispěl filozof Miroslav Petříček, ale je tu i dystopická sci-fi povídka. Najdeme tu analýzu studentských filmů od filmové historičky Heleny Bendové, ale i dokumentace a anotace samotných děl. Ty se pohybují na široké škále od dokumentárních filmů, interaktivních instalací, on-line projektů, živých performancí po street artové intervence do veřejného prostoru. Z pedagogů CAS do knihy dále přispěli Martin Blažíček, Tomáš Pospiszyl, Eric Rosenzveig a Miloš Vojtěchovský.
Publisher Academy of Performing Arts in Prague, 2013
Filed under book | Tags: · activism, agitprop, art, art theory, audience, circus, direct action, guerrilla theatre, performance, politics, puppetry, street theatre, theatre, women
Radical Street Performance is the first volume to collect together the fascinating array of writings by activists, directors, performers, critics, scholars and journalists who have documented street theatre around the world.
More than thirty essays explore the myriad forms this most public of performances can take: agit-prop, invisible theatre, demonstrations and rallies, direct action, puppetry, parades and pageants, performance art, guerrilla theatre, circuses.
These essays look at performaces in Europe, Africa, China, India and both the Americas. They describe engagement with issues as diverse as abortion, colonialism, the environment and homophobia, to name only a few. Introduced by editor Jan Cohen-Cruz, the essays are organized into thematic sections: Agitating; Witnessing; Involving; Imagining; and Popularizing.
Publisher Routledge, 1998
Performance Theory series
ISBN 0415152313, 9780415152310
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Filed under book | Tags: · choreography, dance, movement, performance
An account of an ongoing personal discourse and its manifestations in dance. Simone Forti is a dancer who has always forged her own path. She arrived in New York in the early 60′s from California. She brought with her a series of pieces that proved to be of serious influence on the development of “post modern” dance and sculpture in years to come. Her “dance-constructions” were based on a concern with bodies in action, the movement not being stylized or presented for its visual line but rather as a physical fact. The artist traces the development of her work intuitively rather than chronologically, including narratives about a time of participation in the drug culture that sheds light on the changes in her dancing. The book includes drawings, “dance reports” (short descriptions of events whose movement made a deep impression on the author’s memory), and documentary materials such as scores, descriptions, and photographic records of performances. Covers work from 1959 – 1973.
First published in 1974
Third edition, 1988
Publisher The Press of the Nova Scotia College of Art and Design, Halifax, Canada; with New York University Press, New York
Editor Kasper Koenig
James M. Harding, John Rouse (eds.): Not the Other Avant-Garde: The Transnational Foundations of Avant-Garde Performance (2006)
Filed under book | Tags: · africa, argentina, art history, avant-garde, fluxus, india, japan, mexico, middle east, music history, performance, performance art, theatre
Almost without exception, studies of the avant-garde take for granted the premise that the influential experimental practices associated with the avant-garde began primarily as a European phenomenon that in turn spread around the world. These ten original essays, especially commissioned for Not the Other Avant-Garde, forge a radically new conception of the avant-garde by demonstrating the many ways in which the first—and second—wave avant-gardes were always already a transnational phenomenon, an amalgam of often contradictory performance traditions and practices developed in various cultural locations around the world, including Africa, the Middle East, Mexico, Argentina, India, and Japan. Essays from leading scholars and critics—including Marvin Carlson, Sudipto Chatterjee, John Conteh-Morgan, Peter Eckersall, Harry J. Elam Jr., Joachim Fiebach, David G. Goodman, Jean Graham-Jones, Hannah Higgins, and Adam Versényi—suggest collectively that the very concept of the avant-garde is possible only if conceptualized beyond the limitations of Eurocentric paradigms.
Not the Other Avant-Garde is groundbreaking in both avant-garde studies and performance studies and will be a valuable contribution to the fields of theater studies, modernist studies, art history, literature, and music history.
Publisher University of Michigan Press, 2006
Theater: Theory/Text/Performance series
ISBN 0472069314, 9780472099313
Linda M. Montano (ed.): Performance Artists Talking in the Eighties: Sex, Food, Money/Fame, Ritual/Death (2000)
Filed under book | Tags: · 1980s, art, death, food, money, performance, performance art, sex
Performance artist Linda Montano, curious about the influence childhood experience has on adult work, invited other performance artists to consider how early events associated with sex, food, money/fame, or death/ritual resurfaced in their later work. The result is an original and compelling talking performance that documents the production of art in an important and often misunderstood community.
Among the more than 100 artists Montano interviewed from 1979 to 1989 were John Cage, Suzanne Lacy, Faith Ringgold, Dick Higgins, Annie Sprinkle, Allan Kaprow, Meredith Monk, Eric Bogosian, Adrian Piper, Karen Finley, and Kim Jones. Her discussions with them focused on the relationship between art and life, history and memory, the individual and society, and the potential for individual and social change. The interviews highlight complex issues in performance art, including the role of identity in performer-audience relationships and art as an exploration of everyday conventions rather than a demonstration of virtuosity.
Publisher University of California Press, 2000
ISBN 0520210220, 9780520210226
Filed under catalogue | Tags: · art, computer animation, film, intermedia, intermedia art, music, performance, performance art, poetry, slovakia, theatre
A catalogue for an intermedia art festival organised by The Society for Non-conventional Music (SNEH) in Bratislava on 4-10 March 1991.
Featured artists: Milan Adamčiak, László Cselényi, Balvan Theatre, Daniel Aschwanden, Dada Soiré, Dama Dama, Stano Filko, Dušan Hanák, Viktor Hulík, Milan Knížák, Werner Kodytek, Ladislav Novák, Štěpán Pala, Nová vážnosť, Michal Kern, Dezider Tóth, Juraj Bartusz, Jozef Juhász, Čenkovej deti, Jozef Juhász, Blaho Uhlár Theatre, Transmusic comp. Tibor Szemző, Vitebsk Broken, Alan Vitouš, A Dato
Editor Milan Adamčiak
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Filed under artist book | Tags: · art, collage, early media art, education, machine, mass media, media, participation, performance, technology, television, violence
Stan VanDerBeek was part of the “Rockefeller Artists-in-Television” residency program at Boston public television station WGBH from 1969–1970, during which time he produced the simulcast television program Violence Sonata. The program, directed by David Atwood and Fred Barzyk, was transmitted simultaneously on both Channels 2 and 44 on January 12, 1970, with the suggestion that viewers place two television sets side-by-side. Following sonata form, the piece is composed of three segments: “Man,” “Man to Woman,” and “Man to Man.” The simultaneous broadcast consisted of material VanDerBeek composed from previous films, archival and newsreel footage, video shot in Boston for the show, and filmed collages, further manipulated and enhanced through overlays and color saturation. Sections of the broadcast were played before a live studio audience, with actors also performing a play written by VanDerBeek for the show. Home viewers were encouraged to call in their responses to the program between the acts. The series of collages entitled, The History of Violence in America was conceived as layouts for reproduction and publication in a booklet to accompany the broadcast.
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