LIVE ART DEVELOPMENT AGENCY (LADA)


Open access library: Study Room, Video review Politics of the Body, and talk by director Lois Keidan.

Left: Martin O'Brien, Mucus Factory. A LADA commission for Access All Areas (2011). Photograph by Manuel Vason.

Right: The Girls, Diamonds & Toads. Presented by LADA for Just Like a Woman (2013). Photograph by Anthony Hopwood.

 

 

Established in 1999 and based in East London, LADA produces projects, publications, resources, and opportunities for those who make, watch, research, study, teach, produce, present, write about, and archive Live Art in the UK and internationally.

LADA houses an open access research library; runs Unbound, an online shop for Live Art books, DVDs and editions; pioneers models of artistic and professional development, dialogue and debate; contributes to research culture and education; develops ways of increasing access to Live Art through programming and publishing projects; and coordinates Live Art UK, the national network of Live Art promoters.

LADA works strategically, in partnership and in consultation with artists and organisations across the cultural sector to develop new artistic frameworks, to legitimize challenging and unclassifiable artforms, to give agency to ‘underrepresented’ artists, and to create the conditions in which diversity, innovation and risk in contemporary culture can thrive.

At the VENICE INTERNATIONAL PERFORMANCE ART WEEK, LADA kindly presents the Study Room in Venice, the core resource of the Live Art Development Agency and a free, open access research facility used by artists, students, curators, academics and other arts professionals.

Further a talk by co-founder and the Director Lois Keidan, and Politics of the Body - a screening of documentation and performance to camera curated by the Live Art Development Agency (LADA), including:

 

THE EXTREME BODY: Ron Athey, Solar Anus (1998); Kira O’Reilly, Wet Cup (2000); Franko B, I Miss You (2003); Rocio Boliver, Performances; jamie lewis hadley, This Rose Made of Leather (2012).

THE RACIALIZED BODY: La Pocha Nostra, Ex Centris: A Living Diorama of Fetish-ized Others (2003); Harminder Judge, Live Sermon; Stacy Makishi, You Are Here, But Where Am I? (2006); Rajni Shah, Dinner With America (2009); Harold Offeh, Selected Video Works (2001-2009); Oreet Ashery, Marcus Fisher’s Wake (2000); Pacitti Company, Finale (2009); George Chakravarthy, Selected Works; Nando Messias, Walking Failure (2008).

THE GENDERED BODY: Bobby Baker, Spitting Mad (1997); La Ribot, Panoramix (1993-2003); The Famous Lauren Barri Holstein, How 2 Become 1 (2011); Anne Bean, Extracts from 8 projects (2001-2007).

THE RITUAL BODY: Jordan McKenzie, Interior Die (2003); LABOUR, The Lab (2012); Shaun Caton, A Glimpse Inside The Grotto (2014); Eloise Fornieles, Sacrificial Dance (2008); Aaron Williamson, Lives of the Saints (2002); Noemi Lakmaier, Undress/Redress (2011); Martin O’Brien, Mucus Factory (2013); Disabled Avant Garde, Institutional Classics (2009-2015); the vacuum cleaner, A Load Of Rubbish; Monica Ross, Acts of Memory (2008); Richard DeDomenici, Cable-Tie (2007); Leibniz, Book of Blood: Human Writes (2014).

THE PUBLIC BODY: Mad For Real, Soya Sauce and Ketchup Fight (2004); Aine Phillips, Red Weight (2005); Blast Theory, Can You See Me Now (2002); Joshua Sofaer, What is Live Art? (2002).

 

www.thisisliveart.co.uk | www.thisisunbound.co.uk

 

 

 


© Venice International Performance Art Week 2012-2014

 
 
 
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