Yvonne Rainer's The Mind is a Muscle (1968) stripped away the gestural conventions of dance or theatre narrative in an attempt to present the human subject on her own terms while at the same time manipulating the seductiveness of the image, increasingly being harnessed by capitalism.
Yvonne Rainer was a key figure in New York throughout the extraordinary cultural re-evaluations that occurred during the 1960s, experimenting actively within the new paradigms of minimalism and conceptual art as a dancer, choreographer and filmmaker...
Looking at Babette Mangolte's filming of key performance pieces of the 1970s, and at her own films and installation work, Barbara Clausen considers the relationship between performance and documentation forty years on.
Gregg Bordowitz examines the performance strategies of Pauline Boudry and Renate Lorenz to illuminate their approach to the representation of history.
Ian White examines the politics of representation in Lene Berg's Kopfkino (2012), considering the film's depiction of female sex workers as a reflection on how images are made and consumed.
How is ‘endurance performance’ to be interpreted against the backdrop of the current financial crisis? Ellen Feiss considers re-performance as labour in Marina Abramović’s recent projects.
Language is the material of Nine Scripts. In it, a small 'cast' including men and women of different ethnicities say a great amount of things, to the extent that this act of speaking is also its material...