Performance

Showing results 101-120 of 172

Fifty years after its first outing, the artist reprises his legendary Walking Sculpture performance in the US

BY Ara H. Merjian |

Raphael Gygax explores the meaning of Frieze Projects 2017

Curator Raphael Gygax brings together eleven artists from eight countries for this year’s Frieze Projects

BY Sean O'Toole |

On the anniversary of the 2016 Orlando massacre, Brendan Fernandes reclaims the dancefloor as a site of resistance

BY Ian Bourland |

The third edition of the London performance festival makes the case for collective action in an age of political frustration

BY Hatty Nestor |

The solace of Boris Charmatz’s danse de nuit in light of the Manchester atrocity

BY Isobel Harbison |

A new album by theatre group Object Collection warns against political nostalgia 

BY Andrew Hultkrans |

Bonniers Konsthall, Stockholm, Sweden

BY Timotheus Vermeulen |

A posthumous publication of essays by artist and film theorist Ian White argues that the collective experience of cinema is more relevant than ever

BY Dan Fox |

A series of installations and a new LP from artist, composer and percussionist Eli Keszler

BY Michael Barron |

From Frantz Fanon’s hidden humanism to medieval fan fiction: what to read this weekend.

BY Paul Clinton |

A report from the Cycle Festival for Music and Art in Kópavogur, Iceland

BY Elvia Wilk |

Pablo Larios on the versatile performances of Anne Imhof

BY Pablo Larios |

On Jérôme Bel's Gala at HAU, Berlin 

BY Mitch Speed |

Collapse and rebirth in the sculptures and performances of Naufus Ramírez-Figueroa

BY Matthew McLean |

A report from the culmination of Suzanne Lacy’s 18-month project at Brierfield Mill, Lancashire

BY Laura Robertson |

Holmwood House, Glasgow, UK

BY Chris Sharratt |


A report from SOPPEN, Oslo, a performance festival uniting queer, trans and feminist artists

BY Wendy Vogel |

On the city’s increasingly fluid fields of contemporary dance and art

BY Emily Cormack |

Are we evolving from a collector-driven art world to an audience-driven one?

BY Daniel Baumann |