Performance

Rotlicht wird auf sich bewegende Haut geworfen. In Nahaufnahme, gestaucht oder gedehnt, sieht sie aus wie Ein- und Ausstülpungen innerer Organe. Die Härchen mancher Körperstellen flimmern dabei wie eine Invasion von Wimperntierchen. Dazu Schmatzen, Raunzen, Gurgeln, das enervierend unter die Haut geht. Es ist jedoch kein biologisches Mikroskoptheater, das die Kamera von Vong Phaophanit und der Sound von Cathy Lane der Choreografie von Rosemary Butchers Arbeit Scan hinzufügen, sondern ein werkreflexiver Epilog.

Cooperation and dissent in Koki Tanaka’s precarious tasks

Acting, therapy, song and humour

Sculpture, field recordings and the ghosts of dead rappers

Body and soul in the performances of Alexandra Bachzetsis

What are the challenges of producing a dance piece in the form of an exhibition?

David Roberts Art Foundation, London, UK

Astrid Kaminski talks to Simone Forti, while artists Gerard & Kelly and Maria Hassabi, along with curator Ana Janevski, discuss her influence

Movie stars, late capitalism and fragmented attention spans

The consistently inconsistent career of Scottish artist Bruce McLean

Making a song and dance of things

Actor and theatre director Herbert Fritsch on his love of art – from Jackson Pollock to Dieter Roth – and not using scripts

Cally Spooner’s work explores how technology and new media are making performers of us all

Tension, translation and improvisation

Dutch artist Germaine Kruip discusses her attempt to capture phenomenological events and affects through installations and performances via modernist abstraction

Presented by Kaldor Public Art Projects, Sydney and curated by Klaus Biesenbach and Hans Ulrich Obrist, ‘13 Rooms’ focused on the body and ideas of performance as ‘living sculpture’

David Levine, whose work embraces theatre, performance and video, discusses acting and identity

Animating archives in the ‘queer archaeology’ of Berlin-based duo Pauline Boudry / Renate Lorenz

The New York-based artist talks about character, the West Coast, process and slime

For 35 years, Ericka Beckman has been making films which combine choreographed set pieces and ‘designed camera movements’ that anticipate the work of a new generation of artists