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Highlights: Coil Festival at PS122 (NYC)

Caden Manson (Editor In Chief)
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COIL Festival at PS 122
A winter festival of contemporary performance featuring work of the past, present, and future.

Richard Maxwell/NYC Players – Ads
Upstairs at Performance Space 122
WORLD PREMIERE | THEATRE, VIDEO
Co-presented with Under The Radar Festival

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Ads marks a new departure in the work of celebrated downtown auteur Richard Maxwell. In collaboration with photographer/cinematographer Michael Schmelling and Wooster Group technical director Bozkurt Karasu, Maxwell asks whether theatre is possible without a human presence.

Wed, Jan 6 at 10pm | Fri, Jan 8 at 7pm | Sun, Jan 10 at 10pm | Tues, Jan 12 at 10pm Thu, Jan 14 at 10:30pm | Fri, Jan 15 at 8pm | Sat, 16 at 10:30pm | Sun, Jan at 17 5:30pm

EXTENDED at PS122 Wed, Jan 20 – Sun, Jan 31 (Wed – Sat 8pm, Sun 6pm)
ADDED LATE SHOWS: Sat, Jan 23 + Sat, Jan 30 at 10pm / NO SHOW: Thu, Jan 21

Gisèle Vienne/Jonathan Capdeville/Dennis Cooper – Jerk
Downstairs at Performance Space 122
NY PREMIERE | GLOVE-PUPPET THEATRE
Co-presented with Under The Radar Festival

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Jerk” is an imaginary reconstruction – strange, poetic, funny and somber – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-70s.

This show sees David Brooks serving his life sentence. In prison, he learns the art of puppets, which somehow enables him to face up to his responsibility as partner in the crimes. He has written a show that reconstructs the murders committed by Dean Corll, using puppets for all the roles. He performs his show in prison for a class of psychology students from a local university.

Due to the violence and humor of the text, there is an underlying fierceness to the performance. The glove puppet theater is in fact the traditional form used to enact violent illicit subjects. And “Jerk” unabashedly mingles sexuality and violence in the vein of gore aesthetics, thus harking back to the glove puppet repertory.

The text has been staged as a solo for puppeteer, who uses glove puppets and also acts the role of con artist.
The story, however realist it may be, seems to border on unrealism. The play’s apparent realism stems from its linear narration, as well as from its basic true story and from the trickster-puppeteer’s total identification with the fictive character of David Brooks.

“Jerk” merges three plays that were produced in collaboration with the American writer Dennis Cooper: “I Apologize” (2004), “Une belle enfant blonde” (2005) and “Kindertotenlieder” (2007). In these three plays, the links between fantasy and reality are being constantly probed, thereby altering our perception of reality. The more realist “Jerk” puts forth a consistent linear narrative, generating the credibility that undeniably stems from this form. And it is this undeniability that is reexamined by way of our different formal experiences.

Performed by and created in collaboration with Jonathan Capdevielle

FOR MATURE AUDIENCES ONLY
Thu, Jan 7 at 6:30pm | Sat, Jan 9 at 7pm | Sun, Jan 10 at 9:30pm | Mon, Jan 11 at 9:30pm | Thu, Jan 14 at 10pm | Fri, Jan 15 at 7:30pm | Sat, Jan 16 at 10pm | Sun, Jan at 17 6pm

Edgar Oliver – East 10th Street; Portrait with Empty House
50 Minutes
Downstairs at Performance Space 122
SOLO PERFORMANCE

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Presented by Brian Barnhart, Axis Theatre and Richard Jordan Productions Ltd

Edgar Oliver weaves a fantastical and hilarious voyage through the dark and strange rooms of his East Village tenement building.

Wed, Jan 6 at 9:30pm | Thu, Jan 7 at 9:30pm | SPECIAL MIDNIGHT SHOW: Sat, Jan 9 | Sun, Jan 10 at 4:30pm |Mon, Jan 11 at 7pm | Tue, Jan 12 at 7pm | Thu, Jan 14 at 7:30pm | Fri, Jan 15 at 10pm | Sat, Jan 16 at 7:30pm | Sun, Jan 17 at 8:30pm

Reid Farrington – Gin & “It”
Offsite* at 3LD Art & Technology Center
THEATRE, CINEMA
Co-presented with Under The Radar Festival in association with 3LD Art & Technology Center

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For his next work Gin & “It”, Reid Farrington’s principle source is a film from the Master of Suspense. Again Farrington collaborates with film historians and archivists to bring a classic film to the stage with his own boundary-pushing melding of projected imagery and live drama.

Thu, Jan 7- Sat, Jan 16 9pm
OFFICIAL NY PREMIERE: Performance Space 122 April 2010
*Tickets available through 3LD Art & Technology Center

The National Theater of the United States of America – CHAUTAUQUA!
Offsite* at The Public Theater
THEATRE
Co-presented with Under The Radar Festival

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Winners of PS 122’s 2007 Spalding Gray Award, NTUSA returns to NYC to channel the form and style of the original Chautauqua Lectures through their own inimitable aesthetic and theatrical rhythm.

*Offsite – Tickets available through The Public Theater as part of the Under The Radar Festival
Thu, Jan 7 9:30pm | Sat, Jan 9 7pm | Tues, Jan 12 9:30pm | Thu, Jan 14 9:30pm | Fri, Jan 15 9:30pm | Sat, Jan 16 9:30pm | Sun, Jan 17 3pm

The full listings for COIL festival can be found at www.PS122.org

Announcements: Eyebeam Residencies Winter/Spring 2010

Caden Manson (Editor In Chief)
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APPLICATION DEADLINE: December 14, 2009

All applicants will be informed of their application status by January 29, 2010.

CONTEXT: Eyebeam is the leading not-for-profit art and technology center in the USA. Our unique collaborative environment fosters fellowships and residencies, research, education, public programming and a vital web space, eyebeam.org. We are located in the heart of NYC’s Chelsea art district in a resource rich 15,000 sq.ft. space. Please see the Fellows and Projects sections of our web site for information on current and previous work developed at Eyebeam.

OVERVIEW: You’ve got big ideas. You could use a little time and money, not to mention support and inspiration, to create a visionary project. Apply now for Eyebeam’s Winter/Spring 2010 Residency cycle. Residents are granted a $5,000 stipend and 24/7 access to Eyebeam’s state of the art digital design and fabrication studios at their Chelsea facility.

Up to five Residents will be selected for the upcoming 5-month cycle, which will run from March 1, 2010 to July 31, 2010.

SUPPORT: Eyebeam residencies support the creative research, production and presentation of initiatives querying art, technology and culture. The residency is a period of concentration and immersion in artistic investigation, research or production of visionary, experimental applications and projects. It is a chance to use the time, space and tools at Eyebeam to reach the next stage of your practice. Check out what our current and past residents have been doing on our website.

The ideal resident will both contribute to and benefit from the shared environment at Eyebeam, and will thrive in the group dedication to openness across the organization.

PARTICIPATION: Residents are expected to participate in public events including workshops, Open Office Hours (Tuesdays, 2 – 4), demonstrations of research in progress, panel discussions, and online releases, in addition to Open Studios (two-day events, held once in the residency period).

The program term is from beginning of March to the end of July. Residents will be selected from an open call, based on the quality of the work or research being proposed, the availability of the necessary tools and skills to support the work, and in consideration of the overarching research themes and activities of the organization.

Core to Eyebeam’s methodology is the brokering of relationships between artists, hackers, coders, engineers and other creative technologists in the context of an open and shared culture of investigation and critique. We foster and facilitate relationships whereby technologists and artists come together to germinate and incubate their ideas, develop new processes, and create new works through a period of immersion in a social and professional context which is rich in technology, expertise and ideas. Collaborative relationships at Eyebeam will be fostered though group critiques, discussions and projects; and between other Eyebeam Fellows, Residents, and Staff.

RESEARCH GROUPS: Residents will have the opportunity to collaborate within our Research Groups. Research Groups bring together creative practitioners working at Eyebeam as well as expert individual participants and external partners. Initiatives led by Eyebeam Research Groups have included public outcomes such as seminars, workshops, publications and exhibitions.

Current Research Initiatives: Eyebeam’s current Research Groups include Sustainability, Education, Open Culture, Project Blackbird (Humor and Code), and Urban Research. For more information on each of these Research Groups, including descriptions, related projects, and participants, please see the Research section of our web site. Within each of these Research Groups, Eyebeam is looking for applicants with specific interest in and crossover with their own work in the following inquiry threads:

  • Food in the City: Investigation into NYC as a locus for media artists to embrace technological innovation and environmental, sustainable, regenerative concerns in synch with green and open source initiatives. The intention is to gather biologists, environmentalists, food activsts and media artists to consider urban agriculture, bio-generative art and other strategies. (Sustainability)
  • Education in Practice: Engagement with artists working in community-based and collaborative projects with youth, peers, or other targeted audiences. (Education)
  • Design for Social Change: Investigation into collaborative design process and methodology as it relates to creative intervention, activism, and tactical media; expanding our perspectve on “open source” to include the built environment, urban development, and public policy. (Open Culture and Urban Research)
  • Open Source Ideologies: Expanding Eyebeam’s ongoing research in Open Culture with a particular focus on intellectual property, licensing issues, and law and its relation to artists and cultural innovators. (Open Culture)

Participation in these research initiatives will directly inform and shape future initiatives, education, and public programming at Eyebeam.

Application Requirements: Applications are only accepted via our online application system. Applications received after the deadline of 11:59 (EST) PM, December 14, 2009, will not be accepted. All applications and work samples must be submitted through the online form. No exceptions will be made. You can create a user/password during the application process and log back into the server to update your application before the final deadline.

Complete applications must include the following information:

  • Contact Information
  • Resume or CV (.rtf, .pdf, .doc)
  • Work samples in the form of URLs or uploaded media. Include a project description with your work sample that explains your contribution to the piece, how it is meant to be viewed and how it relates to your proposed project(s)/research.
  • Concise responses to all application questions

Incomplete applications will not be considered.

Equipment Inventory List
FAQ for applicants

Apply Here

Contact E-mail:

Featured: Blast Theory (Brighton, England)

Caden Manson (Editor In Chief)
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Blast Theory is renowned internationally as one of the most adventurous artists’ groups using interactive media, creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores interactivity and the social and political aspects of technology. It confronts a media saturated world in which popular culture rules, using performance, installation, video, mobile and online technologies to ask questions about the ideologies present in the information that envelops us.
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Their approach:

The group makes collaborative, interdisciplinary work that is highly innovative in its process and execution. To maintain this practice requires long rigorous periods of development followed by international showings over several years that are usually context specific. Innovation and risk is central to the artists work. Blast Theory has a strong track record of taking major artistic risks – in Kidnap (1998), for example – and has tackled themes of violence, pornography and politics. The group has made major innovations in its use of technology, in its working methods, and in its business model. The uses of locative media and mixed reality in works such as Can You See Me Now? (2001) and I Like Frank (2004) have had wide impact. The group recognises that true innovation requires significant risks and it continues to be agile and highly responsive to new ideas and opportunities. Its BAFTA nomination for Technological and Social Innovation is an example of the success of that model.

Uncle Roy All Around You from Blast Theory on Vimeo.

The group’s collaboration with the University of Nottingham has grown and deepened over ten years and, to our knowledge, is the longest and most productive partnership between a university and a group of artists anywhere in the world. It has yielded four BAFTA nominations, a Prix Ars Electronica and academic papers of international significance at world leading conferences in computer science, computer human interaction and ubiquitous computing. This dialogue between scientific and artistic research now forms a core thread of Blast Theory’s practice.

In recent years the group has been increasingly widely acknowledged as innovators in games, winning the Maverick Award at the Games Developers Conference in 2005 and being represented by Creative Artists Agency in Los Angeles for games design. The group’s recent game projects have probed the fundamental laws of games and of play, posing questions about the boundaries between games and the real world that also have important ramifications for art, performance and virtual worlds. The artists have contributed extensively to debates about the development of games as an artform and how games may be conceptually, intellectually and emotionally demanding while also engaging a wide audience.

Invisible Bullets from Blast Theory on Vimeo.

Blast Theory’s early work was in the field of live art. From Desert Rain (1999) onwards the relationship with live art and performance became less apparent and it is perhaps notable that, for example, the group’s participation in Live Culture at Tate Modern was as curators of a video programme. In recent years however there has been a marked recognition of the importance of the group’s thinking about performativity, presence and site specificity which has led Matt Adams to become a Visiting Professor at the Central School of Speech and Drama and an Honorary Fellow at the University of Exeter. Books such as Virtual Theatres by Gabriella Giannachi and Digital Performance by Steve Dixon have highlighted the group’s groundbreaking intermingling of the real with the virtual, the ludic with the performative and the playful with the serious.

The artists remain fascinated with how technology, especially mobile devices, might be considered to create new cultural spaces in which the work is customised and personalised for each participant and what the implications of this shift might be for artistic practice. How are the economically and culturally disenfranchised engaged amid a culture of planned obsolescence and breathless futurism. The group’s expertise has led to frequent invitations from the television industry as creators (BBC Interactive Factual and Learning, Superfine Films), as mentors (Crossover Australia, Crossover UK) and as speakers (Picnic in Amsterdam, Broadcast Summit in Adelaide etc.) (2006), a 30 minute commission for Radio 3, was a dialogue between the artists and radio listeners on their mobile phones.

Rider Spoke from Blast Theory on Vimeo.

As the development of Blast Theory’s new building at Wellington Road in Brighton with four studios nears completion there is great potential for it to act as a node within regional, national and international networks of practitioners in games, locative media, mobile applications, experimental performance, interactive art and technological innovation. Given the group’s history of exploring the urban landscape and considering the city as a networked social space a permanent, dedicated building provides exciting new artistic opportunities.

Most particularly, Matt, Ju and Nick have systematically explored the role of the audience; from Can You See Me Now? (2001), which places the audience online alongside Blast Theory runners, to Day Of The Figurines (2006), where the audience themselves populate an imaginary town and guide its outcomes. Works such as Rider Spoke (2007) and Uncle Roy All Around You (2003) use the real city to invite new roles for the audience. Uncle Roy All Around You prompted transgressive actions by players as they were asked to explore the offices and back streets of the city while Rider Spoke embeds personal recordings made by the audience into it and gives the audience license to find any path through them. These projects have posed important questions about the meaning of interaction and, especially, its limitations. Who is invited to speak, under what conditions and what that is truly meaningful can be said?

Works:

2009 So, err…
2009 Urike and Eamon Compliant
2009 Flypad
2008 You Get Me
2007 Rider Spoke
2007 Prof Tanda’s Guess-A-Ware
2006 Soft Message
2006 Day Of The Figurines
2005 Single Story Building, Tate Online
2004 Energy Gallery, The Science Museum
2004 Light Square
2004 I Like Frank
2003 Uncle Roy All Around You
2001 Can You See Me Now? – Installation
2002 Stay Home Read
2002 Single Story Building
2002 TRUCOLD
2001 Viewfinder
2001 Can You See Me Now?
2001 An Explicit Volume
2000 Choreographic Cops In A Complicated World
2000 Sidetracks : Light Sleeper & Body Chemistry IV
1999 Desert Rain
1999 10 Backwards
1999 Route 12:36
1998 Kidnap
1998 Architecture Foundation
1998 Atomic Installation
1997 Safehouse
1997 Invisible Bullets (video)
1997 Atomic Performance
1997 Blipvert
1997 C’mon Baby, Fight! Fight! Fight!
1996 Something American
1996 Ultrapure
1996 Internal Ammunition
1995 The Gilt Remake
1994 Invisible Bullets
1994 Stampede
1992 Chemical Wedding
1991 Gunmen Kill Three

Featured Work:

Kidnap
In 1998 Blast Theory launched a lottery in which the winners had the chance to be kidnapped. Ten finalists around England and Wales were chosen at random and put under surveillance. Two winners were then snatched in broad daylight and taken to a secret location where they were held for 48 hours.

Kidnap from Blast Theory on Vimeo.

The two winners were Debra Burgess, a 27 year old Australian working as a temp and Russell Ward, a 19 year old from Southend working in a 24 hour convenience store.The whole process was broadcast live onto the internet. Online visitors were able to control the video camera inside the safehouse and communicate live with the kidnappers.

During the run up to Kidnap, a 45 second video – the Kidnap Blipvert – was shown at cinemas around the UK. The Blipvert carried a freephone number, allowing people to register their interest.

“My view of the performance was clouded by the terror, frustration, boredom and fury that dominated my 24 hours in captivity. Then again, maybe that was the point of it all. Certainly, no other performance I have ever seen has brought about such intense extremes of emotion.” Journalist Stephen Armstrong, The Sunday Times, 5 July 1998, following his kidnapping.


In Performance: Jeremy Wade’s “there is no end to more” (NYC/Berlin)

Caden Manson (Editor In Chief)
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Jeremy Wade
there is no end to more
Thursday, December 3, 7:30 PM
Friday, December 4, 7:30 PM — Post-Performance Discussion
Saturday, December 5, 7:30 PM

Japan Society presents the world premiere of its commission to Bessie Award- winning American choreographer Jeremy Wade. In a bold and violent juxtaposition of movement, text, animation and video of manga (Japanese comics) drawing, Wade takes a playful and cynical look at consumerism and Japanese kawaii (cute) culture- from the infantile fluff of Hello Kitty to teenage doe-eyed love portrayed in anime- exploring its ubiquitous influence on the world today.
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Wade, who is based in Berlin, directs there is no end to more, a solo actor/ dancer Jared Gradinger in collaboration with Brooklyn-based Japanese manga artist/ illustrator Hiroki Otsuka, Berlin-based video artist Veith Michel, musician Brendan Dougherty and architectsKatja Mitte and Henning Ströh with text cowritten by Wade and visual artist/ writer Marcos Rosales.

Artist Interview:


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Tickets

Thursday, December 3, 7:30 PM
Friday, December 4, 7:30 PM — Post-Performance Discussion
Saturday, December 5, 7:30 PM$20/$15 Japan society members
Buy Tickets Online or call the Japan Society Box Office at (212) 715-1258,
Mon. – Fri. 11 am – 6 pm, Weekends 11 am – 5 pm.
Part of the Fall 2009 Performing Arts Season: Japan Transatlantic: Tokio-Berlin.

Announcements: Artist in Residency Program – The Gershwin, NYC

Caden Manson (Editor In Chief)
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Artist in Residency Program – The Gershwin, NYC

(from the website)We have created an Artist-in-residence program (furnished with complimentary continental breakfast) to keep the artist alive so that art may live. As we believe that art goes with heart we want our laureates to welcome in their heart a place for the other endangered species: the children. We have included a children clause in the entry form.

We believe that your art will communicate its energy to the house and will affect people that will be surrounded by it.

PROGRAM PRIZES
There are no cash prizes for this event. All the laureates gain international exposure by being sponsored by us. Many PR efforts enable visibility and communication on the New York level as well as the international scene. Selection of the winners is by the vote from the jury (individuals actually involved in the arts!). The prizes consist of an offer of a room and a creative space that is shared with other creative persons for a specific amount of time (two weeks to three months). Services that are fundamental to the diffusion of creation are provided: a continental breakfast, fax and e-mail, exhibition space and vernissage and an occasional bottle of wine!

ENTRY TERMS AND CONDITIONS
The aim of the program is to provide an introduction to active artists, create interaction between artists worldwide, and offer a window to capture the vibrant energy of New York. The program is open to all artists international from the following categories:

1. Writing 2. Sculpting 3. Painting 4. Filming 5. Composing 6. Designing 7. Innovating 8. Dancing 9. Photographing

The choice of subject is unrestricted but in essence must be a creative piece in that the majority of the composition is created by the artist. The finalists’ entries will be on display on-line. The announcement of the winner or winners will be made twice a year (October 15th, February 15th). The winner or winners will have their project summary online.

One entry is allowed per artist. The entered project must be realized during the tenure. Each application is to include: 1. Completed entry form 2. Signed pledge to the children clause 3. A project definition with scope of work, time and length of desired stay 4. A picture 5. A personal biography

Copyright of entered artworks remains with the artist who agree to grant permission to the Artist-in-residence Program to use the submitted material in exhibits on the web sites or in the Gershwin Hotel. The artist permission to display the entry for the program cannot be reserved and its removal is entirely at the discretion of the Program Director. During its tenure the artist will have the obligation to create and communicate its process.

The artists represent and warrant that their material is owned by them and that they are free and clear of any liens or claims by a third party. Your information and art will not be sold or used anywhere outside the scope of the program.

No entries can be submitted unless the artist is in full agreement with the terms and conditions of the program.

ENTRY FEE
There is no entry fee

ENTRY FORM
http://www.gershwinhotel.com/english/site1.php [ go to the LOVE TAB and you will find it)

For additional information, email AIR@GershwinHotel.com

Highlights: Under The Radar (NYC, USA)

Caden Manson (Editor In Chief)
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Highlights: Under The Radar (NYC, USA)

L’EFFET DE SERGE
Philippe Quesne/Vivarium Studio (France)

09-LEffetDeSerge

Sunday Afternoons, in his living room and for a limited audience, a character named Serge performs 1-3 minutes
numbers based on special effects. Low-key humor and homespun magic always merge in Quesne’s work.

CHAUTAUQUA!
Created by The National Theater of the USA

NTUSA_Chautauqua!_5

Inspired by the popular lecture circuits of the 19th century, Chautauqua! Weaves lectures on history, culture,
capitalism with live music, slapstick, magic, dance and melodrama. Chautauqua! Features guest lecturers, performers, and surprises in a celebration of the culture we all share and the moment in which we share it.

JERK
Directed by Gisèle Vienne, text and dramaturgy by Dennis Cooper (France)

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Performed by and created in collaboration with Jonathan Capdevielle
Jerk is an imaginary reconstruction, with puppets, of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in Texas during the mid-70s.

ADS
NYC Players/Richard Maxwell

Ads marks a departure in the work of celebrated downtown auteur Richard Maxwell and NYC Players. Moving beyond the traditional video screening into the realm of live performance, Ads stages three-dimensional video recordings in the theater. Recorded speeches make the appeal for independence, displaying ideas and beliefs held up to be essential. Are we humble? Are we great? Can we begin to claim back space?

Announcements: Call for submissions for the The Live Art Almanac – Volume 2

Caden Manson (Editor In Chief)
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Call for submissions for the The Live Art Almanac – Volume 2

An international publication of writing on and around Live Art
Deadline: 31 December 2009

The Live Art Almanac Vol. 2 is a not-for-profit publication, produced and published by the Live Art Development Agency (London, UK) in partnership with Live Art UK, Performance Space 122 (New York, USA), and Performance Space (Sydney, Australia).

The Live Art Almanac Vol. 2 will draw together recent writing about and around Live Art – from reviews, through interviews and news stories, to cultural commentaries. It aims to be both a useful resource and a good read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art.

AlmanacThe first Live Art Almanac was published in the UK by the Live Art Development Agency in partnership with Live Art UK in 2008 and was described by The Guardian as “a terrific book”. The Live Art Almanac Vol. 2 is an international partnership between organisations committed to the development of Live Art and contemporary performance in the UK, USA and Australia.

We are seeking recommendations for material to include in The Live Art Almanac Vol. 2. What articles have you read, what new stories have you spotted, what emails did you receive or forward to a friend, what blogs have you visited, what texts crossed your path? Did they engage you, provoke you, amuse you, or make you rethink Live Art? If it caught your eye and had something interesting to say then we want to know about it.

We welcome all kinds of submissions for the Live Art Almanac Vol 2 – from more traditional forms such as journal essays, newspaper reviews, transcribed interviews or book chapters, to more recent digital forms such blog entries and twitter conversations, to the even less conventional forms of “publishing” such as emails, diary entries, and letters. The submission must be engaging, provocative, and thoughtful writing on and around the contemporary cultural landscape in which Live Art practice sits and must shed light on the various debates and ideas in circulation within that landscape.

Your recommendation or submission can be from any source between July 2008 and December 2009. We will prioritise material that has been published or distributed between these dates but we will also consider new writing not yet published or distributed. You may submit your own writing but we really want you to tell us about interesting material you have read. Contributions may be any length up to 5,000 words.

The first Live Art Almanac primarily contained material about and by British-based artists and writers. The Live Art Almanac Vol. 2 will be published in English, but encourages international submissions as well as texts in translation previously published in other languages.

The publication is produced as a print-on-demand initiative with text only and no images. The Live Art Almanac Vol. 2 is sold at cost price (ie the price it costs to manufacture and distribute the publication) and we are therefore not able to offer fees for contributions.

The content of The Live Art Almanac Vol. 2 will be selected by an editorial panel made up of representatives of the Live Art Development Agency, Performance Space 122, and Performance Space. Permission will be sought from all authors and publishers before publication. The Live Art Almanac Vol. 2 will be published in 2010.

Submission and Recommendations

To submit a recommendation or to directly submit material email: contact@thisisLiveArt.co.uk

To make a submission or recommendation include the following information in your email:
• title
• author
• where published
• publication date
• a short statement as to why you consider the recommendation to be appropriate for the Live Art Almanac
If possible, include an electronic version of the text, ideally in Word or other word processing format.

Email your recommendations to contact@thisisLiveArt.co.uk with ‘Almanac’ in the subject line. We must receive your recommendation or submission no later than 31 December 2009 for consideration for inclusion in The Live Art Almanac Vol. 2.

The (first) Live Art Almanac is available to purchase from Unbound – www.thisisUnbound.co.uk – for only £5.00.

What is Live Art?
See www.thisisliveart.co.uk/about_us/what_is_live_art.html

Other useful links for further information:
Live Art UK: www.liveartuk.org
Performance Space 122: www.ps122.org
Performance Space: www.performancespace.com.au
Unbound: www.thisUnbound.co.uk

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