RoseLee Goldberg: Performance: Live Art 1909 to the Present (1979–) [English, Spanish]

A provocative history of live art traces the precedents of contemporary multi-media events to Bauhaus experimentalism and surveys the Futurists’ manifesto-like events, the Dadaists’ cabarets, and later “happenings” and “spectacles.”

Publisher Harry N. Abrams, New York, 1979
ISBN 0810914565, 9780810914568
128 pages

Performance: Live Art 1909 to the Present (English, 1979, 44 MB, updated on 2018-10-28)
Performance art: desde el futurismo hasta el presente (Spanish, 1996, 67 MB, updated on 2017-7-10)

Marisa Jahn (ed.): Pro+agonist: The Art of Opposition (2012)

“This is a book and set of playing cards that explore the productive possibilities of ‘agonism,’ or a relationship built on mutual incitement and struggle. Designed in black and blue — the colors of a good bruise — Pro+agonist brings together writings by interdisciplinary artists, scientists, CEO’s, crackpots, war strategists, psychotherapists, and philosophers who raise questions about the importance of political dissent, the function of discord in discourse, the rules of escalating conflict, the roles of parasites within systems, the ins and outs of concord and congress, and more. The book’s introduction, written as a disagreement between a cast of fictional characters, is (arguably) more stimulating than if it were written from a single, unified perspective. Readers will emerge with a greater appreciation for duking it out and taking it to the streets.

p.s. – There’s a half-inch hole running through the center of both the book and the playing cards so that you can peek through, frame the Other, and keep them with you as you read along.”

With texts by Anjum Asharia, John Seely Brown, D. Graham Burnett + Cornel West, Carl DiSalvo, Marisa Jahn, Jean-Francois Lyotard, Chantal Mouffe, Warren Sack, Steve Shada, Mark Shepard, Doris Sommer, McKenzie Wark, Coleson Whitehead

Pro+agonist was commissioned by Northern Lights.mn and Walker Art Center for the symposium Discourse and Discord: Architecture of Agonism from the Kitchen Table to the City Street.

Publisher Northern Lights.mn, Walker Art Center, & REV-, Spring 2012
ISBN 9780985185305
117 pages
via Inge Hoonte

Publisher

PDF (updated on 2017-7-10)

TkH (Walking Theory), 19: Politicality of Performance (2011) [Serbian/English]

“In a broader historical perspective, the social position of art seems relatively marginal, which could serve as a possible starting point to think about what the politicality of performance might mean today. It seems that the political relevance of art has become disputable, due to its commercialisation and commodification by the entertainment and creative industries, the mass media’s at least partial appropriation of its political relevance, and an overall “aestheticisation of life” in the 20th century, to name only a few possible factors. But at the same time, the topic itself has been attracting more and more theoretical and artistic attention. We devote this issue of the TkH journal to the topic of the politicality of performance because we want to open up more space for thinking about these two seemingly irreconcilable tendencies. The discussion may include (but is not limited to) questions such as the following: What is the meaning of these notions nowadays and how are they disconnected or interconnected? Why do we find the proposed topic important or, to put it simply, why is there such a preoccupation with the political in the performing arts today? Might it merely be an alibi concocted to secure the support of public funds and various other foundations? Maybe it is just a desperate attempt to be recognised as a socially relevant practice instead of being dismissed as an elitist type of entertainment? Or is it just the neo-liberal capitalist state of affairs, which blurs the borders between different social practices and where some old questions – such as how we practise politics and where politics is located today – are still waiting for an answer?” (from the introduction)

The topic of this issue was researched in the context of TkH project “Performance and the Public” produced at Les Laboratoires d’Aubervilliers.

With contributions by Sezgin Boynik, Gregory Sholette, Grupa Umetnost kao politika/Group Art and/as Politics (Aneta Stojnić, Ana Isaković, Marko Đorđević i Sava Jokić), Aleksandra Jovićević, Bojana Kunst, Aldo Milohnić, Gerald Raunig, Janelle Reinelt, Jelena Vesić, Ana Vujanović.

TkH, Journal for Performing Arts Theory, 19
Edited by Ana Vujanović and Aldo Milohnić
Published by TkH (Walking Theory) theoretical-artistic platform, Belgrade, December 2011
Creative Commons License BY-NC-SA 3.0 Serbia
ISSN 1451-0707
164 pages

Publisher

PDF, PDF (updated on 2017-7-11)