Live Art Development Agency's Annualannual review 2018/19 by Live Art Development Agency

LIVE ART DEVELOPMENT AGENCY: A CENTRE FOR LIVE ART ANNUAL REVIEW 2018-19 www.thisisliveart.co.uk

Welcome to the Live Art Development Agency’s 2018-19 Annual Review LADA is a Centre for Live Art: a knowledge and research centre; l a production centre for programmes and publications; l an online centre for digital representation and resources. l

As the world’s leading organisation for Live Art, LADA works to develop new contexts, communities and conversations in relation to Live Art and Performance practices. Through our Projects, Opportunities, Resources and Publishing activities we create new artistic frameworks, legitimise unclassifiable art forms, give visibility to untold histories and agency to underrepresented artists. Our work sets artists and ideas in motion, serves as a research lab for mass culture, and contributes to the wider culture in the long-term in ways which can’t be foreseen.

Live Art is a way of ‘thinking’ about what art is, what it can do, and where and how it can be experienced: drawing from performance art, visual art, theatre and dance, Live Art is driven by artists who are working across disciplines, contexts and sites to open up new artistic models, new languages for the representation of ideas and identities, new ways of animating spaces and places, new approaches to engaging audiences and intervening in public life, and new strategies of creative resistance. If you want to know what the mainstream will be up to in ten years’ time, just look at what Live Art is doing now. 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 Director

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 AND LIVE ART HISTORIES LADA engages with Live Art archives and histories through collaborations with artists, curators, scholars, writers, activists and researchers. We aim to give visibility to untold histories and underrepresented artists and practices, to better understand how we got to now and how we can better shape the future. In 2018-19, we produced a range of new publications and resources that contributed to the awareness of Live Art’s histories, and collaborated on key projects looking at recent and distant pasts, and marking the significance of influential artists on the culture of today.

Reza Abdoh. Image Adam Soch

Reza Abdoh Reza Abdoh (1963-95) was an Iranian-born American theatre director and playwright known for his groundbreaking, large scale, experimental productions. Abdoh died of AIDS in 1995 at the age of 32, having created an impressive body of stage spectacles known for their sensory overload, ferocious energy and hallucinatory dreamscapes. Abdoh was an enigmatic and prolific creative force and with his company Dar A Luz, formed in 1991, he created productions that have made a major impact on experimental theatre worldwide and whose influences are still being felt and talked of to this day. LADA’s Study Room holds the only complete collection of Reza Abdoh’s work in the UK. To mark World AIDS Day in 2018, we screened Reza Abdoh, Theatre Visionary, a documentary film by Adam Soch (2015), the first opportunity for UK audiences to see this full-length film.

LADA AND LIVE ART HISTORIES

Robin Bale, Yet I Came After. Image the artist

Edge of an Era In the late 1980s, Performance Magazine (1979-1992) started presenting some of the first site-specific performance art events in the UK, including Art in Danger, At the Edge and Last Sweat of Youth at the Diorama and Air Gallery. This culminated in EDGE 88, one of London’s first site-specific performance/installation festivals, which was attended by artists such as Helena Goldwater, then at the start of her career. Thirty years later, Helena Goldwater, in collaboration with LADA and Rob La Frenais (former editor of Performance Magazine and Director of EDGE 88), developed Edge of an Era, a project revisiting these seminal performance art events through new commissions, workshops in London and the North, a public event in London celebrating the 30th anniversary of EDGE88, and the creation of an online archive. The Edge of an Era archive was compiled from materials generously provided by artists, studios and archivists, and digitised for this project. Throughout 2019, we will continue to research, collate and digitise, and add materials from many other artists involved in all the EDGE programmes and events, and add them to the Edge of an Era archive.

Something Other, Archives of Now. Image Gareth Damian Martin

Edge of an Era 2019 saw five new commissions by artists who responded to the materials in the archive. Robin Bale’s Yet I Came Later responded to Alastair MacLennan’s Bled Edge (EDGE 88), Morgan Quaintance’s Anne, Richard, Paul responded to the Bow Gamelan Ensemble’s White Lightning (At The Edge 1987), Adam Patterson’s Looking for Looking for Langston responded to Isaac Julien’s Looking for Langston (EDGE 89), Zvikomborero Mutyambizi responded to Mona Hatoum’s Reflections on Value (EDGE 88), and Something Other (Maddy Costa, Diana Damian Martin and Mary Paterson) explored the notion of correspondence with feminist practices from the 1980s.

Marking the 30th birthday of EDGE 88, a 12 day festival of performance art that took place in the same Central London spaces three decades ago, 2019’s Edge was many things at once: a commemoration, a celebration, a performance of performances, a reunion, a marking of what once was and the legacy with which it now challenges the present day. Louise Gray, The Wire, March 2019

At a moment in time in which artificial national borders are being hardened, in which the migration of people is curtailed and criminalised, gentrification empties urban neighbourhoods of communities and their cultures, and institutions (which are often neglectful of, or indifferent to, Live Art) are calcified by corporate concerns, it is far more strategic to insist on the importance of these achievements and collaborations past and present, which open up alternative methods, sites and routes for navigating art’s future. Eleanor Roberts, writer and researcher Edge of an Era 2019 was curated by Helena Goldwater, Rob La Frenais, Alex Eisenberg and LADA, produced in partnership with Artsadmin and Central Saint Martins, University of London, and supported using public funding by Arts Council National Lottery Project Grants and the Jonathan Ruffer Curatorial Grant from Art Fund.

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

LADA AND LIVE ART HISTORIES: LADA’S 20TH ANNIVERSARY

LADA marked its 20th birthday in January 2019; we are celebrating our anniversary with a series of initiatives throughout the year, including:

AGENCY, A Partial History of Live Art

A major publication, edited by Theron Schmidt Co-published by LADA and Intellect Books Notoriously difficult to define, Live Art is commonly positioned as a challenge to received artistic, social, and political categories: not theatre, not dance, not visual art, and often wilfully anti-mainstream and anti-establishment. But as it has become increasingly prevalent in international festivals, major art galleries, and university courses, it is ripe for a reassessment. With almost 50 contributing artists and scholars, this collection of conversations, provocations and images takes LADA’s 20th anniversary as an opportunity to consider not only what Live Art has been against, but also what it has been for. Through the work of this particular ‘Agency’, the book explores the idea of agency more generally: how Live Art has enabled the possibility for new kinds of thoughts, actions and alliances for diverse individuals and groups. Contributors: Barby Asante, Ron Athey, David A. Bailey, Anne Bean, Bryan Biggs, Cassils, Simon Casson, George Chakravarthi, Curious, Richard DeDomenici, The Disabled Avant-Garde, 6

Tim Etchells, Andy Field, French & Mottershead, RoseLee Goldberg, Guillermo Gómez-Peña, Jen Harvie, The Institute For The Art And Practice Of Dissent At Home, Dominic Johnson, Amelia Jones, John Jordan, Lois Keidan, Alastair MacLennan, John E. McGrath, Jordan McKenzie, Hayley Newman, Martin O’Brien, Kira O’Reilly, Mary Paterson, Project O, Alan Read, Heike Roms, Rajni Shah, Joshua Sofaer, Selina Thompson, Jane Trowell, Johanna Tuukkanen, the vacuum cleaner, Manuel Vason, Lois Weaver, Catherine Wood.

Tiny Live Art (Development Agency) – 20 works for 20 years

This is a book about ‘relations and commitments’, to borrow a phrase from the introduction: histories, practices, discourses, places, people, ideas, politics. It maps and narrates a ‘field’ of art practices and where those practices, those ways of working, complicate and disturb other activities: activism, living, teaching and research. It may well turn out to be the book that I will be pointing students towards first for some while, to orient themselves in this field. Joe Kelleher, Professor of Theatre and Performance, University of Roehampton London

Part re-enactment, part archive, part hobby, Tiny Live Art embraces and embodies theories and practices of performance documentation, re-enactment and the making and sharing of memory, and draws from aspects of street art, installation and hobbyist pursuits like model railway and airfix kit building.

Limited Edition artworks by Robert Daniels

For LADA’s 20th anniversary, artist Robert Daniels has created the special edition Tiny Live Art (Development Agency) - 20 works for 20 years: 20 miniature sculptures of iconic performance works, which were nominated by artists and curators.

Robert Daniels has created two sets of Tiny Live Art (Development Agency) editions. One set of editions is made up of twenty pieces which have been created with a bespoke display and are exclusively available as one-off works for sale on Unbound. The second set are enclosed within bell jars, and will be on permanent display in LADA’s Study Room.

Top left: AGENCY: A Partial History of Live Art. Front cover design by David Caines Top right: Tiny Live Art (Development Agency) by Robert Daniels, featuring Martin O’Brien, It’s Good To Breath In (This Venice Air)

Tiny Live Art (Development Agency) List of works

Marina Abramović, 7 Easy Pieces, reperforming Gina Pane’s, The Conditioning, first action of Self-portrait(s) (1973) l Franko B, I Miss You! l Kira O’Reilly, Stair Falling l Ron Athey, Self Obliteration l La Ribot, Another Bloody Mary l Martin O’Brien, It’s Good To Breathe In (This Venice Air) l Lone Twin, Totem l Bobby Baker, Drawing On A Mother’s Experience l Oreet Ashery, Hairoism l Selina Thompson, Pat It and Prick It and Mark It with ‘B’ l Tania El Khoury, Gardens Speak l Harold Offeh, Covers l Aaron Williamson, Artist Leaps On To The Gallery Wall l Station House Opera, The Bastille Dances l Guillermo Gómez-Peña & Coco Fusco, The Couple In The Cage l Pytor Pavlensky, Fixation 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 l

Special bonus 21st Tiny Live Art (Development Agency) l Katherine Araniello, The Dinner Party (2011 / ...Revisited, 2014)

LADA at 20 Postcard set

A special box set collection of 20 postcards representing key LADA projects and initiatives 1999-2019. Featured artists: La Pocha Nostra, Curious, The Disabled Avant-Garde, Dickie Beau, Franko B, George Chakravarthi, Harold Offeh, Katharine Meynell, La Ribot, The Famous Lauren Barri Holstein, Lois Weaver, Martin O’Brien, Nando Messias, Neil Bartlett, Nicola Hunter, Oleg Kulik, Oreet Ashery, Ron Athey, Sibylle Peters and Yang Zhichao.

And more Other 20th anniversary activities across 2019 include: 20 x 20: artists reflect on 20 years of LADA. A radio series for Resonance FM in which intergenerational pairings of artists discuss Live Art histories and futures l

Live Art on the page, the stage and the screen. A series of free events at The Garrett Centre

Over the last 20 years, the Live Art Development Agency has made an immeasurable contribution to the development of Live Art. LADA, like Live Art itself, is in a constant process of evolution: it stays live to the moment, continually searching out new partners and contexts. Its ‘agency’ is to effect action or intervention. We have now reached a cultural period post ‘the performative turn’. Major international cultural institutions are understanding the value of the ‘live’ in the context of fine art. LADA has been instrumental in this cultural shift, which can now be felt across the world. Joshua Sofaer, artist

ALAG (A Live Art Gala). Our 20th anniversary Gala, autumn 2019 l

Top left: Tiny Live Art (Development Agency) by Robert Daniels, featuring Joseph Beuys, I like America and America Likes Me Top right: LADA at 20 postcard set. Image Bruno Camargo

LADA AND LIVE ART HISTORIES: LADA’S 20TH ANNIVERSARY Twenty Years And Counting Lois Keidan, LADA co-founder and director LADA’s 20th anniversary is an opportunity to reflect on how the shifts and developments within Live Art have impacted on LADA’s work, and in turn, on the ways in which what LADA does, and how it does it, have adapted and evolved over the last twenty years. Perhaps the biggest shift that has affected almost everyone involved with Live Art is technology. Developments in technologies allow us all to create and access online platforms to research, connect, share, catalogue, publish and disseminate Live Art in unprecedented ways. Technology is a critical factor in the heightened level of interest and developments in the histories and archiving of Live Art and has enabled artists, scholars and curators to both research, and create new contexts for, underrepresented artists and untold histories. Technology has been instrumental in shifts in the critical thinking and popular profile of Live Art, making it possible for artists, writers and audiences to bypass the mainstream gatekeepers of culture. The institutional embrace of Live Art over the last twenty years is another hugely significant shift. When LADA started in 1999, Live Art was still very much the runt of the litter in the cultural life of the UK: ignored, trashed or undervalued by most institutions. But the last twenty years has seen an unparalleled institutional engagement with experiential, experimental and ephemeral practices, with many previously impenetrable museums, galleries, theatres and festivals opening their doors to Live Art.

The widespread teaching and study of Live Art within Higher Education is an equally catalytic development that has impacted on the increasing pervasiveness of Live Art and influenced the work of LADA. In 1999, only a handful of universities and art colleges had a commitment to such kinds of process-based artistic experimentation, or understandings of how it could contribute to scholarly research and discourse. The students who made it to LADA – most of them rejects or refugees from more traditional disciplines – had invariably found us themselves, and not many artists we knew were employed to teach. Today couldn’t be more different – LADA’s Study Room regularly welcomes students sent to us by their tutors, hosts scores of student groups from universities across the UK and beyond, many artists now hold teaching positions (albeit some more precariously than others), all kinds of Live Art related PhDs are being undertaken, LADA works closely with a wide range of scholars and universities, and in 2018, LADA partnered with Queen Mary University of London on a new MA Live Art (see page 18). This institutional embrace and academic legitimacy should not in any way suggest that Live Art has somehow been tamed. Far from it. Live Art is still a fiercely politicised, provocative and unruly area of practice. Live Art is all about difference – different ways of making and experiencing art; different ways of documenting and dispersing performance; different ways of being in, and seeing, the world; and different ways of occupying the institution and rethinking approaches to research and knowledge. In 1999, the kinds of artists and practices LADA particularly championed were not only interested in the body as their site and subject, and in testing the nature, 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.

Over the last twenty years, the embodied and subversive practices around the politics of the body that so characterised much Live Art in the late 1990s are still as vital and urgent as ever – but Live Art as a practice and an approach has also influenced a wider spectrum of process-based, experiential art, spanning all kinds of disciplines and subjectivities, and testing new forms of audience relationships. One of the ways I’ve been looking back on LADA’s history has been through location – thinking about where we’ve been located and how we’ve been located. In 1999 LADA was primarily an office, a base for us to go out into the world on an evangelical mission of Live Art conversion. But as the world has caught the Live Art bug and younger organisations like Forest Fringe tour their exciting programming models internationally, LADA’s approach has changed and become increasingly more about connecting with the world through the dispersal of ideas and things – digital platforms and projects, publications and films. More importantly, with the expansion of our work into publishing and programming, and with those shelves growing into our Study Room, we have found ourselves more and more bound to a place, a place we now think and talk about as a Centre for Live Art – a knowledge and research centre, a production centre for programmes and publications, and an online centre for experimentation and dissemination. EXTRACTS from the foreword to AGENCY: A Partial History of Live Art, edited by Theron Schmidt and co-published with Intellect Books, March 2019

KATHERINE ARANIELLO 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)

LADA PUBLICATIONS 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 and expands the nature, form and contexts that artistic collaboration can take. Anne Bean: Self Etc. is the sixth in the Intellect Live book series, a collaboration between LADA and Intellect Books. The series is characterised by lavishly illustrated and beautifully designed books that are created through close collaborations between artists and writers, and that are the first substantial publication dedicated to the artist’s work.

While Bean might challenge fixed ideas of the self and the artist in her performances, this book does not attempt a similar dismantling. Nor does it indicate the disregard for archiving and posterity that Johnson attributes to Bean. A large square volume made for gallery and library shelves, it 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 repoliticising 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. It’s Time includes contextualising essays by Lyn Gardner and Cecilia Wee and case studies by Joon Lynn Goh on Live Art and Solidarity, Mel Evans and Hayley Newman on Live Art and Activism, Abby Butcher & David Sheppeard on Live Art Spaces and Places, Salome Wagaine on Live Art and Representation, Aaron Wright on Live Art and Artist Development, Ilana Mitchell on Live Art and Participation, Karl Taylor on Live Art and Access, Helen Cole and Salette Gressett on Live Art in a Global Context, Mary Paterson on Live Art and Thinking, and Andy Field on Live Art and Money. It’s Time builds on In Time, the first collection of Live Art UK case studies published in 2010 and is co-published with Wunderbar on behalf of Live Art UK.

Live Art, so fiercely and brilliantly championed by Live Art UK, is the essential Petri dish of the arts; a breeding ground for unflinching, radical ideas and artistic practices that often appear way ahead of their time, but have an uncanny knack of influencing mainstream culture. Mark Ball, Creative Director, Manchester International Festival

GraceGraceGrace explore gen-age A stunning new book which reframes Live Art practice, adopting the handy neologism gen-age, to describe the intersection of gender and age. Ever thought middle-aged ‘women’ are invisible? This book asks you to think again. It discusses the strategies of visibility, chucking marginalised status out of the patriarchal pushchair. Produced by artists’ collective GraceGraceGrace, who identify as older, this anthology cites work by people who perform rebellious gen-age identities and includes a series of striking images of older artists in collaboration 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.

LADA PUBLICATIONS Scottee: I Made It

Solitary Pleasures

Edited by Jen Harvie

Edited by Marquard Smith

Scottee: I Made It gathers commentary and interviews from a huge range of people Scottee has worked with and knows, and who have influenced him and been influenced by him. Contributors include Bryony Kimmings, Travis Alabanza, Kelly Green, Patrick Fox, Charlotte Cooper, Selina Thompson, Ashleigh Owen, Munroe Bergdorf, Michael Segalov, Lois Weaver, Ben Walters, Chris Goode, and Sarah Gallagher, aka Scottee’s mum. Scottee: I Made It is published by LADA and designed by Alexander Innes. It was launched at events at LADA, London, on 6 September and HOME Manchester on 13 September, 2018.

A fascinating, wonderful, open hearted and thoughtprovoking book. Marcus Davey, Chief Executive and Artistic Director of the Roundhouse

Scottee: The Outsiders’ Handbook

A secret museum, a treasure trove of insightful and delightful drawings, sculptures, photographs, video stills, artefacts, performative gestures, and ephemera – as well as specially commissioned texts by artists, academics, educators, and critical writers – on a subject at the heart of Freudian and post-Freudian sexuality, eroticism, and desire: masturbation.

I’ve just been reading the Outsiders’ Handbook Zine. It’s a free pdf designed for queer young people but it says lots of things I need to hear too. Had a little cry reading Selina Thompson’s pages. Read it for yourself & send it to others. We’ll all be okay. Thank you to Selina, Emma, Tee and Scottee for sharing so honestly, it’s really beautiful. Phoebe Patey Ferguson, curator

With contributions from Shannon Bell, Lee Edelman, VALIE EXPORT, Chantal Faust, Sigmund Freud, Antony Gormley, Dominic Johnson, Wayne Koestenbaum, Thomas W. Laqueur, Jordan McKenzie, Susie Orbach, Emily Pope, Adrian Rifkin, Charan Singh, Marquard Smith, Annie Sprinkle and Beth Stephens, Emma Talbot, Cosey Fanni Tutti, Ivan Ward, and Michelle Williams Gamaker.

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 to share with you ways we continue to meet other queer and trans folk like us, to give you encouragement and offer you a bit of love and care.”

Everything In My Head At One Time In My Life By Lucy Hutson

Artist Lucy Hutson’s extraordinary response to their experiences within the mental health system, published in an edition of 200, with each copy personalised by Lucy.

The Outsiders’ Handbook was designed by Lu Williams, and created with the support of HOME, Colchester Arts Centre, Slung Low, Metal, and Camden Peoples Theatre. Scottee: I Made It and The Outsider’s Handbook were part of LADA’s Restock Rethink Reflect Four on Live Art and Privilege (2016-18) and formed part of LADA’s contribution to the Collaborative Arts Partnership Programme (CAPP).

Scottee: The Outsiders’ Handbook. Image Travis Alabanza

“I wrote most of this book whilst in a couple of different mental health facilities over the period of 3 weeks. i wrote it as an attempt to understand my current predicament and how it was that i ended up there. it is a mixture of my observations whilst in hospital and short essays written about the things that i obsess over. its sort of about trying to be an artist.”

To You To You To You: Love Letters To A (Post)Europe Edited by Lisa Alexander An intimate collection of letters, poetry and postscripts by artists and writers that seeks to connect, exchange and witness through the action, idea or form of a love letter. In the midst of rapid change, polarisation and crises of social imagination in the UK and mainland Europe, TO YOU TO YOU TO YOU suggests that small acts of imagination and friendship can become radical interventions.

You can always count on Lucy Hutson to be Lucy Hutson. In her performances she strips down through skin to bone to give us a glimpse of self without pretence or shame. In this extraordinary piece of writing she bares heart and mind to walk us down the shadowy corridors of mental health. Like Lucy, Everything In My Head At One Time In My Life is unsparingly honest yet full of the warmth, humour and humanity we need to approach the things that could save us if they don’t kill us first. Lois Weaver, artist

TO YOU TO YOU TO YOU builds on the Love Letters to a (Post)Europe programme that took place at Bios, Athens in 2015, in which twenty six artists created short works in an act of gifting and assembly. The publication includes contributions from Kate Adams, Demosthenes Agrafiotis, Brian Catling & David Tolley, cris cheek, Robin Deacon, Tim Etchells, Alec Finlay, Matthew Goulish, Guy Harries, Steven C Harvey, Catherine Hoffmann, Wendy Houstoun, Mikhail Karikis, Brian Lobel, Claire MacDonald, Georgios Makkas, Ivana Müller, Mariela Nestora, Kira O’Reilly, Florence Peake, Erica Scourti, Maria Sideri, Anna Sherbany, Jungmin Song, Yoko Tawada, Nikki Tomlinson, a collaborative text by Lisa Alexander and Mary Paterson, and an essay by artist and researcher Claire MacDonald.

Learning in Public: transEuropean Collaborations in Socially Engaged Art Edited by Eleanor Turney Reflecting on the Collaborative Arts Partnership Programme (CAPP), Learning in Public: transEuropean Collaborations in Socially Engaged Art offers a series of provocations on the role of collaborative and socially engaged arts. As well as providing a record of CAPP’s activities between 2014 and 2018, Learning in Public features contributions from leading the thinkers and writers Mick Wilson, Eleonora Belfiore, Aida Sánchez de Serdio Martín and Susanne Bosch, and a series of dialogues between CAPP partners and artists. In presenting a breadth of perspectives, Learning in Public articulates the diversity of practice and approach to collaborative arts, offering difficult questions to a cultural sector facing rapid and substantial change across Europe. Co-published with Create and the Collaborative Arts Partnership Programme (CAPP). CAPP was a transnational cultural programme running between 2015 and 2018 and focusing on collaborative practices, with the aim to improve and open up opportunities for artists who are working collaboratively across Europe whilst engaging new publics and audiences for collaborative practices. CAPP partners were Create-Ireland (coordinating lead partner), Agora Collective (Berlin), hablarenarte: (Madrid), Heart of Glass (Liverpool), LADA (London), Kunsthalle Osnabrück (Osnabrück), Ludwig Museum - Museum of Contemporary Art (Budapest), M-Cult (Helsinki), and Tate Liverpool (UK).

LADA PROJECTS AND PROGRAMMES The Library of Performing Rights

Aisha Mohammed, and was followed by a conversation between Barby Asante and Dr Karen Salt.

The Library of Performing Rights (LPR) was originally developed in 2006 for PSi:12 Performing Rights as a unique resource of materials examining the intersection between performance and Human Rights, and has been housed at LADA since 2007. In 2017, we reactivated and reimagined the LPR in collaboration with the artists/ researchers Lois Weaver and Elena Marchevska, as a place of action, a place of knowledge exchange, a repository of experience, and a resource and a context that others can use to support and advance their own work.

A film and book of the project will be published in 2019.

As well as a range of new activities and resources, we instigated an annual commission in partnership with the Study Room in Exile in Liverpool.

Barby Asante, Declaration of Independence The Library of Performing Rights commission 2018 The first LPR commission was awarded to Barby Asante to develop Declaration of Independence, a project which brings together women of colour in a discursive performance to explore what it is to find a sense of place as “we navigate life and a world where we rarely hear our stories although so many of us are working to create a more equitable world, whether this is through creativity, activism or in our everyday actions. By inviting women to share stories in a backdrop of postcolonial/ decolonial and migration histories, these performed her-stories intervene in the archive of these cultural histories.” Declaration of Independence is part of Barby’s wider project As Always a Painful Declaration of Independence - For Ama. For Aba. for Charlotte and Adjoa, a personal familial reflection on the idea of independence and agency for women of colour from the departure point of the independence of Ghana in 1957. Declaration of Independence was performed at LADA in June 2018 by Selina Rose, Paula Pinho Martins Nacif, Chloe Filani, Marwa Belghazi, Buki Bayode, Foluke Taylor, and

The whole DOI process has been one of revelation, sharing, and unfolding delight. The workshop time spent with other women was hugely valuable - not only in its creative stimulus but also in focusing our attention on the practices of self-care that sustain us as women of colour. The performance at LADA and the ‘in conversation’ between Barby and Karen was a beautiful way to share, acknowledge and honour the work. I can honestly say that for me, the process was transformative. Foluke Taylor, workshop/ recitation participant

The Library of Performing Rights Open 2018 The first Library of Performing Rights Open event was organised in collaboration with our LPR partner, the artist and researcher Elena Marchevska, and focused on The Official Unofficial Voting Station: Voting for All Who Legally Can’t, a project by the US based artist Aram Han Sifuentes. There are 91 million people in the United States and its territories who cannot legally vote. Han Sifuentes and collaborators created Official Unofficial Voting Stations across the US and Mexico, which welcomed everyone to vote and offered spaces for the discontented and disenfranchised. In the face of Brexit, this LPR Open event asked what it means to create work in response to Article 21 of the UN Universal Declaration of Human Rights and the fact that the will of the people shall be the basis of the authority of government. Whose vote counts more and why?

Han Sifuentes talked about their work, which was contextualised with contributions from Amit Rai (academic and organiser), Áine O’Brien (co-founder and co-director of Counterpoints Arts) and Ayça Çubukçu (Assistant Professor in Human Rights in the Department of Sociology and the Centre for the Study of Human Rights), whose research explores migration, human rights and creativity.

max+noa at LADA In 2018-19, we worked with those ‘cunning folk’ max+noa (formerly known as Sheaf+Barley) on a residency and a new commission – two participatory projects that respond to LADA’s East London homes past and present. In Spring 2018, max+noa undertook a ‘pilgrimage’ to the different spaces LADA has inhabited since 1999, gathering plants from those sites to replant at The Garrett Centre, and in the process think about the psychic ‘leftovers’ of LADA’s former homes and how we carry these histories. To mark the end of their ‘pilgrimage’ they created a public event, Weeding, and invited everyone who has some kind of history with LADA to donate their own plants to be part of a collective planting – and remembering – and laying down of roots at The Garrett Centre. max+noa also undertook LADA’s first Garrett Centre commission, which saw them collaborating with Simple Gifts, a social action organisation also based at The Garrett Centre, running art classes with local kids and lunches with local residents.

Kids, Families, Gender and Live Art Bristol based Liz Clarke and her son Felix’s show, I’m Bitter About Glitter, explores questions of gender fluidity, identity and sexuality from an 9-year old’s perspective, and asks what it means to be part of an artmaking, non-conformist family. Liz and Felix’s work relates to some of the questions LADA’s Thinker in Residence Hester Chillingworth was researching into opening up Live Art to young people, particularly gender-questioning and gendervariant 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

LADA PROJECTS AND PROGRAMMES Border Patrollers: Live 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 cocreated with the Artists Campaign to Repeal the 8th Amendment. She was joined by Nigel Rolfe who has been working between the two islands since the late 1970s, Helena Walsh, co-founder of the direct-action feminist performance group Speaking of I.M.E.L.D.A. (Ireland Making England the Legal Destination for Abortion), and John Byrne, who revisited his Border Interpretative Centre from 2000 and other works addressing the relationships connecting Ireland and the UK.

I really enjoyed it all and as always am astounded at the possibilities of Live Art. All I can say is that as an ensemble it made a wonderful event on the subject of borders so much part of the current discourse. Ann Rossiter, artist

Above: Simple Gifts at Festive Fair. Image Alex Eisenberg Top centre: Nicola Fornini, Overshoot Day. Image the artist Right: Focus E15 Housing Campaign at Festive Fair. Image Alex Eisenberg Top right: Moa Sanha at Festive Fair. Image Alex Eisenberg

LADA Screens

Festive Fair

LADA Screens are free, monthly online presentations of seminal performance documentation, works to camera, short films/video and archival footage, each launched with a live event at LADA.

In December 2018, we hosted our first ever Festive Fair at The Garrett Centre, with 15 exciting stalls run by local artists, activists and social action groups selling art, gifts and tasty things and promoting a range of campaigns around social and environmental justice.

LADA Screens in 2018-19 featured: GLOOP! The Movie (Oozing Gloop) KAPUTT, A Transgenerational Manifesto of Destruction (Sibylle Peters and Katharina Duve) Fyodor’s Five Foundlings (Fyodor Pavlov-Andreevich) Overshoot Day (Nicola Fornoni) Lookalook (Adam Patterson) Image Blockade (Exterritory) One Last Dance – An Chéad Damhsa (Rita Marcalo) Backwards/Forwards (Anne Bean) Barflies (George Chakravarthi) Anne, Richard and Paul (Morgan Quaintance)

A brilliant gathering of curious and exceptional people! Michael Smythe, Phytology, on Festive Fair

Stallholders: Artists Group (Sheila Ghelani, Karen Christopher, Ania Bas, Clare Qualman, Maddy Hodge, Amy Sharrocks, Cathy Naden, Rachel Gomme, Rebecca French) Common E2 (cafe, architecture studio and co-working space) DARC (Documentation, Action, Research, Collective - Tara Fatehi Irani, Ernst Fischer, Holly Revell, Manuel Vason, Jemima Yong) Fevered Sleep (artists group) Focus E15 Housing Campaign (housing activist group) Franko B (artist) FOFO (Friends Of Friends Of - 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 ecosytems) Prick Your Finger (textile art and activism) Richard Dedomenici (artist) Simple Gifts (social action and community group) The Finer Family and Marcia (Jem, Kitty and Ella Finer and Marcia Farquhar) All proceeds from the Festive Fair were retained by stall holders and reinvested into their work.

LADA OPPORTUNITIES FOR ARTISTS 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 workshops, run by 40 lead artists, with over 200 participants. Some of DIY15’s highlights included a totally unplanned weekend at the Southbank Centre, digger racing in Kent, Haitian Voodoo in Brighton, nude hiking, raving through the Welsh countryside and iron-mongering in Scotland. DIY15: 2018 hosted some of our most ambitious, diverse and transformative projects to date and selected feedback, images and video documentation are available to view on LADA’s website. DIY 15 lead artists were: Nigel Barrett & Louise Mari, Teresa Albor & Katherine Araniello, Joshua Sofaer, Helena Hunter, Hamish McPherson, Moi Tran, Ana de Matos & Ria Hartley, Ania Bas, Mary Paterson & Deborah Pearson, Toni Lewis, Malik Nashad Sharpe, Ria Hartley & Barby Asante with Sonya Welch-Moring, DARC, Joanne Matthews, Brian Lobel & Season Butler & FK Alexander, Owen G Parry & Angel Rose, Nwando Ebizie, Rachel Mars & Rhiannon Armstrong, Project O, Etheridge & Persighetti, Liz Rosenfeld, Nando Messias, Sorryyoufeeluncomfortable.

Joanne Matthews, Wild Philosophy: Raving, Running, Reading. Image Ali Wates

DIY 15 partner organisations were: Artsadmin (London), ArtHouse (Jersey), BUZZCUT (Glasgow), Chapter (Cardiff ), Colchester Arts Centre (Colchester), Dance4 (Nottingham), KARST (Plymouth), LADA (London), Live Art Bistro (Leeds), Folkestone Fringe (Folkestone), Freud Museum (London), Lancaster Arts (Lancaster), Marlborough Pub & Theatre (Brighton), National Theatre (London), National Theatre of Scotland (Scotland), Norwich Arts Centre (Norwich), ] performance s p a c e[ (Folkestone), Rich Mix (London), Scottish Sculpture Workshop (Aberdeenshire), Snape Maltings (Suffolk), Southbank Centre (London), Tate Early Years and Families (London), and Whitstable Biennale (in Ebbsfleet).

Please keep running DIY, it is essential that artists get this kind of time and space outside usual contexts to share and make work together. It is a rare and original programme, we need these spaces to keep breathing! Helena Hunter (DIY lead artist, 2018)

Nwando Ebizi, Afro Diasporic Ritual as Afrofuturist Technology. Image Wellcome/Steven Pocock

We continue to find that conceiving and running DIY projects creates a space unlike any other in our year for creative investigation, making meaningful connections with other artists, experimentation and celebration outside of the structures of larger project. DIYs allow us to pick up on ongoing and underlying concerns around our practice that might not otherwise be addressed... these opportunities are even more critical for those of us who live in “NotLondon”. Etherige and Persighetti (DIY lead artists, 2018)

LADA OPPORTUNITIES FOR ARTISTS 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 practices. 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 placements.

DIY workshops have been incredibly important in my career. I say this from the perspective of a workshop leader as well as a workshop participant. As well as an amazing source of support and growth, these workshops are also fantastic ways of meeting new artists and collaborators. Nando Messias (DIY lead artist, 2018)

DIY in North America With the support and advocacy of the British Council USA, we continued to offer a programme of DIYs led by acclaimed and experienced UK based practitioners to artists in the USA. Tania El Khoury led a DIY, State Violence: A Choreography, at The Chocolate Factory in New York, in collaboration with Luciana Achugar, and at Fusebox Festival in Austin, Texas, in collaboration with China Smith. Dickie Beau led a DIY in collaboration with Jack Fervour in Broken Footnotes on Camp at The Chocolate Factory in New York, and will lead a DIY at Fusebox in Autumn 2019.

Above: Nando Messias, Art & the Self: What did Narcissus see?. Image Holly Revell

Right: Molly June Honer, Melting Piece, MA Live Art. Image Holly Revell

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 of theoretical investigations concerning the body, time, space, subjectivity, documentation and communication. 10 students formed the first MA Live Art cohort, and started in September 2018.

Over the past few months of studying on the MA programme I have grown exponentially as both an artist and thinker. I have been challenged in many ways and offered opportunities to work with some of the most inspiring people in Live Art today. Fundamentally I feel as though I have been treated as an artist as much as a student. Becky Oâ&#x20AC;&#x2122;Brien

Arthole Artist’s Award The Arthole Artist’s Award supports a groundbreaking and inspirational UK-based artist working in Live Art to undertake a self-determined year-long research and artistic development programme that will have a significant and lasting impact on their practice, and on wider contemporary culture in the UK. The £10,000 Award is intended to plug a hole in art funding for open-ended research and professional development. The Arthole Artist’s Award was conceived by the artist Joshua Sofaer in 2016 as an initiative to support individual Patronage of Live Art, and was developed by LADA in collaboration with Gary Carter. The first Arthole Artist’s Award Patron was Lucio A C Shala and the first Arthole Artist’s Award recipient was Marcia Farquhar, who undertook a programme looking at the past and future of her performance practices, its place in history and its archiving as well as attending to some unfinished business. In 2018-19, thanks to the generous support of our new Arthole Patron, Alex Mahon, Chief Executive of Channel Four, we issued an open call for proposals from artists to undertake the second Arthole Artist’s Award. The recipient of the second Award will be announced in Spring 2019.

I believe - particularly in times of great change, challenge, and revolution - that one of the important functions of art is to open our hearts, eyes and minds. To help us think about who we are, and who we can be. I am a female leader working in the creative industries and I believe passionately in diversity, access and representation both as human rights issues, and as precursors for creative innovation. As a physicist by training, I am sure that innovation does not occur without research. Onward professional development, and the research which is the foundation of that development is of vital importance not only to individual practitioners, but to society as a whole. Live Art is significant, and so is the kind of funding represented by Arthole, and so it is my great pleasure to support the Arthole Artist’s Award for 2019. Alex Mahon, Chief Executive, Channel Four

Residencies We host a range of self-directed research residencies in our Study Room, offering opportunities for artists, researchers, writers and scholars to undertake in-depth enquiries into key themes, histories or artists. In 2018-19, we hosted research residencies with Aine Phillips, Oozing Gloop, Es Morgan & Charlie Ashwell: HereAfter, Sheaf+Barley, Edythe Woolley and Amy Lawrence.

The Adrian Howells Award for Intimate Performance Adrian Howells (1962–2014) was one of the world’s leading figures in the field of oneto-one and intimate performance. In 2016 the annual Adrian Howells Award for Intimate Performance was launched in a partnership between Take Me Somewhere, National Theatre of Scotland, Battersea Arts Centre, University of Glasgow, and LADA. The 2018 recipient of the award was Amy Rosa, an artist based in Scotland working predominantly with found materials, mostly from woods, beaches and parks, creating spaces that focus on healing. One of her main focusses is on creating an open dialogue about disabilities that are still viewed with scepticism, ‘invisible’, chronic conditions, using durational action, ritual and installation. Amy used the award to undergo a year-long process merging quantum theory, mindfulness and meditation called Untitled (Ice).

LADA RESOURCES 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 and

Ways of Getting Classy A toolkit of methodologies by Kelly Green

Study Room With over 8,000 catalogued items, including books, journals, DVDs, digital files and unique ‘collections’, LADA’s Study Room is the world’s largest publicly accessible library of Live Art publications and documentation, and a space for events, screenings, gatherings and residencies. The Study Room welcomes individual and group visitors.

LADA’s Study Room is a kind of art form in itself. Mary Ann Hushlak, writer, curator Simply, my research would not have been possible without the broad and amazing resources that I found at LADA. The process of writing in that room set fire to a deep necessity of researching the genealogy of my identity and triggered a fierce creative process in my own performance practice. For that, I am immensely grateful. Coral Montejano Cantoral, artist Top: LADA Study Room. Image Amy Poole Right: Kelly Green, Let’s Get Classy. Front cover Illustrations by David Caines Kelly Green, Ways of Getting Classy. Front cover, Illustrations by David Caines

As part of LADA’s Restock, Rethink, Reflect project on Live Art and Privilege (201618) and Collaborative Arts Partnership Programme (CAPP), Kelly Green undertook a residency exploring Live Art practices and methodologies in relation to issues of class and cultural privilege. This was a two stranded residency, in collaboration with Canterbury Christ Church University (CCCU) and Sidney Cooper Gallery, involving time in LADA’s Study Room followed by engagement with CCCU and community groups in Kent and the Rhondda Valley, Wales as part of a wider project with Tate Exchange. During her residency, Kelly produced a Study Room Guide on issues of class and cultural privilege, and a toolkit of methodologies for working with those excluded through social and economic barriers.

It is absolutely a great piece of work. Very authentic and insightful. Love all your manifestos, polemic and helpful guides. Great to read your jousts with important artists like Scottee, Selina Thompson, Catherine Hoffman et al. Feels like a movement to me. The whole package has got total balls - well done to you for putting it all together, and great to see LADA advocating you to address this important stuff. Simon Casson, Duckie

Unbound 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. www.thisisunbound.co.uk

Deception, Performance Magic, Hoaxes, Pranks and Tricks A Study Room Guide compiled and written by Tom Cassani

Tom Cassani’s guide draws together resources that inform the disparate and eclectic field of deception, magic, hoaxes, pranks and tricks in performance, and includes an essay which aims to expand the discourse around deception and magic in performance with reference to a curated selection of significant works and artists presenting work that explores these themes.

Sissy: On effeminacy, queer visibility and social violence

A Study Room Guide compiled and written by Nando Messias Nando Messias‘ guide outlines the theoretical and practical research Nando developed throughout the creation of his Sissy series. 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

Study Room in Exile A satellite Study Room housed in the Institute for the Art and Practice of Dissent at Home in Liverpool. The Study Room in Exile hosts public events and is an open access resource for researchers.

Live Online A free online video channel, featuring content from Study Room and documentation of LADA programmes, projects and initiatives. In 2018-19 we added multiple archival videos and works alongside documentation of recent programmes. New content and channels added in 2018-19 include: documentation of the 2018 DIY programme, Declaration of Independence by Barby Asante (Library of Performing Rights commission 2018), a series of videos in the Artist’s On channel including talks by Curious, Dominic Johnson, Lois Weaver, Marcia Farquhar, Stacy Makishi, Ron Athey, John Jordan, Julia Bardsley and Oreet Ashery. We have also added videos from our 2018/19 events including a discussion between Finn Love (LADA) and Oozing Gloop.

I think what LADA has provided, so astutely, is the space for a nuanced mix of voices, whose forays, sometimes extreme, into imagined realities, can come together in a loose association and can thus be perceived, be acknowledged, be effectual, be potent. This then creates a rippling, way beyond the group. Unbound plays a major part in this process. This collectivism is what provides the value in producing. Anne Bean, artist

LIVE ART UK Coordinated by LADA, Live Art UK is a national network of 30 venues, festivals and facilitators working collectively to support Live Art across the UK.

New Members

Diverse Actions

Membership

In 2018-19, Live Art UK members continued to develop exciting projects with a wide range of artists for Diverse Actions, an unprecedented initiative to champion culturally diverse ambition, excellence and talent in Live Art, supported by an Arts Council England Ambition for Excellence grant. Diverse Actions builds on Live Art’s vital role as a practice of artistic innovation and a space to express complex ideas of cultural identity and over three years will realise an extensive programme of bursaries, workshops, residencies, commissions, masterclasses, tours, publications and symposia. LADA supported three Diverse Actions DIY projects and also runs the Diverse Actions Leadership Bursaries, supporting a new generation of ‘skilled-up’ leaders from culturally diverse backgrounds, and new models of leadership which will have an impact on the Live Art sector and across the arts. Following an open call for proposals, the 2018-19 Leadership Bursaries of £10,000 each were awarded to the artists Zinzi Minott and Victoria Sin.

Top: Zinzi Minott, What Kind of Slave Would I Be? (WKOSWIB?). Image Rohan Ayinde Above: Victoria Sin, A View From Elsewhere. Image Angela Dennis

In 2018-19, Live Art UK welcomed Transform Festival (Leeds) as a new member and said goodbye to SPILL Festival of Performance.

A mentor of mine said to me a while back, “You should know what people are saying when you are not in the room.” The leadership bursary has let me see what people say about you, us, we etc when you/we are not in the room, OR not usually in the room. It has been sobering, and predictable. It has made me realise the shifting of that room, OR new rooms being built beyond the paradigms of the buzzword of diversity, is crucial if there is any possibility of sustainability for Black Artist. Zinzi Minnott The Diverse Actions Leadership Bursary has helped me to advance my practice at a really crucial moment. It has allowed me to develop important skills, dedicate mental and physical space to my work, connect to other artists, facilitate space to grow networks and continue several important projects which I otherwise would not have been able to. Victoria Sin

Arnolfini Artsadmin Attenborough Centre for the Creative Arts BAC the Bluecoat Buzzcut Cambridge Junction Chapter Arts Centre Colchester Arts Centre Contact Compass Live Art Fierce Festival Forest Fringe hÅb Home Live Art In Between Time Lancaster Arts LIFT (London International Festival of Theatre) Live Art Bistro Live Art Development Agency The Marlborough Pub and Theatre National Theatre Scotland Norwich Arts Centre ]performance s p a c e [ SICK! Festival Steakhouse Live Take Me Somewhere Tempting Failure Transform Wunderbar Find out more about Live Art UK and sign-up to receive the monthly Live Art UK newsletter aimed at artists, venues, festivals, promoters, producers, funders and Higher Education contacts at www.liveartuk.org

It’s Time : How Live Art is taking on the world from the front line to the bottom line – a series of case studies See page 10

COMING UP IN 2019

SUPPORT LADA

Animals of Manchester (including HUMANZ), an intergenerational and interspecies Live Art experience created by Sibylle Peters (Theatre of Research) and LADA for the Manchester International Festival and Whitworth Gallery 2019.

Please support LADA and help us set great art and ideas in motion

The second annual Garrett Centre commission, Earthlings by performance poet Katherine McMahon and community gardener Hari Byles. The second annual Library of Performing Rights commission, The Pink Supper by Nando Messias. The second Arthole Artist’s Award recipient, to be announced. The third and final round of Diverse Actions Leadership Bursaries. The Katherine Araniello Bursary Award, for an unapologetically radical and politicised artist who works in Live Art and identifies as a disabled person. LADA and Swiss Live art, a three-year initiative with Pro Helvetia, the Swiss Arts Council to raise the profile of Swiss Live Art in the UK.

A donation to LADA directly supports artists and programmes, makes influential artists’ development programmes possible, enables us to produce new publications and commission new art by extraordinary artists, and buys essential books for artists and students to read in our Study Room. LADA welcomes donations of all sizes – we can make a little go a long way, and make a lot go even further. £20 will buy a book for the Study Room, £200 will support a LADA Screens, and £2,000 will make a DIY artistled workshop possible. You can make a donation via LADA’s website, or contact CJ Mitchell for more information: info@thisisliveart.co.uk Your contribution may be eligible for Gift Aid. www.thisisliveart.co.uk/support

The Live Art Almanac, Volume 5, book. Joshua Sofaer: Performance, Objects, Participation, the seventh title in the Intellect Live book series.

Please do sign up to receive monthly LADA and Unbound newsletters and make sure you don’t miss out on the kind of news, events and opportunities you’ve read about in this Annual Review. Sign up to LADA Newsletters www.thisisliveart.co.uk/subscribe Sign up to Unbound Newsletters www.thisisunbound.co.uk/pages/subscribe Live Art Development Agency The Garrett Centre 117A Mansford Street Bethnal Green London E2 6LX +44 (0)208 985 2124 www.thisisliveart.co.uk www.thisisunbound.co.uk www.facebook.com/thisisliveart Twitter: thisisliveart Instagram: thisisliveart

Alex Eisenberg Ben Harris Lois Keidan Finn Love CJ Mitchell Joseph Morgan Schofield Amy Poole Megan Vaughan In 2018-19, Megan Vaughan left LADA to undertake a PhD, Finn Love became Programmes Manager, Joseph Morgan Schofield joined as Coordinator, Ben Harris joined as Studio Manager, and CJ Mitchell moved to a new part time role as Finance and Development Director.

Board of Directors Stephen Cleary Dominic Johnson Peter Law Gill Lloyd Jonathan May Emmy Minton Amit Rai Gini Simpson Marquard Smith Cecilia Wee, Chair

Patrons

Daniel Oliver, Awkwoods, book.

Stay connected with LADA

Staff

We are giving LADA all of our money after we die. We encourage anybody to think about what you might leave behind when you are gone. You can’t take it with you, so why not give some or all of it to LADA? You don’t have to be rich to leave money after you die. We are surprised that more people don’t do this. It’s a bit of administration, but it’s also fun, political, caring and creative, a treat for yourself, a good thing to do that makes you feel right with the world. You could make a show about it. Charlotte Cooper, Simon Murphy, Kay Hyatt Above: Charlotte Cooper, Simon Murphy and Kay Hyatt. Image the artists

Marina Abramović Ron Athey Neil Bartlett Anne Bean Sonia Boyce Tim Etchells Guillermo Gómez-Peña Raimund Hoghe Tehching Hsieh Isaac Julien La Ribot Lois Weaver

The Live Art Development Agency is funded as a National Portfolio Organisation by Arts Council England. The Live Art Development Agency is a Company Limited by Guarantee, Registered in England and Wales, number 3651554. The Live Art Development Agency is a Registered Charity No. 1079943.

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