The two live artists engage in a playful, theatre-inspired dialogue (complete with stage directions) in which they discuss their complicated relationships, working within theatre institutions.

The wuthors talk about repetition as an internal and integral structuring device in Rajni's trilogy of works, Mr Quiver (2004-6), Dinner with America (2006-8), and Glorious (2009-13), using the meandering form of walking and conversation to think through the circular, incremental and bodily processes within the performance work.

Expanding on the ideas of double wound (Caruth) and nostalgia (Aciman), this article discusses Davis' poetic autobiographic performances as examples of the terror and relief of repeating exilic pain.

Unique documentation of a year long performance project by one of America's most interesting performance artists; McMurry  set out to do a performance action every day for a year, attempting to confuse art and life.

41 minutes.
 

Exhibition catalogue; comprises essays and a section containing documents, hitherto unpublished interviews and a gallery discussion. Exhibition: 27 January – 1 May 2017, Museum Tinguely, Basel.

Offering an incisive rejoinder to traditional histories of modernism and postmodernism, this book examines the 1960s performance work of three New York artists who adapted modernist approaches to form for the medium of the human body.

Interview conducted by Lynnette Morgan, as part of the Collaborative Arts Partnership Programme residency. 

Handout and info for Shoot the Sissy LADA Screens event.

Existing in the space between imaginative proposition and a call to action, the book is an assemblage of provocations, proposals and potential ways of operating
 — ranging from navigating the city and inhabiting the margins to errant acts of reading; from preparing for the unexpected 
to learning how to ‘not know’, from minor acts of singular sedition to collective expressions of an insurgent ‘we’.

From 2012 to 2016, Foreign Affairs, the international performing arts festival of Berliner Festspiele, and the Berlin University of the Arts (UdK) have been investigating the relations between the performing and visual arts. The festival has continuously produced projects with international artists that experiment with various institutional frameworks. This book is both a question and a manual, collecting ideas, knowledge and experiences that stem from the theory and practices developed over the past few years.