Performancekunst

Marina Abramovics selvbiografi ”At gå gennem mure” er en stærk og dybt fascinerede fortælling af en kunstner, der gennem hele sit liv frygtløst har udforsket og skubbet kroppens og sindets grænser. Marina Abramovic er performancekunstens superstjerne og blev for alvor verdensberømt med sin over 700-timers performance, ”The Artist Is Present” på kunstmuseet MoMA i New York i 2010, hvor mere end 750.000 personer stod i kø for at kunne komme til at møde hende ansigt til ansigt. Fra 17. juni til 22. oktober 2017 viser kunstmuseet Louisiana i Humlebæk udstillingen The Cleaner, der er den første store retrospektive præsentation af Marina Abramovics arbejde i Europa.

Despite its large and growing popularity — to say nothing of its near-ubiquity in the world’s art scenes and international exhibitions of contemporary art — installation art remains a form whose artistic vocabulary and conceptual basis have rarely been subjected to thorough critical examination.In Installation Art: Between Image and Stage, Anne Ring Petersen aims to change that. She begins by exploring how installation art developed into an interdisciplinary genre in the 1960s, and how its intertwining of the visual and the performative has acted as a catalyst for the generation of new artistic phenomena. She investigates how it became one of today's most widely used art forms, increasingly expanding into consumer, popular and urban cultures, where installation's often spectacular appearance ensures that it meets contemporary demands for sense-provoking and immersive cultural experiences.The main trajectory of the book is directed by a movement aimed at addressing a series of basic questions that get at the heart of what installation art is and how it is defined: How does installation structure time, space and representation? How does it address and engage its viewers? And how does it draw in the surrounding world to become part of the work? Featuring the work of such well-known artists as Bruce Nauman, Pipilotti Rist, Ilya Kabakov and many others, this book breaks crucial new ground in understanding the conceptual underpinnings of this multifacious art form.Anne Ring Petersen is associate professor in the Department of Arts and Cultural Studies at the University of Copenhagen and the editor of Contemporary Painting in Context.

Dette er 13. udgave af kunstårbogen – 101 kunstnere – der præsenterer værker af danske kunstnere på et højt kvalitetsniveau og dermed illustrerer, hvor udbredt billedkunsten er i dagens Danmark.Bogens vigtigste formål er at vise den mangfoldighed, der eksisterer i dansk kunst. Man kan finde god kunst overalt, bogstaveligt talt fra Gedser til Skagen og i alle mulige afskygninger. God kunst skabt af mennesker, der brænder for sagen, og som konstantarbejder målrettet på at blive bedre. Det er disse kunstnere, denne bog gerne vil hylde.Bogen er til alle – galleriejeren, bestyrelsesmedlemmet i en kunstforening og den almindelig kunstinteresserede borger – der vil lære kunsttalenter i alle aldre og fra alle dele af landet at kende og for at se, om der er noget, der fanger.Bogens redaktør, Tom Jørgensen, er kunsthistoriker og anmelder ved Kunstavisen og Jyllands-Posten samt kunstformidler, forfatter og foredragsholder.

I essaysamlingen Hvor kunst hører til besøger den amerikanske forfatter og filminstruktør Chris Kraus en række udstillinger, kunstnere, værker, fester, kyster og byer i en afsøgning af, hvad og hvor kunst kan være. Hvor kunst hører til er en invitation til snakke med hinanden om kunsten, tænke over den og spørge til den. Det er en bog, der betragter kunstverdenen som den pengemaskine, den (også) er, uden at afskrive den og som samtidig insisterer på håbet om, at kunsten stadigvæk spiller en rolle for vores fællesskaber. Ikke for de få, men for os alle sammen.Bogen er oversat af Nanna Friis og Emma Holten.”Det er muligt at være vildt intelligent og samtidig ikke have nogen viden. Denne tilstand – der som regel hænger sammen med ungdom eller forlænget pubertet – resulterer tit i kedsomhed, den eksistensielle stamfader til stort set alle væsentlige kunst- og kulturbevægelser.”

Drawn from private collections around the world, this is the first comprehensive collection of the Saturn label's printed record covers, along with hundreds of the best hand-designed, one-of-a-kind sleeves and disc labels decorated by Sun Ra and members of his Arkestra.

♥ ♥ ♥ ♥ ♥Politiken "Ekstraordinær" Politiken "Fascinerende" Guardian Irske Sara Baume tog læserne med storm i sin umådeligt smukke debutroman vælde vokse vakle visne, og i hendes anden roman lever hun op til forventningerne, med en stadig sart og seismografisk, men denne gang også nærmest humoristisk-sarkastisk skrivestil. Linje trådt af trin er en roman om kreativitet og depression; en ganske ung kunsthistoriker opholder sig i sin afdøde mormors hus og prøver at finde ro til at finde ud af, hvad der er op og ned i tilværelsen.Hele tiden tester hun sin hukommelse ved at remse kunstværker af op, ligesom hun holder sig beskæftiget med bl.a. at fotografere døde dyr, alt imens hun undviger fra at se sig selv i spejlet, især i den mentale betydning.

Vinteren 1993. En ung europæer lander i New York og opsøger det legendariske performanceteater The Wooster Group i Soho for at indtage scenen og blive den ny Willem Dafoe. Hans fortid er sløret, men sammen med sit rockband har han få år inden tilsyneladende medvirket til Sovjetunionens sammenbrud. Nu er han pludselig her, har ingen penge og intet sted at bo. Alt, hvad han har, er en liste med telefonnumre og adresser, nogen har givet ham. Han ringer på et tilfældigt sted og bliver lukket ind i et velourbeklædt parallelunivers af et sært blonderet væsen i silkepyjamas. Fra det øjeblik spaltes romanen og verden i to: mareridt og vision, kunst og liv, regler og kaos, sex og død. The Monster af Madame Nielsen er en New York-gyser, en vision om det, der skal komme.

Marina Abramović og Ulay mødtes 30 november 1975, på hvad der viste sig at være begges fødselsdag. Hun havde netop afsluttet en performance, hvor hun skar en femtakket stjerne ind i sin mave med et barberblad. Han optrådte som tvekønnet væsen med halvdelen af ansigtet kraftigt sminket, og den anden usminket og med skægstubbe. De dannede par som elskende og kunstnere, og sammen udførte de nogle af de mest banebrydende performances i kunsthistorien.I Relations in Space gik de frontalt ind i hinanden igen og igen i over en time. I Rest Energy afbalancerede de hinanden omkring en udspændt bue, med pilespidsen rettet mod Marinas hjerte. I Nightsea Crossing sad de tavse overfor hinanden i syv timer, gentaget 22 gange mellem 1981 og 1987. I deres sidste, fælles performance i 1988 vandrede de fra hver deres ende af den kinesiske mur, over 4000 km. i alt. Da de endelig mødtes, var det ikke, som først planlagt, for at blive gift, men for at gå endegyldigt fra hinanden.Efter først et rørende gensyn under Marinas performance The Artist is Present i 2010, og senere en bitter retslig konflikt om rettigheder i 2015, besluttede Ulay og Marina at mødes en sidste gang, til en samtale om deres kærlighedsforhold og fælles, kunstneriske projekt. På sin egen måde var også denne samtale et kunstværk, men som alle Marinas og Ulays fælles performances et værk som søger sandheden bag de masker og forsvarsværker, vi normalt beskytter os med. Denne gang er det ikke udmattelse og smerte, der nedbryder grænser, men bevidstheden om den kræftsyge Ulays nært forestående død.Indbinding: Hardcover bog med foliepræg og billede + kassettePapir: 120 gr. Munken Polar Rough, 150 gr. Silk

The publication IF THE SNAKE guides you through the 18 exhibiting artists and collaborative projects behind the Okayama Art Summit 2019 convened by Pierre Huyghe as artistic director. The book distinguishes itself as an artist book with concept, text, and photography by Pierre Huyghe, guiding the reader into the state of being at the exhibition in Okayama.Including works by: Tarek Atoui, Matthew Barney, Etienne Chambaud, Paul Chan, Ian Cheng, Melissa Dubbin & Aaron S. Davidson, John Gerrard, Fabien Giraud & Raphaël Siboni, Glass Bead, Elizabeth Hénaff, Eva L’Hoest, Fernando Ortega, Sean Raspet, Lili Reynaud-Dewar, Pamela Rosenkranz, Tino Sehgal, Mika Tajima

The artist duo Michael Elmgreen & Ingar Dragset continues to devise new ways of presenting and perceiving art through their subversive and versatile work. The updated and expanded edition of Elmgreen & Dragset: Sculptures is the most comprehensive study to date of the duo's sculptures from the mid-1990s to the present day. Visually designed to reflect the aesthetic and concep-tual working methods developed by the artist duo over the course of their careers, the book features detailed photographic documentation as well as four seminalessays on the artist duo's oeuvre. MICHAEL ELMGREEN (*Denmark) and INGAR DRAGSET (*Norway) have been working together since 1995. Their work explores socio-cultural and political themes such as the challenges of growing up, queer issues, the construction of identity, consumer culture, and the privatization of public space. The artist duo has received numerous prizes, including the Preis der Nationalgalerie in Berlin (2002) and a Special Mention at the Venice Biennale (2009).

Conceived as an archive, the book brings together the experiences of Frequencies, a global participatory project initiated by multimedia artist Oscar Murillo in 2013. Part of the artist's multimedia practice, Frequencies addresses the notion of community through the lens of its making. For over a decade, it has involved members of Murillo's family, studio team and collaborators, visiting schools around the globe, fixing raw canvas onto classroom desks, and inviting the students to freely mark, write and draw on them for a period of approximately six months. Murillo has collected an archive of canvases, which he presented in various interactive exhibitions. OSCAR MURILLO (*1986, La Paila, Colombia) has developed a multi-faceted and ambitious practice that spans painting, collaborative projects, video, sound and installation. He received his MFA from the Royal College of Art in 2012 and was one of four artists to collectively win the prestigious Turner Prize in 2019.

Anfang der 1960er-Jahre formulierte Franz Erhard Walther (geb. 1939 in Fulda, lebt und arbeitet ebenda) im Umfeld des Minimalismus einen offenen Werkbegriff, der die Betrachter*in als Akteur*in miteinbezieht. Walther erhob die Handlung zum Werk und beeinflusste damit ganze Generationen von Künstler*innen. Aufgrund seiner andauernden Aktualität und Relevanz für die gegenwärtige Kunst sowie zu Ehren seines 85. Geburtstages plant die Bundeskunsthalle für das Jahr 2024 eine große Übersichtsausstellung zu seinem Werk.   Die Ausstellung in Kooperation mit der Franz Erhard Walther Foundation zeigt eine konzentrierte, repräsentative Auswahl von handlungsbasierten Werken und Zeichnungen "als Innenblick" aus verschiedenen Perioden sowie filmische Dokumentationen. Eigens angefertigte Exhibition Copies können von den Besucher*innen aktiviert werden. Durch die Interaktion zwischen Körper und Objekt wird jede*r selbst zum Teil des Kunstwerks. Der Katalog enthält einen umfangreichen Bildteil und einen ausführlichen Textteil mit Essays von u. a. Selen Ansen, Luisa Fink, Gregor Quack, Erik Verhagen und Peter Weibel.  "Bilder im Kopf, Körper im Raum"- Franz Erhard Walther     Action As Sculpture  In the early 1960s, Franz Erhard Walther (b. Fulda, 1939; lives and works in Fulda), moving in the orbit of the Minimal Art movement, devised an open conception of art that involves the beholders as active participants. His understanding of their actions as the actual work would inspire entire generations of artists. In recognition of his abiding influence and relevance to contemporary art and in celebration of his eighty-fifth birthday, the Bundeskunsthalle is planning a grand exhibition surveying his oeuvre to be held in 2024.  Produced in cooperation with the Franz Erhard Walther Foundation, the exhibition presents a focused and representative selection of action-based works as well as drawings from different periods that provide "inside views" and documentary footage. Visitors will be encouraged to activate the exhibition copies produced especially for the occasion. In the interaction between body and object, everyone becomes part of the work of art. The catalogue features an extensive image section and a text part with wide-ranging and in-depth essays by Selen Ansen, Luisa Fink, Gregor Quack, Erik Verhagen, Peter Weibel, and others.

Inmitten der bis heute wegweisenden Konzeptkunst der 1970er-Jahre und im Umfeld der feministischen Avantgarde entwickelte Rose English (geb. 1950 Hereford, GB) ihre einzigartige Arbeitsweise. Heute zählt sie zu den einflussreichsten Performance-Künstler*innen mit einem außergewöhnlich vielschichtigen OEuvre. In ihrem Werk verbindet sie Elemente von Theater, Zirkus, Oper, Comedy und Poesie, um die Themen der Geschlechterpolitik, der Identität von Performer*innen und der Metaphysik der Präsenz - die eigentliche Natur von Performance - interdisziplinär zu erforschen. Sie kollaboriert in ihrer künstlerischen Praxis immer wieder mit einer Vielzahl an Mitwirkenden, darunter Musiker*innen, Sänger*innen, Tänzer*innen, Filmemacher*innen, Zirkusartist*innen, Zauber*innen und auch Dressurpferden.  Die Publikation Memory Theatre erscheint im Rahmen von Englishs Einzelausstellung im Museum der Moderne Salzburg. Das Buch gibt einen explorativen Überblick in  das 50 Jahre umspannende Werk der Künstlerin. Neben zahlreichen Abbildungen und Dokumentationen der Performances enthält der Katalog Essays von Connie Butler,  Paul Clinton, Nicole Haitzinger, Lisa Moravec, Marijana Schneider und Amy Tobin.    Ballet, Dressage, Baroque in Service to Feminism  Rose English (b. Hereford, UK, 1950) developed her singular practice surrounded by the conceptual art of the 1970s, which remains seminal today, and in the orbit of the feminist avant-garde. Boasting an extraordinarily diverse oeuvre, she ranks among the most influential performance artists of our time. Her art combines elements of theater, circus, opera, comedy, and poetry for an interdisciplinary investigation of themes including the politics of gender, the identities of performers, and the metaphysics of presence-the true nature of performance. Many of her works have been collaborative productions involving a large cast of participants such as musicians, singers, dancers, filmmakers, circus artists, magicians, and even dressage horses.  The publication Memory Theatre is released on occasion of English's solo exhibition at the Museum der Moderne Salzburg. Presenting an exploratory survey of the artist's oeuvre, which now spans five decades, the richly illustrated catalogue contains extensive documentation as well as essays by Connie Butler, Paul Clinton, Nicole Haitzinger, Lisa Moravec, Marijana Schneider, and Amy Tobin.

Kann Kunst heilen? Die Welt zu einem besseren Ort machen? Zenita Komad möchte mit ihrer Arbeit genau das. Sie wendet sich mit außergewöhnlichen grafischen und skulpturalen Werken, Objektbildern, Installationen und Inszenierungen, mit klaren oder rätselhaften, kraftvollen, tiefgründigen, poetischen und oft auch witzigen Botschaften an die Menschen, um auf der Basis einer Verständigung zwischen unterschiedlichen Überzeugungen, Weltanschauungen und interreligiöser Spiritualität für eine gemeinsame Verantwortung für die Welt zu werben - denn alles steht mit allem in Verbindung.NIE WIEDER KRIEG! (Ausstellung im KULTUMuseum Graz, 3.2. bis 26.5. 2024) DER KRIEG IST AUS! (Ausstellung im MMKK Klagenfurt, 8.2. bis 19.5.2024)DIE WAFFEN NIEDER! (Installation, Land-Art-Projekt Die Grube/The Pit von Peter Noever, Breitenbrunn bis September 2024)So lauten drei aktuelle Groß-Projekte von Komad zum Thema Frieden und Gerechtigkeit. Sie laufen gut drei Monate lang parallel in drei Bundesländern. Open-Air-Installationen machen die titelgebenden Imperative der Zeit nach den Weltkriegen aus der Vogelperspektive lesbar und verbinden die Projekte zu einer Trilogie.Die Monografie zeigt sehr aktuelle Werke und solche aus den vergangenen Jahrzehnten, ergänzt dazu eine ausführliche Einführung von Johannes Rauchenberger, ein Gespräch der Künstlerin mit Chris­tine Wetzlinger-Grundnig, ein vollständniges Verzeichnis der gezeigten Arbeiten sowie die Vita von Zenita Komad.

This book strikes at the heart of musical performance with a study of the relationship between music and rhetoric which was much remarked upon during the Renaissance and Baroque periods. The ideas of the classical rhetoric books are traced through the Tudor classroom to the late eighteenth century. Concentrating on performance techniques that aid the communication of musical ideas to an audience, historical source material is used to demonstrate how to hold the attention of the listener and at the same time move and delight them. Quotations from the rhetoric manuals, Shakespeare and the Bible are complemented by over one hundred musical examples, drawn mainly from the seventeenth and eighteenth centuries, illustrating the connection between speaking and playing in the rhetorical style.

Accessible to a wide range of readers, from artists to commuters to nature lovers and beyond, who wish to expand their understanding of walking.

an Flavin began work with fluorescent light tubes from the early 1960s on; arranged in so-called 'situations', he would then further develop them into series and large-scale installations. The colours and dimensions of the materials he used were prescribed by industrial production. Flooded in light, viewers themselves become part of the works: The space, along with the objects within it, are set in relation to each other and thus become immersive experiences of art triggering sensual, almost spiritual experiences. Flavin liberated colour from the two-dimensionality of painting. The catalogue places emphasis on looking at Flavin's oeuvre in a less familiar setting: His pieces, although initially without clearly recognisable signature, frequently make reference in their titles to concrete events, such as wartime atrocities or police violence, or are dedicated to other artists - as in the work untitled.Text: Text: Aden Kumler, Simon Baier, Elena Degen, Jules Pelta Feldman, Josef Helfenstein, Aden Kumler, Daniel Kurjakovic, Arthur Fink, Olga Osadtschy, Mechtild Widrich.

Gonzalez-Foerster works experimentally. Engaging with the exhibition as a medium, her spatial inventions and investigations probe the notion of display, as well as how an image or scene is experienced. Drawing on wide-ranging references from music, literature, film, architecture and pop culture, the artist creates densely layered environments with the ability to transport viewers into alternative narrative, temporal and psychological dimensions.Alienarium 5 is a speculative environment that invites us to imagine possible encounters with extraterrestrials. The catalogue is a culmination of her decades-long interest in science fiction and continued research into deep space and alien life. Conceived site-specifically for Serpentine, the exhibition will feature almost entirely new work that engages both the gallery's internal and external space.Ed.: Tatiana Kontou, Hans Ulrich Obrist, Dominique Gonzalez-Foerster.

Hvad tænkte Bjørn Nørgaard på, da han en formiddag i 1970 slagtede en hest på en mark i Kirke Hyllinge? Var der en dybere mening, da Lene Adler Petersen gik nøgen gennem Børsen i København, bærende på et kors, mens mæglerne måbede? Hvorfor skabte Jens Galschiøt Skamstøtten til minde om massakren på Den Himmelske Freds Plads i Beijing, og hvorfor havnede den i Hong Kong, hvor den nu er låst inde? Niels Frid-Nielsen viser i Provokunst, hvordan kunstnere i 100 år har provokeret, udfordret og konfronteret det borgerlige samfund og er blevet mødt med censur, hån, had, latter og masser af debat. Provokunst er en kulturhistorisk skildring af spektakulære kunstneriske kontroverser, som dengang Wilhelm Freddie fik forbudt et maleri af en penis på en kvindes kind. Dengang Julemandshæren delte gaver ud fra et stormagasins hylder og blev anholdt for det. Dengang Lars von Trier udtrykte forståelse for Hitler på filmfestivalen i Cannes, Dan Turèll klippede sig skaldet og malede sine negle sorte, og et laserlys på Vestkysten satte sindene i kog. Men Provokunst handler også om en nutid, hvor Asger Jorn får et værk overklistret, Jens Haaning tager pengene og løber, da Kunsten i Aalborg bestiller et værk af ham – og en buste af Kong Frederik 5. bliver smidt i Københavns havn. Provokunst spørger, om alle disse aktioner og provokationer har rykket ved grænserne for ytringsfriheden og gjort os mere tolerante, antiautoritære og kritisk tænkende?

Artist Rebecca Horn sees herself as an inventor, director, author, composer, poet, and, first andforemost, a choreographer. She uses the idea of embodiment and creates symbols to expressthe interconnectedness, at a technical and physical level, between her first works on paper in the1960s, her early performances and films of the 1970s, her mechanical sculptures from the 1980son, and the large-scale installations she embarked on in the 1990s. Horn repeatedly uses thelanguage of dance as a medium and catalyst for her choreographic fictions. The catalogue showsa selection of her works spanning six decades and includes installation shots of her artworks inthe exhibition, and unpublished historical images.Rebecca Horn, b. 1944, is one of the most important contemporary artists on the internationalscene by virtue of her transdisciplinary work. She has featured in numerous editions of documenta,the Venice Biennale, the Biennale of Sydney, the Tokyo Biennale, the São Paulo Biennale, andCarnegie International. Hendrik Folkerts is Curator of international contemporary art and ExhibitionDirector at Moderna Museet in Stockholm. Jack Halberstam is Director of the Institute for Researchon Women, Gender and Sexuality at Columbia University. Jana Baumann is Senior Curator atHaus der Kunst in Munich. Nancy Spector is a Curator, who has held positions at the Solomon R.Guggenheim Museum in New York and the Brooklyn Museum. Timothy Baum, expert on Dadaand surrealism, was a companion and performer in Rebecca Horn's films.

With the first appointment of the outstanding performance artist Marina Abramovic to the Pina Bausch Professorship at the Folkwang University of the Arts, the focus in the 2023-23 academic year was placed on transdisciplinarity, artistic daring and social awareness.The project supervised by Abramovic, entitled "Free Interdisciplinary Performance Laboratory (FIPL)", was realised in a class put together by her, in which she brought together over 20 students from the fields of music (classical and jazz, instrumental, vocal and composition), dance, design, photography, (physical) theatre and directing. The students developed individual or collective concepts for performances and learnt how to develop a long-term performative work form in an experience-based process. In a workshop entitled "Cleaning the House", which was organised according to a method developed by Marina Abramovicmethod developed by Marina Abramovic, the students developed a sense of the presence required in performances, including the exploration of their individual physical and mental limits. The outstanding performance artist Marina Abramovic was the first holder of the new Pina Bausch Professorship at the Folkwang University of the Arts in Essen in 2022/23. She focused on transdisciplinarity, artistic daring and social awareness. In her Free Interdisciplinary Performance Laboratory (FIPL), Abramovic brought together over twenty students from the fields of music, dance, design, photography, (physical) theater and directing. Over two semesters, they realized artistic-performative projects that dealt with agency, resilience and body awareness and explored physical and mental boundaries.

How We Hold: Rehearsals in Art and Social Change is an invitation to arts educators, facilitators, organisers and those who are interested in working collectively with others, who want to use creative practice to work towards change, through personal and social transformation. Designed to be used both within organisations and as a tool to critique them, How We Hold supports dissenting and oppositional conversations, and offers pragmatic challenges to neoliberal and colonial models of education and administration still found in museums, arts organisations and other institutions today.Ed.: Layla Gatens and Jemma Egan.

BEING WORK is a collection of essays by dance and theater artists that offer access to varied experiences of performing in live exhibitions. The authors capture a spectrum of mundane and profound moments that arise within performance gig work in visual arts contexts such as museums, galleries and art fairs, detailing the day-to-day practice of inhabiting art work as well as reflecting on broader questions of how they got there and the impact it has had on their outside lives. While providing very personal, human perspectives on what it feels like to perform in visual arts spaces, BEING WORK asks its audience how a performer's labor is perceived and valued in these spaces, and what new possibilities might unfurl within the, at times fraught, coexistence of the two mediums.Contributors include: Mireya Lucio writing on being the work of Marina Abramovic, Casey Brown being the work of Maria Hassabi, Jessica Emmanuel being the work of Xu Zhen, Kestrel Leah being the work of Julien Previeux, Allie Hankins being the work of Gordon Hall, effie bowen being the work of Narcissister, Dorothy Dubrule being the work of Tino Sehgal and Paul Hamilton being the work of Bruce Nauman. Illustrations by Eileen Echikson accompany each essay to draw out the many thoughts, interactions, sensations and associations that encompass the experiences described.

Tremulations präsentiert Objekte aus dem Archiv des Swedenborg-Hauses sowie Schriften und Kunstwerke u.a. von Marcel Duchamp, Meret Oppenheim, Yayoi Kusama und Apichatpong Weerasethakul. Die Publikation stellt die Orthodoxien des institutionellen Kuratierens in Frage und nimmt dabei wenig Rücksicht auf die traditionellen Formen der Kategorisierung der Welt. Sie kombiniert Elemente aus dem Archiv des Swedenborg-Hauses, darunter die Ohrknochen des Mystikers Emanuel Swedenborg, mit Werken der modernen und zeitgenössischen Kunst und Literatur. Der Katalog ist nach Swedenborgs "Neun Regeln der Tremulation" gegliedert und wird in Kapiteln unterteilt, die sich im physischen, zeitlichen und virtuellen Raum des Swedenborg-Hauses manifestieren. Swedenborgs Regeln sind ein Schema, um historische und zeitgenössische Formen der Verbreitung und Übertragung zu erforschen: Spiegelbilder, Träume, Reflexionen, divinatorische Visionen, Phantasien, Erinnerungen, Prophezeiungen und Halluzinationen sowie filmische Projektionsformen, die sich älterer Vermittlungstechnologien als Fernsehen und Video bedienen, sowie postkinematische und virtuelle Formen: The Bridge von Mark Leckey; Hilma af Klint: The Temple und It will End in Stars von Nathalie Djurberg & Hans Berg.

This Element focuses on Sleep No More, the iconic immersive theatre production of Macbeth produced by the British company Punchdrunk. Sleep No More and the Discourses of Shakespeare Performance frames this Shakespeare adaptation as part of a system of ghostly citationality through which audiences understand the significance of the past in performance today. Moreover, despite its seemingly analog format, Sleep No More is discussed as a valuable site for media research. And the concept of 'uncanny spectatorship' is introduced to describe audience practice in Sleep No More and other performance contexts. Ultimately, this Element offers readers the opportunity to explore a set of concepts that are significant to the study of Shakespeare in performance and to consider the ways in which audiences interact with bodies, spaces, text, and media in Sleep No More and other immersive experiences.

Mona Hatoum gilt als eine der einflussreichen Künstlerinnen ihrer Generation. Im Zentrum ihrer Arbeit steht die Auseinandersetzung mit Vertreibung und Ausgrenzung. Das Buch versammelt Schlüsselwerke der Künstlerin, von ihren Performances der 1980er Jahre bis hin zu neuen Skulpturen und Installationen.Text: Marius Babias, Kathrin Becker, Tamar Garb, Mona Hatoum.

From themed entertainment to business and beyond, anyone involved in leading creative teams will benefit from Kile's extensive expertise. He has produced events around the world for over thirty years, from Stanford and Harvard alumni campaigns to stadium-sized spectacles, and here he shares techniques for working with people to create impactful experiences, ensuring a powerful, emotional connection between story and audience.Creative Catalyst walks you through ideation and concept design to final implementation, learning how to inspire creativity and production...and have fun along the way.

Einblicke in das Frühwerk des Künstlers, insbesondere in seine bisher nie veröffentlichten Performance Pieces aus den 1960er Jahren. Die Publikation enthält umfangreiches unveröffentlichtes Material.Ed.: Barbara Wien

Volume 2 of James Byar's "1/2 An Autobiography" adds significantly to the existing scholarship on the life and work of the artist and completes a lasting monograph of his complex oeuvre. This volume shows the full scope of the artist's work with 125 sculptures, costumes, performable paper works, films, ink paintings, correspondence, ephemera, live performances, documents and previously unpublished material.Text: Magalí Arriola, Peter Eleey, Ana Janevski, Shinobu Sakagami and Pan Wendt. Conversation between Jocelyn Miller, Robert Landsman and Sandra Lang-Landsman,

Die erste Monographie zu einer in Deutschland bislang wenig beachteten Künstlerin. Enthält umfangreiches Bildmaterial aus Raspés Archiv, Film-Stills sowie Installationsansichten.Text: Kari Rittenbach, Emily LaBarge, Anna Gritz, Eva Wilson.