Art made to attach to buildings or to be given away? Wearable art for street demonstrations or art that sets up a booth at a trade show? This is the art of the interventionists, who trespass into the everyday world to raise our awareness of injustice and other social problems. These artists don't preach or proselytize; they give us the tools to form our own opinions and create our own political actions. The Interventionists, which accompanies an exhibit at MASS MoCA, serves as a handbook to this new and varied work.
The Making of a Memory
In The Making of A Memory, Gob Squad have asked almost a hundred different people to write down what they can remember of the performance company’s work. The texts received make up fragmentary and sometimes conflicting accounts of what actually happened. Read as a whole they amount to a unique document of the company’s remarkable work over the last ten years.
Synwolt Verlag, Berlin, 2005, 206 pages, 31 colour photographs, 21cm x 15cm.
Following on from the highly successful first anthology of critical and theoretical writings on performance studies, this is an updated and significantly expanded second edition which brings the anthology up to date with current debate.
Opened to the public in 1987, The Power Plant made the leap from its previous life in an old trucking garage to its future in a renovated 1920s powerhouse building. The future is now and the gallery celebrates 20 years as Canada's leading public gallery devoted exclusively to the art of our time.
Shunt is a collective of 10 artists creating large-scale performance events in unexpected, abandoned or derelict buildings throughout London. Their current home is a sprawling labyrinth of railway arches under London bridge station : a republic with diplomatic immunity and a vast private army. This was the site of shunt's last two productions (Tropicana and Amato Saltone) and has hosted the shunt lounge since September 2006.
Auteur : A. Loizou
Année de publication : 2000
Hampshire (England) : Ashgate Publishing Limited.
The Portland Institute for Contemporary Art (PICA) was founded in 1995 by Kristy Edmunds, a respected young curator and artist. At that moment in Portland’s cultural landscape there was a clear need for contemporary art programming that would cross disciplines and engage a national group of artists with what was predominantly regional and local artistic dialogue. The previous contemporary art organizations in Portland had each closed their doors, and a gap between the established traditional institutions and what was emerging nationally let alone internationally was steadily growing.
Le programme de résidence :
Triangle met à disposition par le biais d'un appel à candidature bisannuel trois ateliers dans ses locaux de la Friche Belle de Mai.
Cet appel à candidature est ouvert à des artistes de toute nationalité. Cependant, le voyage de l'artiste n'est pas pris en charge par l'association.
Open Media and Video is grounded historically and intellectually in an art production which is hybrid in character. It provides a venue for diverse art forms such as performance art, installations, video and electronic art. Open Media and video integrates both theory and practice from a diversity of sources including the humanities, the sciences and all the creative arts. Charting its course beyond a singular discipline or a particular medium, it can become a place for social, political, ecological and gender-based issues.
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