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Welcome to the Live Art Development Agency’s
2018-19 Annual Review

LADA is a Centre for Live Art: Live Art is a way of ‘thinking’ about what art is,
what it can do, and where and how it can be
l a knowledge and research centre; experienced: drawing from performance art,
l a production centre for programmes and publications;
visual art, theatre and dance, Live Art is driven
l an online centre for digital representation and resources.
by artists who are working across disciplines,
As the world’s leading organisation for Live Art, LADA works contexts and sites to open up new artistic models,
to develop new contexts, communities and conversations in new languages for the representation of ideas
relation to Live Art and Performance practices. and identities, new ways of animating spaces and
places, new approaches to engaging audiences
Through our Projects, Opportunities, Resources and and intervening in public life, and new strategies
Publishing activities we create new artistic frameworks, of creative resistance.
legitimise unclassifiable art forms, give visibility to untold
histories and agency to underrepresented artists. Our work If you want to know what the mainstream
sets artists and ideas in motion, serves as a research lab for will be up to in ten years’ time, just look
mass culture, and contributes to the wider culture in the at what Live Art is doing now.
long-term in ways which can’t be foreseen. The Guardian
2018-19 was another busy year for LADA:
We settled into our new home at The Garrett Centre in
East London; collaborated on a wide range of events and
activities in London, the UK and internationally; produced
a host of new publications, online projects, and professional
development opportunities for artists; developed new
resources and research initiatives; said goodbye to some of
the team and welcomed new staff members to LADA.
We also marked our 20th Anniversary and launched a
series of celebratory initiatives to take place across 2019.
We send our thanks and appreciation to everyone who has
supported and engaged with our work over the last 20 years,
and all the artists who make everything we do possible.
Best wishes,

Lois Keidan

Live Art Development Agency is a vibrant nexus

for the most extraordinary imaginations, bodies
and voices – making art possible in the intimate,
unexpected and dangerous spaces of life. Its
impact is profound, its heart enormous, its
courage legendary.
John McGrath, Artist Director of Manchester
International Festival Cover: Katherine Araniello. Image GraceGraceGrace/Manuel Vason
LADA engages with Live Art archives and histories Reza Abdoh
through collaborations with artists, curators,
Reza Abdoh (1963-95) was an Iranian-born American theatre
scholars, writers, activists and researchers. We director and playwright known for his groundbreaking, large scale,
aim to give visibility to untold histories and experimental productions. Abdoh died of AIDS in 1995 at the age
underrepresented artists and practices, to better of 32, having created an impressive body of stage spectacles known
understand how we got to now and how we can for their sensory overload, ferocious energy and hallucinatory
better shape the future. dreamscapes. Abdoh was an enigmatic and prolific creative force and
with his company Dar A Luz, formed in 1991, he created productions
In 2018-19, we produced a range of new publications that have made a major impact on experimental theatre worldwide
and whose influences are still being felt and talked of to this day.
and resources that contributed to the awareness LADA’s Study Room holds the only complete collection of Reza
of Live Art’s histories, and collaborated on key Abdoh’s work in the UK.
projects looking at recent and distant pasts, and
To mark World AIDS Day in 2018, we screened Reza Abdoh, Theatre
marking the significance of influential artists on Visionary, a documentary film by Adam Soch (2015), the first
the culture of today. opportunity for UK audiences to see this full-length film.

Reza Abdoh. Image Adam Soch 3


Robin Bale, Yet I Came After. Image the artist Something Other, Archives of Now. Image Gareth Damian Martin

Edge of an Era Edge of an Era 2019 saw five new

commissions by artists who responded
At a moment in time in which
artificial national borders are
In the late 1980s, Performance Magazine to the materials in the archive. Robin
(1979-1992) started presenting some of the Bale’s Yet I Came Later responded to being hardened, in which the
first site-specific performance art events Alastair MacLennan’s Bled Edge (EDGE migration of people is curtailed
in the UK, including Art in Danger, At the 88), Morgan Quaintance’s Anne, Richard, and criminalised, gentrification
Edge and Last Sweat of Youth at the Diorama Paul responded to the Bow Gamelan
and Air Gallery. This culminated in EDGE Ensemble’s White Lightning (At The
empties urban neighbourhoods of
88, one of London’s first site-specific Edge 1987), Adam Patterson’s Looking for communities and their cultures,
performance/installation festivals, which Looking for Langston responded to Isaac and institutions (which are often
was attended by artists such as Helena Julien’s Looking for Langston (EDGE 89), neglectful of, or indifferent to, Live
Goldwater, then at the start of her career. Zvikomborero Mutyambizi responded to
Mona Hatoum’s Reflections on Value (EDGE
Art) are calcified by corporate
Thirty years later, Helena Goldwater, in
88), and Something Other (Maddy Costa, concerns, it is far more strategic
collaboration with LADA and Rob La
Frenais (former editor of Performance Diana Damian Martin and Mary Paterson) to insist on the importance
Magazine and Director of EDGE 88), explored the notion of correspondence with of these achievements and
developed Edge of an Era, a project feminist practices from the 1980s.
collaborations past and present,
revisiting these seminal performance
art events through new commissions, Marking the 30th birthday of which open up alternative
workshops in London and the North, a EDGE 88, a 12 day festival of methods, sites and routes for
public event in London celebrating the
performance art that took place navigating art’s future.
30th anniversary of EDGE88, and the
creation of an online archive. in the same Central London Eleanor Roberts,
spaces three decades ago, 2019’s writer and researcher
The Edge of an Era archive was compiled
from materials generously provided Edge was many things at once: a
Edge of an Era 2019 was curated by Helena
by artists, studios and archivists, and commemoration, a celebration, a Goldwater, Rob La Frenais, Alex Eisenberg
digitised for this project. Throughout
2019, we will continue to research,
performance of performances, a and LADA, produced in partnership with
reunion, a marking of what once Artsadmin and Central Saint Martins,
collate and digitise, and add materials
University of London, and supported using
from many other artists involved in all was and the legacy with which it public funding by Arts Council National
the EDGE programmes and events, and now challenges the present day. Lottery Project Grants and the Jonathan
add them to the Edge of an Era archive.
Louise Gray, The Wire, Ruffer Curatorial Grant from Art Fund.
March 2019

Top: Adam Patterson, Looking for Looking for Langston. Film still
Bottom: Morgan Quaintance, Anne, Richard & Paul. Film still 5

LADA marked its 20th birthday in January

2019; we are celebrating our anniversary
Tim Etchells, Andy Field, French &
Mottershead, RoseLee Goldberg, Guillermo
Tiny Live Art
with a series of initiatives throughout the Gómez-Peña, Jen Harvie, The Institute For (Development Agency)
year, including: The Art And Practice Of Dissent At Home, – 20 works for 20 years
Dominic Johnson, Amelia Jones, John
Limited Edition artworks
AGENCY, A Partial Jordan, Lois Keidan, Alastair MacLennan,
by Robert Daniels
John E. McGrath, Jordan McKenzie, Hayley
History of Live Art Newman, Martin O’Brien, Kira O’Reilly, For LADA’s 20th anniversary, artist Robert
A major publication, Mary Paterson, Project O, Alan Read, Daniels has created the special edition Tiny
edited by Theron Schmidt Heike Roms, Rajni Shah, Joshua Sofaer, Live Art (Development Agency) - 20 works for
Co-published by LADA Selina Thompson, Jane Trowell, Johanna 20 years: 20 miniature sculptures of iconic
Tuukkanen, the vacuum cleaner, Manuel
and Intellect Books Vason, Lois Weaver, Catherine Wood.
performance works, which were nominated
by artists and curators.
Notoriously difficult to define, Live Art
is commonly positioned as a challenge Part re-enactment, part archive, part
This is a book about ‘relations hobby, Tiny Live Art embraces and embodies
to received artistic, social, and political
categories: not theatre, not dance, not visual
and commitments’, to borrow theories and practices of performance
art, and often wilfully anti-mainstream and a phrase from the introduction: documentation, re-enactment and the
anti-establishment. But as it has become histories, practices, discourses, making and sharing of memory, and draws
increasingly prevalent in international from aspects of street art, installation and
places, people, ideas, politics. hobbyist pursuits like model railway and
festivals, major art galleries, and university
courses, it is ripe for a reassessment. It maps and narrates a ‘field’ airfix kit building.
of art practices and where Robert Daniels has created two sets of Tiny
With almost 50 contributing artists and
scholars, this collection of conversations, those practices, those ways of Live Art (Development Agency) editions. One
provocations and images takes LADA’s 20th working, complicate and disturb set of editions is made up of twenty pieces
anniversary as an opportunity to consider other activities: activism, living, which have been created with a bespoke
not only what Live Art has been against, display and are exclusively available as
teaching and research. It may one-off works for sale on Unbound. The
but also what it has been for. Through the
work of this particular ‘Agency’, the book well turn out to be the book that I second set are enclosed within bell jars,
explores the idea of agency more generally: will be pointing students towards and will be on permanent display in
how Live Art has enabled the possibility for LADA’s Study Room.
first for some while, to orient
new kinds of thoughts, actions and alliances
for diverse individuals and groups.
themselves in this field.
Joe Kelleher, Professor of Theatre
Contributors: Barby Asante, Ron
Athey, David A. Bailey, Anne Bean, and Performance, University of
Bryan Biggs, Cassils, Simon Casson, Roehampton London
Top left: AGENCY: A Partial History of Live Art.
George Chakravarthi, Curious, Richard Front cover design by David Caines
DeDomenici, The Disabled Avant-Garde, Top right: Tiny Live Art (Development Agency)
by Robert Daniels, featuring Martin O’Brien,
6 It’s Good To Breath In (This Venice Air)
Tiny Live Art LADA at 20 Over the last 20 years, the
(Development Agency) Postcard set Live Art Development Agency
List of works has made an immeasurable
A special box set collection of 20 postcards
representing key LADA projects and
contribution to the development
Marina Abramović, 7 Easy Pieces,
initiatives 1999-2019. of Live Art. LADA, like Live Art
reperforming Gina Pane’s,
The Conditioning, first action Featured artists: La Pocha Nostra, Curious,
itself, is in a constant process
of Self-portrait(s) (1973) The Disabled Avant-Garde, Dickie Beau, of evolution: it stays live to the
l Franko B, I Miss You! Franko B, George Chakravarthi, Harold moment, continually searching
l Kira O’Reilly, Stair Falling Offeh, Katharine Meynell, La Ribot, out new partners and contexts.
l Ron Athey, Self Obliteration The Famous Lauren Barri Holstein, Lois
Weaver, Martin O’Brien, Nando Messias,
Its ‘agency’ is to effect action
l La Ribot, Another Bloody Mary

l Martin O’Brien, It’s Good To Neil Bartlett, Nicola Hunter, Oleg Kulik, or intervention. We have now
Breathe In (This Venice Air) Oreet Ashery, Ron Athey, Sibylle Peters and reached a cultural period post
l Lone Twin, Totem
Yang Zhichao. ‘the performative turn’. Major
l Bobby Baker, Drawing On And more international cultural institutions
A Mother’s Experience
Other 20th anniversary activities are understanding the value of
l Oreet Ashery, Hairoism

l Selina Thompson, Pat It and Prick It

across 2019 include: the ‘live’ in the context of fine art.
and Mark It with ‘B’ l 20 x 20: artists reflect on 20 years of LADA. LADA has been instrumental in
l Tania El Khoury, Gardens Speak A radio series for Resonance FM in which this cultural shift, which can now
l Harold Offeh, Covers intergenerational pairings of artists discuss be felt across the world.
l Aaron Williamson, Artist Leaps Live Art histories and futures
Joshua Sofaer, artist
On To The Gallery Wall l Live Art on the page, the stage and
l Station House Opera, The Bastille Dances
the screen. A series of free events at
l Guillermo Gómez-Peña & Coco Fusco, The Garrett Centre
The Couple In The Cage
l Pytor Pavlensky, Fixation
l ALAG (A Live Art Gala). Our 20th
anniversary Gala, autumn 2019
l Chris Burden, Shoot

l Joseph Beuys, I like America

and America Likes Me
l Yoko Ono, Cut Piece

l William Pope.L, The Great White Way

Special bonus 21st Tiny Live Art

(Development Agency) Top left: Tiny Live Art (Development Agency)
by Robert Daniels, featuring Joseph Beuys,
l Katherine Araniello, The Dinner Party I like America and America Likes Me
(2011 / ...Revisited, 2014) Top right: LADA at 20 postcard set.
Image Bruno Camargo 7
Twenty Years The widespread teaching and study of Live
Art within Higher Education is an equally
Over the last twenty years, the embodied
and subversive practices around the politics
And Counting catalytic development that has impacted of the body that so characterised much Live
Lois Keidan, LADA on the increasing pervasiveness of Live Art in the late 1990s are still as vital and
Art and influenced the work of LADA. In urgent as ever – but Live Art as a practice
co-founder and director
1999, only a handful of universities and art and an approach has also influenced a wider
LADA’s 20th anniversary is an colleges had a commitment to such kinds of spectrum of process-based, experiential
opportunity to reflect on how the shifts process-based artistic experimentation, or art, spanning all kinds of disciplines and
and developments within Live Art have understandings of how it could contribute subjectivities, and testing new forms of
impacted on LADA’s work, and in turn, on to scholarly research and discourse. The audience relationships.
the ways in which what LADA does, and students who made it to LADA – most
One of the ways I’ve been looking back
how it does it, have adapted and evolved of them rejects or refugees from more
on LADA’s history has been through
over the last twenty years. traditional disciplines – had invariably
location – thinking about where we’ve
found us themselves, and not many artists
Perhaps the biggest shift that has affected been located and how we’ve been located.
we knew were employed to teach. Today
almost everyone involved with Live Art is In 1999 LADA was primarily an office, a
couldn’t be more different – LADA’s Study
technology. Developments in technologies base for us to go out into the world on an
Room regularly welcomes students sent to
allow us all to create and access online evangelical mission of Live Art conversion.
us by their tutors, hosts scores of student
platforms to research, connect, share, But as the world has caught the Live Art
groups from universities across the UK and
catalogue, publish and disseminate Live bug and younger organisations like Forest
beyond, many artists now hold teaching
Art in unprecedented ways. Technology Fringe tour their exciting programming
positions (albeit some more precariously
is a critical factor in the heightened models internationally, LADA’s approach
than others), all kinds of Live Art related
level of interest and developments in has changed and become increasingly
PhDs are being undertaken, LADA works
the histories and archiving of Live Art more about connecting with the world
closely with a wide range of scholars and
and has enabled artists, scholars and through the dispersal of ideas and
universities, and in 2018, LADA partnered
curators to both research, and create new things – digital platforms and projects,
with Queen Mary University of London on a
contexts for, underrepresented artists publications and films. More importantly,
new MA Live Art (see page 18).
and untold histories. Technology has with the expansion of our work into
been instrumental in shifts in the critical This institutional embrace and academic publishing and programming, and with
thinking and popular profile of Live Art, legitimacy should not in any way suggest those shelves growing into our Study
making it possible for artists, writers that Live Art has somehow been tamed. Room, we have found ourselves more and
and audiences to bypass the mainstream Far from it. Live Art is still a fiercely more bound to a place, a place we now
gatekeepers of culture. politicised, provocative and unruly area of think and talk about as a Centre for Live
practice. Live Art is all about difference – Art – a knowledge and research centre, a
The institutional embrace of Live Art over
different ways of making and experiencing production centre for programmes and
the last twenty years is another hugely
art; different ways of documenting and publications, and an online centre for
significant shift. When LADA started in
dispersing performance; different ways experimentation and dissemination.
1999, Live Art was still very much the
of being in, and seeing, the world; and
runt of the litter in the cultural life of
different ways of occupying the institution EXTRACTS from the foreword to
the UK: ignored, trashed or undervalued
and rethinking approaches to research AGENCY: A Partial History of Live Art,
by most institutions. But the last
and knowledge. edited by Theron Schmidt and
twenty years has seen an unparalleled
co-published with Intellect Books,
institutional engagement with experiential, In 1999, the kinds of artists and practices
March 2019
experimental and ephemeral practices, LADA particularly championed were not
with many previously impenetrable only interested in the body as their site
museums, galleries, theatres and festivals and subject, and in testing the nature,
opening their doors to Live Art. role and experience of art, but were just
as concerned with representations of
cultural difference, with the construction
and performance of identity, with giving
visibility to the hidden and forbidden. For
LADA, Live Art was more than a space to
think about what art is and can do, it was
a space to think about who has agency and
what they can do with it.
21 SEPTEMBER 1965–25 FEBRUARY 2019
The brilliant artist and activist, beloved
LADA friend and long-standing LADA
Board member Katherine Araniello died in
February 2019. As Katherine’s fellow LADA
Board member Dominic Johnson said on
hearing of her passing, “Live Art feels that bit
less interesting and wild without her.”
LADA is working on Katherine’s
legacies with her family and partner
Tracey Jannaway, including an Annual
Katherine Araniello Bursary Award for an
unapologetically radical and politicised
artist who works in Live Art and identifies
as a disabled person, and the creation of
a special 21st Tiny Live Art (Development
Agency) of The Dinner Party (2011 /
...Revisited, 2014).

Tiny Live Art (Development

Agency) was a project to celebrate
and revere the work of 20 works
for each of the 20 years of
LADA’s existence. The sad loss
of Katherine just before the 20th
anniversary celebration, made
the whole notion of remembering
history, impact, legacy, and
looking forward, for me,
bittersweet. I proposed that a 21st
model, of Katherine, be added to
the series. Not to represent the
end of one history: but to mark
the beginning of another.
Robert Daniels

Top: Katherine Araniello and Manuel Vason, Double Exposures, London, 2014
Bottom: Tiny Live Art (Development Agency) by Robert Daniels,
featuring Katherine Araniello, The Dinner Party (2011 / ...Revisited, 2014) 9
LADA is one of the world’s leading Live Art publishers, specialising in
critical titles on influential practitioners and artist-led publications.

Anne Bean: Self Etc.

Edited by Rob La Frenais
Co-published by LADA
and Intellect Books
Anne Bean is a noted international figure
who has been working actively since the
1960s. The art of Anne Bean makes strange
our sense of time, memory, language, the
body, and identity, particularly through
solo and collaborative performances along
a vital continuum between art and life.
The first substantial survey of its kind,
Anne Bean: Self Etc. brings together
documentation of her performances,
drawings, videos, installations, and
sculptures, as well as writings, interviews
and visual essays by the artist. A series of
commissioned critical essays show her to
be a prolific maker of acts, objects, and
multiple ‘selves’.
This book includes extensive visual
documentation of Bean’s performances,
essays by and interviews with Anne Bean,
Guy Brett, Dominic Johnson, Poshya Kakl,
Rob La Frenais, Lynn MacRitchie, Ezra
Rubenstein, and Richard Wilson, and a
series of new visual essays by the artist.
Lavishly illustrated and including previously
unseen images, Anne Bean: Self Etc. explores While Bean might challenge fixed
and expands the nature, form and contexts ideas of the self and the artist in
that artistic collaboration can take.
her performances, this book does
Anne Bean: Self Etc. is the sixth in the
not attempt a similar dismantling.
Intellect Live book series, a collaboration
between LADA and Intellect Books. The Nor does it indicate the disregard
series is characterised by lavishly illustrated for archiving and posterity that
and beautifully designed books that are Johnson attributes to Bean. A
created through close collaborations
between artists and writers, and that are the
large square volume made for
first substantial publication dedicated to the gallery and library shelves, it
artist’s work. is co-published by the Live Art
Development Agency as part of
a series of surveys of individual
artists; posterity is exactly what it
aims for, and rightly so, given the
lack of any other substantial study
of Bean’s huge body of work.
Frances Morgan, The Wire,
March 2019

It’s Time: How Live Art
is taking on the world
from the front line to the
bottom line – a series of
case studies
Edited by Megan Vaughan
Published by LADA and
Wunderbar on behalf
of Live Art UK
It’s Time responds to the recent successes
of Live Art and highlights those artists,
projects and initiatives which are re-
politicising and re-energising our arts
spaces, sharing radical works and ideas with
a public who are themselves being forced to
do more with less.
It’s Time demonstrates that through
creative resistance – of patriarchy, of white
supremacy, of ableism, of corporate interest
and austerity – Live Art can determine its
own future, and that of the world around it. Live Art, so fiercely and brilliantly GraceGraceGrace
It’s Time includes contextualising essays championed by Live Art UK, is the explore gen-age
by Lyn Gardner and Cecilia Wee and case essential Petri dish of the arts; a
studies by Joon Lynn Goh on Live Art and A stunning new book which reframes
breeding ground for unflinching, Live Art practice, adopting the handy
Solidarity, Mel Evans and Hayley Newman
on Live Art and Activism, Abby Butcher & radical ideas and artistic neologism gen-age, to describe the
David Sheppeard on Live Art Spaces and practices that often appear way intersection of gender and age.
Places, Salome Wagaine on Live Art and ahead of their time, but have an Ever thought middle-aged ‘women’ are
Representation, Aaron Wright on Live Art invisible? This book asks you to think
uncanny knack of influencing
and Artist Development, Ilana Mitchell on again. It discusses the strategies of
Live Art and Participation, Karl Taylor on mainstream culture.
visibility, chucking marginalised status
Live Art and Access, Helen Cole and Salette Mark Ball, Creative Director, out of the patriarchal pushchair.
Gressett on Live Art in a Global Context, Manchester International Festival
Mary Paterson on Live Art and Thinking, Produced by artists’ collective
and Andy Field on Live Art and Money. GraceGraceGrace, who identify as
older, this anthology cites work by
It’s Time builds on In Time, the first people who perform rebellious gen-age
collection of Live Art UK case studies identities and includes a series of striking
published in 2010 and is co-published with images of older artists in collaboration
Wunderbar on behalf of Live Art UK. with photographer Manuel Vason
commissioned by GraceGraceGrace.
A sourcebook for everyone who is
interested in equality, inclusion and
gender identity, in the context of aging
as a process.

Scottee: I Made It Solitary Pleasures
Edited by Jen Harvie Edited by Marquard Smith
Scottee: I Made It gathers commentary and A secret museum, a treasure trove of
interviews from a huge range of people insightful and delightful drawings,
Scottee has worked with and knows, sculptures, photographs, video stills,
and who have influenced him and been artefacts, performative gestures,
influenced by him. Contributors include and ephemera – as well as specially
Bryony Kimmings, Travis Alabanza, Kelly commissioned texts by artists,
Green, Patrick Fox, Charlotte Cooper, academics, educators, and critical
Selina Thompson, Ashleigh Owen, Munroe writers – on a subject at the heart of
Bergdorf, Michael Segalov, Lois Weaver, Freudian and post-Freudian sexuality,
Ben Walters, Chris Goode, and Sarah eroticism, and desire: masturbation.
Gallagher, aka Scottee’s mum.
With contributions from Shannon Bell, Lee
Scottee: I Made It is published by LADA Edelman, VALIE EXPORT, Chantal Faust,
and designed by Alexander Innes. It was Sigmund Freud, Antony Gormley, Dominic
launched at events at LADA, London, on 6 I’ve just been reading the Johnson, Wayne Koestenbaum, Thomas W.
September and HOME Manchester on 13 Outsiders’ Handbook Zine. It’s a Laqueur, Jordan McKenzie, Susie Orbach,
September, 2018. Emily Pope, Adrian Rifkin, Charan Singh,
free pdf designed for queer young
Marquard Smith, Annie Sprinkle and Beth
people but it says lots of things I Stephens, Emma Talbot, Cosey Fanni Tutti,
A fascinating, wonderful,
need to hear too. Had a little cry Ivan Ward, and Michelle Williams Gamaker.
open hearted and thought-
reading Selina Thompson’s pages.
provoking book.
Read it for yourself & send it to
Marcus Davey, Chief Executive
others. We’ll all be okay. Thank
and Artistic Director of the
you to Selina, Emma, Tee and
Scottee for sharing so honestly,
it’s really beautiful.
Scottee: The Outsiders’ Phoebe Patey Ferguson, curator
A free survival guide for queer and trans
young people written by four artists
who identify as part of the LGBTQIA+
community: Scottee, Travis Alabanza,
Selina Thompson and Emma Frankland.
“We all grew up in the UK and we found
our friends and each other through the
internet and by doing arty stuff. We want Everything In My Head
to share with you ways we continue to meet
other queer and trans folk like us, to give At One Time In My Life
you encouragement and offer you a bit of By Lucy Hutson
love and care.”
Artist Lucy Hutson’s extraordinary
The Outsiders’ Handbook was designed by Lu response to their experiences within the
Williams, and created with the support of mental health system, published in an
HOME, Colchester Arts Centre, Slung Low, edition of 200, with each copy personalised
Metal, and Camden Peoples Theatre. by Lucy.
Scottee: I Made It and The Outsider’s “I wrote most of this book whilst in a couple
Handbook were part of LADA’s Restock of different mental health facilities over the
Rethink Reflect Four on Live Art and period of 3 weeks. i wrote it as an attempt
Privilege (2016-18) and formed part of to understand my current predicament
LADA’s contribution to the Collaborative and how it was that i ended up there. it
Arts Partnership Programme (CAPP). is a mixture of my observations whilst in
hospital and short essays written about the
things that i obsess over. its sort of about
12 Scottee: The Outsiders’ Handbook. Image Travis Alabanza trying to be an artist.”
To You To You To You: Learning in Public:
Love Letters To A transEuropean
(Post)Europe Collaborations in
Edited by Lisa Alexander
Socially Engaged Art
An intimate collection of letters, poetry and Edited by Eleanor Turney
postscripts by artists and writers that seeks Reflecting on the Collaborative Arts
to connect, exchange and witness through Partnership Programme (CAPP), Learning
the action, idea or form of a love letter. in Public: transEuropean Collaborations
In the midst of rapid change, polarisation in Socially Engaged Art offers a series of
and crises of social imagination in the UK provocations on the role of collaborative
and mainland Europe, TO YOU TO YOU TO and socially engaged arts. As well as
YOU suggests that small acts of imagination providing a record of CAPP’s activities
and friendship can become radical between 2014 and 2018, Learning in Public
interventions. features contributions from leading the
thinkers and writers Mick Wilson, Eleonora
TO YOU TO YOU TO YOU builds on the
Belfiore, Aida Sánchez de Serdio Martín and
Love Letters to a (Post)Europe programme
Susanne Bosch, and a series of dialogues
that took place at Bios, Athens in 2015,
between CAPP partners and artists.
in which twenty six artists created short
works in an act of gifting and assembly. In presenting a breadth of perspectives,
The publication includes contributions Learning in Public articulates the diversity
from Kate Adams, Demosthenes Agrafiotis, of practice and approach to collaborative
You can always count on Lucy Brian Catling & David Tolley, cris cheek, arts, offering difficult questions to a cultural
Robin Deacon, Tim Etchells, Alec Finlay, sector facing rapid and substantial change
Hutson to be Lucy Hutson. In her across Europe.
Matthew Goulish, Guy Harries, Steven
performances she strips down C Harvey, Catherine Hoffmann, Wendy Co-published with Create and the
through skin to bone to give us a Houstoun, Mikhail Karikis, Brian Lobel, Collaborative Arts Partnership
glimpse of self without pretence Claire MacDonald, Georgios Makkas, Programme (CAPP).
Ivana Müller, Mariela Nestora, Kira
or shame. In this extraordinary O’Reilly, Florence Peake, Erica Scourti, CAPP was a transnational cultural
piece of writing she bares heart Maria Sideri, Anna Sherbany, Jungmin programme running between 2015 and 2018
and focusing on collaborative practices,
and mind to walk us down the Song, Yoko Tawada, Nikki Tomlinson, a
collaborative text by Lisa Alexander and with the aim to improve and open up
shadowy corridors of mental opportunities for artists who are working
Mary Paterson, and an essay by artist and
health. Like Lucy, Everything researcher Claire MacDonald. collaboratively across Europe whilst
In My Head At One Time In My engaging new publics and audiences for
collaborative practices.
Life is unsparingly honest yet
full of the warmth, humour and CAPP partners were Create-Ireland
(coordinating lead partner), Agora
humanity we need to approach Collective (Berlin), hablarenarte: (Madrid),
the things that could save us if Heart of Glass (Liverpool), LADA (London),
they don’t kill us first. Kunsthalle Osnabrück (Osnabrück), Ludwig
Museum - Museum of Contemporary Art
Lois Weaver, artist
(Budapest), M-Cult (Helsinki), and Tate
Liverpool (UK).

The Library of Aisha Mohammed, and was followed by
a conversation between Barby Asante
Han Sifuentes talked about their
work, which was contextualised with
Performing Rights and Dr Karen Salt. contributions from Amit Rai (academic and
The Library of Performing Rights (LPR) was organiser), Áine O’Brien (co-founder and
A film and book of the project will be
originally developed in 2006 for PSi:12 co-director of Counterpoints Arts) and Ayça
published in 2019.
Performing Rights as a unique resource Çubukçu (Assistant Professor in Human
of materials examining the intersection Rights in the Department of Sociology and
between performance and Human Rights,
The whole DOI process has been the Centre for the Study of Human Rights),
and has been housed at LADA since 2007. one of revelation, sharing, and whose research explores migration, human
rights and creativity.
In 2017, we reactivated and reimagined unfolding delight. The workshop
the LPR in collaboration with the artists/ time spent with other women
researchers Lois Weaver and Elena
was hugely valuable - not only max+noa at LADA
Marchevska, as a place of action, a place
of knowledge exchange, a repository of in its creative stimulus but also In 2018-19, we worked with those ‘cunning
experience, and a resource and a context folk’ max+noa (formerly known as
in focusing our attention on
that others can use to support and advance Sheaf+Barley) on a residency and a new
the practices of self-care that commission – two participatory projects
their own work.
sustain us as women of colour. that respond to LADA’s East London homes
As well as a range of new activities past and present.
and resources, we instigated an annual
The performance at LADA and
commission in partnership with the Study the ‘in conversation’ between In Spring 2018, max+noa undertook a
Room in Exile in Liverpool. Barby and Karen was a beautiful ‘pilgrimage’ to the different spaces LADA
has inhabited since 1999, gathering plants
way to share, acknowledge and from those sites to replant at The Garrett
Barby Asante, Declaration honour the work. I can honestly Centre, and in the process think about the
of Independence The say that for me, the process was psychic ‘leftovers’ of LADA’s former homes
Library of Performing transformative. and how we carry these histories. To mark
the end of their ‘pilgrimage’ they created a
Rights commission 2018 Foluke Taylor, workshop/ public event, Weeding, and invited everyone
The first LPR commission was awarded
recitation participant who has some kind of history with LADA
to Barby Asante to develop Declaration to donate their own plants to be part of a
of Independence, a project which brings The Library of collective planting – and remembering –
and laying down of roots at The Garrett
together women of colour in a discursive
performance to explore what it is to find
Performing Rights Centre.
a sense of place as “we navigate life and Open 2018 max+noa also undertook LADA’s first
a world where we rarely hear our stories The first Library of Performing Rights Open Garrett Centre commission, which saw
although so many of us are working to event was organised in collaboration with them collaborating with Simple Gifts, a
create a more equitable world, whether our LPR partner, the artist and researcher social action organisation also based at The
this is through creativity, activism or in Elena Marchevska, and focused on The Garrett Centre, running art classes with
our everyday actions. By inviting women to Official Unofficial Voting Station: Voting for All local kids and lunches with local residents.
share stories in a backdrop of postcolonial/ Who Legally Can’t, a project by the US based
decolonial and migration histories, these
performed her-stories intervene in the
artist Aram Han Sifuentes.
Kids, Families, Gender
archive of these cultural histories.” There are 91 million people in the United
States and its territories who cannot legally
and Live Art
Declaration of Independence is part of Barby’s vote. Han Sifuentes and collaborators Bristol based Liz Clarke and her son Felix’s
wider project As Always a Painful Declaration created Official Unofficial Voting Stations show, I’m Bitter About Glitter, explores
of Independence - For Ama. For Aba. for across the US and Mexico, which welcomed questions of gender fluidity, identity and
Charlotte and Adjoa, a personal familial everyone to vote and offered spaces for the sexuality from an 9-year old’s perspective,
reflection on the idea of independence discontented and disenfranchised. In the and asks what it means to be part of an art-
and agency for women of colour from the face of Brexit, this LPR Open event asked making, non-conformist family.
departure point of the independence of what it means to create work in response to
Ghana in 1957. Liz and Felix’s work relates to some of the
Article 21 of the UN Universal Declaration
questions LADA’s Thinker in Residence
Declaration of Independence was performed of Human Rights and the fact that the
Hester Chillingworth was researching
at LADA in June 2018 by Selina Rose, Paula will of the people shall be the basis of
into opening up Live Art to young people,
Pinho Martins Nacif, Chloe Filani, Marwa the authority of government. Whose vote
particularly gender-questioning and gender-
Belghazi, Buki Bayode, Foluke Taylor, and counts more and why?
variant young people, and the ways that
Live Art can navigate and investigate the
trans experience.
Kids, Families, Gender and Live Art was an
evening with Liz, Felix, Hester, LADA’s Finn
Love, Colchester Arts Centre’s Anthony
Roberts, artist Abi Roberts and their son,
the performance artist Reggie Roberts (age
10), discussing some of the issues raised by
I’m Bitter About Glitter and wider questions
about the role of Live Art in creating new
spaces, contexts and processes to engage
with kids, young people, non-binary
identities and non-conformist families.

Prancing Poodles
and Preposterous
Pugs – Live Art and
other animals
An evening about, with, and
for Live Art and animals
Shaun Caton’s Prancing Poodles and
Preposterous Pugs was a visual tour through
some of his extraordinary collection of
vintage and historic photographs, and an
illustrated talk exploring the animal as
performer for the camera, live audience,
and the collective creative imagination.
In advance of the first sitting of the Animal
Court at Compass Festival 2018 in Leeds,
Jack Tan talked about Four Legs Good, his
live revival of medieval animal trials, where
animals who had committed some offence
were charged in court, prosecuted and
defended by barristers, and sentenced in full
hearings before a judge.
Angela Bartram’s Be Your Dog explored
relationships beyond the hierarchies of pet
and owner in response to Donna Haraway’s
concept that two companions are necessary
for a functional co-species co-habitation.
Artist and researcher Sibylle Peters
facilitated the conversations.

Top: Jem Finer, Marcia Farquhar and Lois Keidan

with Bonzo. Image Alex Eisenberg
Middle: Barby Asante. Image the artist
Bottom: Shorty and Reggie Roberts, courtesy
of Hester Chillingworth. Image Christa Holka 15
Border Patrollers: Live LADA Screens Festive Fair
Art Exchanges between
the UK and Ireland
As part of her LADA research residency
supported by Culture Ireland, Aine
Phillips organised an evening of artists’
presentations around questions of borders
and other burning Anglo-Irish issues. Aine
talked about the public procession she co-
created with the Artists Campaign to Repeal
the 8th Amendment. She was joined by
Nigel Rolfe who has been working between LADA Screens are free, monthly online In December 2018, we hosted our first ever
the two islands since the late 1970s, Helena presentations of seminal performance Festive Fair at The Garrett Centre, with 15
Walsh, co-founder of the direct-action documentation, works to camera, short exciting stalls run by local artists, activists and
feminist performance group Speaking of films/video and archival footage, each social action groups selling art, gifts and tasty
I.M.E.L.D.A. (Ireland Making England launched with a live event at LADA. things and promoting a range of campaigns
the Legal Destination for Abortion), and around social and environmental justice.
John Byrne, who revisited his Border LADA Screens
Interpretative Centre from 2000 and in 2018-19 featured: Stallholders:
other works addressing the relationships
connecting Ireland and the UK. GLOOP! The Movie (Oozing Gloop) Artists Group (Sheila Ghelani, Karen
KAPUTT, A Transgenerational Christopher, Ania Bas, Clare Qualman,
Manifesto of Destruction Maddy Hodge, Amy Sharrocks, Cathy
I really enjoyed it all and as (Sibylle Peters and Katharina Duve) Naden, Rachel Gomme, Rebecca French)
always am astounded at the Fyodor’s Five Foundlings Common E2 (cafe, architecture studio and
possibilities of Live Art. All I can (Fyodor Pavlov-Andreevich) co-working space)
say is that as an ensemble it Overshoot Day (Nicola Fornoni) DARC (Documentation, Action, Research,
Collective - Tara Fatehi Irani, Ernst Fischer,
made a wonderful event on the Lookalook (Adam Patterson)
Holly Revell, Manuel Vason, Jemima Yong)
subject of borders so much part Image Blockade (Exterritory)
Fevered Sleep (artists group)
of the current discourse. One Last Dance – An Chéad Damhsa
Focus E15 Housing Campaign
Ann Rossiter, artist (Rita Marcalo)
(housing activist group)
Backwards/Forwards (Anne Bean)
Franko B (artist)
Barflies (George Chakravarthi)
FOFO (Friends Of Friends Of
Anne, Richard and Paul (Morgan Quaintance) - artists’ collective)
Fox Irving (artist)
Moa Sanha (Lady Dinah’s Cat Emporium)
Music in Detention (voices of
people incarcerated in Immigration
Removal Centres)
Phytology (supporting wildness and urban
Prick Your Finger (textile art and activism)
Richard Dedomenici (artist)
Simple Gifts (social action and
community group)
The Finer Family and Marcia (Jem, Kitty
Above: Simple Gifts at Festive Fair.
and Ella Finer and Marcia Farquhar)
Image Alex Eisenberg A brilliant gathering of curious All proceeds from the Festive Fair were
Top centre: Nicola Fornini, Overshoot Day.
Image the artist
and exceptional people! retained by stall holders and reinvested
Right: Focus E15 Housing Campaign at Festive Fair. Michael Smythe, Phytology, into their work.
Image Alex Eisenberg
Top right: Moa Sanha at Festive Fair.
on Festive Fair
Image Alex Eisenberg

DIY 15: 2018

DIY is LADA’s annual programme for

artists to conceive and run professional
development projects for other artists that
explore innovative and provocative ideas
and test new methodologies.
Between June and November, DIY15: 2018
offered artists the opportunity to conceive
and run unique, radical and idiosyncratic
projects with the support of 23 national
partners across the length and breadth
of the UK, from Scotland to Plymouth,
Cardiff to Suffolk. In 2018, there were 23 DIY 15 partner organisations were: We continue to find that
workshops, run by 40 lead artists, with over Artsadmin (London), ArtHouse (Jersey),
200 participants. conceiving and running DIY
BUZZCUT (Glasgow), Chapter (Cardiff ),
Some of DIY15’s highlights included Colchester Arts Centre (Colchester), projects creates a space unlike
a totally unplanned weekend at the Dance4 (Nottingham), KARST (Plymouth), any other in our year for creative
Southbank Centre, digger racing in Kent, LADA (London), Live Art Bistro (Leeds), investigation, making meaningful
Haitian Voodoo in Brighton, nude hiking, Folkestone Fringe (Folkestone), Freud
Museum (London), Lancaster Arts
connections with other artists,
raving through the Welsh countryside
and iron-mongering in Scotland. DIY15: (Lancaster), Marlborough Pub & Theatre experimentation and celebration
2018 hosted some of our most ambitious, (Brighton), National Theatre (London), outside of the structures of larger
diverse and transformative projects to date National Theatre of Scotland (Scotland), project. DIYs allow us to pick
and selected feedback, images and video Norwich Arts Centre (Norwich), ]
performance s p a c e[ (Folkestone),
up on ongoing and underlying
documentation are available to view on
LADA’s website. Rich Mix (London), Scottish Sculpture concerns around our practice
DIY 15 lead artists were: Nigel Barrett &
Workshop (Aberdeenshire), Snape Maltings that might not otherwise be
(Suffolk), Southbank Centre (London), Tate addressed... these opportunities
Louise Mari, Teresa Albor & Katherine
Early Years and Families (London), and
Araniello, Joshua Sofaer, Helena Hunter,
Whitstable Biennale (in Ebbsfleet). are even more critical for those of
Hamish McPherson, Moi Tran, Ana de us who live in “NotLondon”.
Matos & Ria Hartley, Ania Bas, Mary
Paterson & Deborah Pearson, Toni Lewis, Please keep running DIY, it is Etherige and Persighetti
Malik Nashad Sharpe, Ria Hartley & Barby essential that artists get this kind (DIY lead artists, 2018)
Asante with Sonya Welch-Moring, DARC, of time and space outside usual
Joanne Matthews, Brian Lobel & Season
contexts to share and make work
Butler & FK Alexander, Owen G Parry &
Angel Rose, Nwando Ebizie, Rachel Mars & together. It is a rare and original
Rhiannon Armstrong, Project O, Etheridge programme, we need these
& Persighetti, Liz Rosenfeld, Nando spaces to keep breathing!
Messias, Sorryyoufeeluncomfortable.
Helena Hunter
(DIY lead artist, 2018)

Joanne Matthews, Wild Philosophy: Raving, Running, Nwando Ebizi, Afro Diasporic Ritual as Afrofuturist
Reading. Image Ali Wates Technology. Image Wellcome/Steven Pocock 17
MA Live Art
In 2018-19, LADA launched MA Live Art
in partnership the Department of Drama
at Queen Mary University of London.
MA Live Art is the first programme
of its kind, and supports research and
practice in performance art, time-based
art, site-specific performance, relational
and intimate performance, durational
performance, and other experimental
Partly based at LADA, MA Live Art
is a specialised programme of taught
postgraduate study led by research leaders,
industry professionals, and high-profile
artists. Graduates gain theoretical and
practical grounding in histories and
practices of Live Art and learn through
studio-based and discussion-led methods,
workshops, lectures, master classes,
seminars, fieldwork and professional
Students engage with and make
performance in dialogue with genealogies
of visual art and/or experimental theatre
in the twentieth century. They are enabled
to understand, challenge and make Live
Art as a technology for intervening in
the most pressing issues of our time: of
gender, sexual, racial or class identity; of
the potential for protest, direct action,
and environmental and social justice; and
DIY workshops have been DIY in North America of theoretical investigations concerning
incredibly important in my career. the body, time, space, subjectivity,
With the support and advocacy of the documentation and communication.
I say this from the perspective of British Council USA, we continued to offer
a workshop leader as well as a 10 students formed the first MA Live Art
a programme of DIYs led by acclaimed
cohort, and started in September 2018.
workshop participant. As well as and experienced UK based practitioners to
artists in the USA.
an amazing source of support and Over the past few months of
growth, these workshops are also Tania El Khoury led a DIY, State Violence:
A Choreography, at The Chocolate Factory studying on the MA programme
fantastic ways of meeting new in New York, in collaboration with Luciana I have grown exponentially as
artists and collaborators. Achugar, and at Fusebox Festival in Austin,
both an artist and thinker. I
Nando Messias Texas, in collaboration with China Smith.
Dickie Beau led a DIY in collaboration with have been challenged in many
(DIY lead artist, 2018) ways and offered opportunities
Jack Fervour in Broken Footnotes on Camp
at The Chocolate Factory in New York, and to work with some of the most
will lead a DIY at Fusebox in Autumn 2019.
inspiring people in Live Art today.
Fundamentally I feel as though I
have been treated as an artist
as much as a student.
Becky O’Brien
Above: Nando Messias, Art & the Self:
What did Narcissus see?. Image Holly Revell
Right: Molly June Honer, Melting Piece, MA Live Art.
18 Image Holly Revell
Arthole Artist’s Award I believe - particularly in times Residencies
of great change, challenge,
The Arthole Artist’s Award supports a We host a range of self-directed research
groundbreaking and inspirational UK-based and revolution - that one of the residencies in our Study Room, offering
artist working in Live Art to undertake a important functions of art is opportunities for artists, researchers, writers
self-determined year-long research and to open our hearts, eyes and and scholars to undertake in-depth enquiries
artistic development programme that will into key themes, histories or artists.
have a significant and lasting impact on
minds. To help us think about
who we are, and who we can be. In 2018-19, we hosted research residencies
their practice, and on wider contemporary
with Aine Phillips, Oozing Gloop, Es Morgan
culture in the UK. The £10,000 Award I am a female leader working
& Charlie Ashwell: HereAfter, Sheaf+Barley,
is intended to plug a hole in art funding in the creative industries and I Edythe Woolley and Amy Lawrence.
for open-ended research and professional
believe passionately in diversity,
The Arthole Artist’s Award was conceived
access and representation both The Adrian Howells Award
by the artist Joshua Sofaer in 2016 as an as human rights issues, and as for Intimate Performance
initiative to support individual Patronage precursors for creative innovation.
of Live Art, and was developed by LADA Adrian Howells (1962–2014) was one of the
As a physicist by training, I am world’s leading figures in the field of one-
in collaboration with Gary Carter. The
first Arthole Artist’s Award Patron was Lucio
sure that innovation does not to-one and intimate performance. In 2016
A C Shala and the first Arthole Artist’s occur without research. Onward the annual Adrian Howells Award for Intimate
Award recipient was Marcia Farquhar, who professional development, Performance was launched in a partnership
undertook a programme looking at the past between Take Me Somewhere, National
and the research which is the Theatre of Scotland, Battersea Arts Centre,
and future of her performance practices, its
place in history and its archiving as well as
foundation of that development University of Glasgow, and LADA.
attending to some unfinished business. is of vital importance not only The 2018 recipient of the award was Amy
In 2018-19, thanks to the generous support to individual practitioners, but Rosa, an artist based in Scotland working
of our new Arthole Patron, Alex Mahon, to society as a whole. Live Art is predominantly with found materials,
Chief Executive of Channel Four, we issued mostly from woods, beaches and parks,
significant, and so is the kind of creating spaces that focus on healing. One
an open call for proposals from artists to
undertake the second Arthole Artist’s Award.
funding represented by Arthole, of her main focusses is on creating an
The recipient of the second Award will be and so it is my great pleasure open dialogue about disabilities that are
announced in Spring 2019. to support the Arthole Artist’s still viewed with scepticism, ‘invisible’,
chronic conditions, using durational
Award for 2019. action, ritual and installation. Amy used
Alex Mahon, Chief Executive, the award to undergo a year-long process
Channel Four merging quantum theory, mindfulness and
meditation called Untitled (Ice).

Study Room Guides
We commission artists and thinkers to
research and write guides around specific
themes to help navigate users through the
materials we hold, and to help us research
titles we should acquire.

Let’s Get Classy,

Live Art, Class and
Cultural Privilege
A Study Room Guide
by Kelly Green
Ways of Getting Classy
A toolkit of methodologies
by Kelly Green
As part of LADA’s Restock, Rethink, Reflect
project on Live Art and Privilege (2016-
Study Room 18) and Collaborative Arts Partnership
Programme (CAPP), Kelly Green undertook
With over 8,000 catalogued items, including
a residency exploring Live Art practices
books, journals, DVDs, digital files and
and methodologies in relation to issues
unique ‘collections’, LADA’s Study Room is
of class and cultural privilege. This was a
the world’s largest publicly accessible library
two stranded residency, in collaboration
of Live Art publications and documentation,
with Canterbury Christ Church University
and a space for events, screenings,
(CCCU) and Sidney Cooper Gallery,
gatherings and residencies.
involving time in LADA’s Study Room
The Study Room welcomes individual followed by engagement with CCCU
and group visitors. and community groups in Kent and the
Rhondda Valley, Wales as part of a wider
LADA’s Study Room is a kind project with Tate Exchange.
of art form in itself. During her residency, Kelly produced a Study
Mary Ann Hushlak, writer, curator Room Guide on issues of class and cultural
privilege, and a toolkit of methodologies for
Simply, my research would not working with those excluded through social
have been possible without the and economic barriers.

broad and amazing resources

that I found at LADA. The process It is absolutely a great piece of
of writing in that room set fire to work. Very authentic and insightful.
a deep necessity of researching Love all your manifestos, polemic
the genealogy of my identity and and helpful guides. Great to read
triggered a fierce creative process your jousts with important artists
in my own performance practice. like Scottee, Selina Thompson,
For that, I am immensely grateful. Catherine Hoffman et al. Feels
Coral Montejano Cantoral, artist like a movement to me. The
whole package has got total balls
Top: LADA Study Room. Image Amy Poole - well done to you for putting it all
Right: Kelly Green, Let’s Get Classy. Front cover
Illustrations by David Caines together, and great to see LADA
Kelly Green, Ways of Getting Classy. Front cover, advocating you to address this
Illustrations by David Caines
important stuff.
20 Simon Casson, Duckie
The world’s only online shop dedicated to
Live Art, Unbound sells many exclusive
titles, including artists’ books and editions.
Unbound now has a physical presence at
LADA’s new home at The Garrett Centre.
Our monthly Unbound email newsletter
highlights new titles and exclusive offers.
In 2018-19, we continued a regular series of
guest editors for our newsletters who select
titles on Unbound that have informed,
inspired and shaped their creative practice.
Guest editors in 2018-19 were the artists
Keijuan Thomas, Anne Bean, Sheaf+Barley,
Barby Asante, and Thomas John Bacon.
All proceeds from Unbound are put back into
LADA’s publication and research projects.

Deception, Performance Study Room in Exile

Magic, Hoaxes, Pranks A satellite Study Room housed in the
and Tricks Institute for the Art and Practice of Dissent
at Home in Liverpool. The Study Room in
A Study Room Guide compiled I think what LADA has provided,
Exile hosts public events and is an open
and written by Tom Cassani access resource for researchers. so astutely, is the space for a
Tom Cassani’s guide draws together nuanced mix of voices, whose
resources that inform the disparate and
eclectic field of deception, magic, hoaxes,
Live Online forays, sometimes extreme, into
pranks and tricks in performance, and A free online video channel, featuring imagined realities, can come
includes an essay which aims to expand the content from Study Room and together in a loose association
discourse around deception and magic in documentation of LADA programmes,
projects and initiatives. In 2018-19 we
and can thus be perceived, be
performance with reference to a curated
selection of significant works and artists added multiple archival videos and acknowledged, be effectual,
presenting work that explores these themes. works alongside documentation of recent be potent. This then creates a
programmes. New content and channels rippling, way beyond the group.
Sissy: On effeminacy, added in 2018-19 include: documentation
Unbound plays a major part in this
queer visibility and of the 2018 DIY programme, Declaration
of Independence by Barby Asante (Library process. This collectivism is what
social violence of Performing Rights commission 2018), a provides the value in producing.
A Study Room Guide compiled series of videos in the Artist’s On channel Anne Bean, artist
and written by Nando Messias including talks by Curious, Dominic
Johnson, Lois Weaver, Marcia Farquhar,
Nando Messias‘ guide outlines the Stacy Makishi, Ron Athey, John Jordan,
theoretical and practical research Nando Julia Bardsley and Oreet Ashery. We have
developed throughout the creation of his also added videos from our 2018/19 events
Sissy series. including a discussion between Finn Love
(LADA) and Oozing Gloop.
Look out for forthcoming Study Room
Guides on Neurodivergency by Daniel
Oliver, on Australian Live Art by Madeleine
Hodge, and on Eco Feminist Futures by
Giulia Casalini.

Tom Cassani, Master of Illusion.

Image Manuel Vason and Tom Cassani 21
Coordinated by LADA, Live Art UK New Members
is a national network of 30 venues,
festivals and facilitators working In 2018-19, Live Art UK welcomed
Transform Festival (Leeds) as a new
collectively to support Live Art
member and said goodbye to SPILL Festival
across the UK. of Performance.

Diverse Actions Membership

In 2018-19, Live Art UK members continued Arnolfini
to develop exciting projects with a wide Artsadmin
range of artists for Diverse Actions, an Attenborough Centre for the Creative Arts
unprecedented initiative to champion BAC
culturally diverse ambition, excellence and the Bluecoat
talent in Live Art, supported by an Arts Buzzcut
Council England Ambition for Excellence Cambridge Junction
grant. Diverse Actions builds on Live Chapter Arts Centre
Art’s vital role as a practice of artistic Colchester Arts Centre
innovation and a space to express complex Contact
ideas of cultural identity and over three Compass Live Art
years will realise an extensive programme Fierce Festival
of bursaries, workshops, residencies,
A mentor of mine said to me a
Forest Fringe
commissions, masterclasses, tours, while back, “You should know what
publications and symposia. people are saying when you are Home Live Art
LADA supported three Diverse Actions not in the room.” The leadership In Between Time
DIY projects and also runs the Diverse bursary has let me see what Lancaster Arts
Actions Leadership Bursaries, supporting a LIFT (London International Festival
new generation of ‘skilled-up’ leaders from
people say about you, us, we etc of Theatre)
culturally diverse backgrounds, and new when you/we are not in the room, Live Art Bistro
models of leadership which will have an OR not usually in the room. It has Live Art Development Agency
impact on the Live Art sector and across been sobering, and predictable. It The Marlborough Pub and Theatre
the arts. National Theatre Scotland
has made me realise the shifting Norwich Arts Centre
Following an open call for proposals, the
of that room, OR new rooms ]performance s p a c e [
2018-19 Leadership Bursaries of £10,000
each were awarded to the artists Zinzi being built beyond the paradigms SICK! Festival
of the buzzword of diversity, is Steakhouse Live
Minott and Victoria Sin.
Take Me Somewhere
crucial if there is any possibility of Tempting Failure
sustainability for Black Artist. Transform
Zinzi Minnott Wunderbar
Find out more about Live Art UK and
The Diverse Actions Leadership sign-up to receive the monthly Live Art UK
newsletter aimed at artists, venues, festivals,
Bursary has helped me to advance promoters, producers, funders and Higher
my practice at a really crucial Education contacts at
moment. It has allowed me to
develop important skills, dedicate
mental and physical space to my
work, connect to other artists, It’s Time : How Live Art
facilitate space to grow networks is taking on the world
and continue several important from the front line to the
Top: Zinzi Minott, What Kind of Slave Would I Be?
projects which I otherwise would bottom line – a series of
(WKOSWIB?). Image Rohan Ayinde
Above: Victoria Sin, A View From Elsewhere.
not have been able to. case studies
Image Angela Dennis Victoria Sin See page 10

IN 2019 LADA
Animals of Manchester (including HUMANZ),
an intergenerational and interspecies Live
Please support LADA Staff
Art experience created by Sibylle Peters and help us set great art Alex Eisenberg
(Theatre of Research) and LADA for the and ideas in motion Ben Harris
Manchester International Festival and Lois Keidan
Whitworth Gallery 2019. A donation to LADA directly supports Finn Love
artists and programmes, makes influential CJ Mitchell
The second annual Garrett Centre artists’ development programmes possible, Joseph Morgan Schofield
commission, Earthlings by performance enables us to produce new publications Amy Poole
poet Katherine McMahon and community and commission new art by extraordinary Megan Vaughan
gardener Hari Byles. artists, and buys essential books for artists
The second annual Library of Performing and students to read in our Study Room. In 2018-19, Megan Vaughan left LADA
Rights commission, The Pink Supper by to undertake a PhD, Finn Love became
LADA welcomes donations of all sizes – we
Nando Messias. Programmes Manager, Joseph Morgan
can make a little go a long way, and make a
Schofield joined as Coordinator, Ben Harris
The second Arthole Artist’s Award recipient, lot go even further. £20 will buy a book for
joined as Studio Manager, and CJ Mitchell
to be announced. the Study Room, £200 will support a LADA
moved to a new part time role as Finance
The third and final round of Diverse Actions Screens, and £2,000 will make a DIY artist-
and Development Director.
Leadership Bursaries. led workshop possible.

The Katherine Araniello Bursary Award, for You can make a donation via LADA’s
website, or contact CJ Mitchell for more
Board of Directors
an unapologetically radical and politicised
information: Stephen Cleary
artist who works in Live Art and identifies
Dominic Johnson
as a disabled person. Your contribution may be eligible
Peter Law
for Gift Aid.
LADA and Swiss Live art, a three-year Gill Lloyd
initiative with Pro Helvetia, the Swiss Arts Jonathan May
Council to raise the profile of Swiss Live Art Emmy Minton
in the UK. Amit Rai
The Live Art Almanac, Volume 5, book. Gini Simpson
Marquard Smith
Joshua Sofaer: Performance, Objects,
Cecilia Wee, Chair
Participation, the seventh title in the
Intellect Live book series.
Daniel Oliver, Awkwoods, book.
Marina Abramović
Ron Athey
Stay connected with LADA Neil Bartlett
We are giving LADA all of our Anne Bean
Please do sign up to receive monthly LADA Sonia Boyce
money after we die. We encourage
and Unbound newsletters and make sure Tim Etchells
you don’t miss out on the kind of news, anybody to think about what you Guillermo Gómez-Peña
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+44 (0)208 985 2124 You could make a show about it. Registered Charity No. 1079943. Charlotte Cooper, Simon Murphy, Kay Hyatt
Twitter: thisisliveart Above: Charlotte Cooper, Simon Murphy
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Katherine Araniello
21 September 1965–25 February 2019
Artist, activist, LADA Board member

“Live Art feels that bit less

interesting and wild without her.”
Dominic Johnson, writer