Publications

Disconcerting possibilities

By: Susan Jones

With a-n amongst the first to record its phenomenal impact through publication way back in 1991 of Live art, performance as it was then known, exhibited the characteristics of all that was innovative and edgy. In its introduction, Robert Ayers and David Butler commented: “Live art’s continued value and relevance is mirrored by the extent to which other live artists continue to come up with surprising, disconcerting new possibilities”.

Now encompassing a complex and diverse range of practices and a practitioner-base of thousands 1, live art includes everything from off-site cabaret influenced by theatre and musical genres to the more prosaic gallery-based events. Attractive to students and established practitioners alike, live art in the 21st century is both an antidote to art world commodification and a splendid relief from the tyranny of subject matter derived when materials become form. Significantly perhaps, we calculate that over a third of all user-generated writing on Interface – a-n’s online platform for new reviews – is on non-gallery based works including sound, performance and interdisciplinary projects. Reviews range from Lynette Wallworth’s contribution to the International Festival d’Art Lyrique to commentary on various projects within this summer’s Falmouth’s Live Art Festival. Like much in the history of live art, this month’s Arena Festival emanates from artist-led organisation DOT, developed to make the most of the exciting atmosphere around launch of Curve, one of the world class regeneration projects happening across the East Midlands. Significantly,...

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