Falmouth University
South West England

One of the great things about the category of ‘live art’ is that it isn’t really a category. Rather than being defined by use of materials or specificity of context, it is instead an attitude, a permissiveness, a deliberate and productive confusion. This abundant confusion was very much evident at Live Art Falmouth 2008, the second year of this platform for emerging as well as established artists. This year’s organisers, artist-curators Paul Carter and Alexandra Zierle, described their primary intention to be the lowering of boundaries and the breaking down of art-world hierarchies, so that each work could be engaged on its own terms. For this reason, festival visitors are not pushed in any particular direction: there are no posters highlighting the ‘big name’ artists, no indication of ‘prime time’ performance slots, just an overwhelming printed table of all 75-odd presentations being made over the two days, with just two short lines as a clue to what each piece might be. It’s up to the visitor to find her or his own path. This was mine.


1. Performance and everyday life:

2. Do animals understand art?

3. The autonomy of ritual:

4. The power of the image:

5. Interventions in public space:

Also see:
Mark Greenwood: Ewelina Kolaczek and Nelly Alfandari: Am I Good? (; Leo Devlin: Infrastructural Realization via Transgression (

Alexandra Glanville: Myth as Context (

Megan Wakefield: BomannClatronic (

Andrew Mitchelson: First Person, Second Life, Third World, Fourth Dimension (Holly Bodmer):