Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
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: Live Art is a way of ‘thinking’ about what art is,
what it can do, and where and how it can be
l a knowledge and research centre; experienced: drawing from performance art,
l a production centre for programmes and publications;
visual art, theatre and dance, Live Art is driven
l an online centre for digital representation and resources.
by artists who are working across disciplines,
As the world’s leading organisation for Live Art, LADA works contexts and sites to open up new artistic models,
to develop new contexts, communities and conversations in new languages for the representation of ideas
relation to Live Art and Performance practices. and identities, new ways of animating spaces and
places, new approaches to engaging audiences
Through our Projects, Opportunities, Resources and and intervening in public life, and new strategies
Publishing activities we create new artistic frameworks, of creative resistance.
legitimise unclassifiable art forms, give visibility to untold
histories and agency to underrepresented artists. Our work If you want to know what the mainstream
sets artists and ideas in motion, serves as a research lab for will be up to in ten years’ time, just look
mass culture, and contributes to the wider culture in the at what Live Art is doing now.
long-term in ways which can’t be foreseen. 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
Robin Bale, Yet I Came After. Image the artist Something Other, Archives of Now. Image Gareth Damian Martin
4
Top: Adam Patterson, Looking for Looking for Langston. Film still
Bottom: Morgan Quaintance, Anne, Richard & Paul. Film still 5
LADA AND LIVE ART HISTORIES:
LADA’S 20TH ANNIVERSARY
l Martin O’Brien, It’s Good To Neil Bartlett, Nicola Hunter, Oleg Kulik, or intervention. We have now
Breathe In (This Venice Air) Oreet Ashery, Ron Athey, Sibylle Peters and reached a cultural period post
l Lone Twin, Totem
Yang Zhichao. ‘the performative turn’. Major
l Bobby Baker, Drawing On And more international cultural institutions
A Mother’s Experience
Other 20th anniversary activities are understanding the value of
l Oreet Ashery, Hairoism
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) 9
LADA PUBLICATIONS
LADA is one of the world’s leading Live Art publishers, specialising in
critical titles on influential practitioners and artist-led publications.
10
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 re-
politicising 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. Live Art, so fiercely and brilliantly GraceGraceGrace
It’s Time includes contextualising essays championed by Live Art UK, is the explore gen-age
by Lyn Gardner and Cecilia Wee and case essential Petri dish of the arts; a
studies by Joon Lynn Goh on Live Art and A stunning new book which reframes
breeding ground for unflinching, Live Art practice, adopting the handy
Solidarity, Mel Evans and Hayley Newman
on Live Art and Activism, Abby Butcher & radical ideas and artistic neologism gen-age, to describe the
David Sheppeard on Live Art Spaces and practices that often appear way intersection of gender and age.
Places, Salome Wagaine on Live Art and ahead of their time, but have an Ever thought middle-aged ‘women’ are
Representation, Aaron Wright on Live Art invisible? This book asks you to think
uncanny knack of influencing
and Artist Development, Ilana Mitchell on again. It discusses the strategies of
Live Art and Participation, Karl Taylor on mainstream culture.
visibility, chucking marginalised status
Live Art and Access, Helen Cole and Salette Mark Ball, Creative Director, out of the patriarchal pushchair.
Gressett on Live Art in a Global Context, Manchester International Festival
Mary Paterson on Live Art and Thinking, Produced by artists’ collective
and Andy Field on Live Art and Money. GraceGraceGrace, who identify as
older, this anthology cites work by
It’s Time builds on In Time, the first people who perform rebellious gen-age
collection of Live Art UK case studies identities and includes a series of striking
published in 2010 and is co-published with images of older artists in collaboration
Wunderbar on behalf of Live Art UK. 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.
11
LADA PUBLICATIONS
Scottee: I Made It Solitary Pleasures
Edited by Jen Harvie Edited by Marquard Smith
Scottee: I Made It gathers commentary and A secret museum, a treasure trove of
interviews from a huge range of people insightful and delightful drawings,
Scottee has worked with and knows, sculptures, photographs, video stills,
and who have influenced him and been artefacts, performative gestures,
influenced by him. Contributors include and ephemera – as well as specially
Bryony Kimmings, Travis Alabanza, Kelly commissioned texts by artists,
Green, Patrick Fox, Charlotte Cooper, academics, educators, and critical
Selina Thompson, Ashleigh Owen, Munroe writers – on a subject at the heart of
Bergdorf, Michael Segalov, Lois Weaver, Freudian and post-Freudian sexuality,
Ben Walters, Chris Goode, and Sarah eroticism, and desire: masturbation.
Gallagher, aka Scottee’s mum.
With contributions from Shannon Bell, Lee
Scottee: I Made It is published by LADA Edelman, VALIE EXPORT, Chantal Faust,
and designed by Alexander Innes. It was Sigmund Freud, Antony Gormley, Dominic
launched at events at LADA, London, on 6 I’ve just been reading the Johnson, Wayne Koestenbaum, Thomas W.
September and HOME Manchester on 13 Outsiders’ Handbook Zine. It’s a Laqueur, Jordan McKenzie, Susie Orbach,
September, 2018. Emily Pope, Adrian Rifkin, Charan Singh,
free pdf designed for queer young
Marquard Smith, Annie Sprinkle and Beth
people but it says lots of things I Stephens, Emma Talbot, Cosey Fanni Tutti,
A fascinating, wonderful,
need to hear too. Had a little cry Ivan Ward, and Michelle Williams Gamaker.
open hearted and thought-
reading Selina Thompson’s pages.
provoking book.
Read it for yourself & send it to
Marcus Davey, Chief Executive
others. We’ll all be okay. Thank
and Artistic Director of the
you to Selina, Emma, Tee and
Roundhouse
Scottee for sharing so honestly,
it’s really beautiful.
Scottee: The Outsiders’ Phoebe Patey Ferguson, curator
Handbook
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 Everything In My Head
to share with you ways we continue to meet
other queer and trans folk like us, to give At One Time In My Life
you encouragement and offer you a bit of By Lucy Hutson
love and care.”
Artist Lucy Hutson’s extraordinary
The Outsiders’ Handbook was designed by Lu response to their experiences within the
Williams, and created with the support of mental health system, published in an
HOME, Colchester Arts Centre, Slung Low, edition of 200, with each copy personalised
Metal, and Camden Peoples Theatre. by Lucy.
Scottee: I Made It and The Outsider’s “I wrote most of this book whilst in a couple
Handbook were part of LADA’s Restock of different mental health facilities over the
Rethink Reflect Four on Live Art and period of 3 weeks. i wrote it as an attempt
Privilege (2016-18) and formed part of to understand my current predicament
LADA’s contribution to the Collaborative and how it was that i ended up there. it
Arts Partnership Programme (CAPP). is a mixture of my observations whilst in
hospital and short essays written about the
things that i obsess over. its sort of about
12 Scottee: The Outsiders’ Handbook. Image Travis Alabanza trying to be an artist.”
To You To You To You: Learning in Public:
Love Letters To A transEuropean
(Post)Europe Collaborations in
Edited by Lisa Alexander
Socially Engaged Art
An intimate collection of letters, poetry and Edited by Eleanor Turney
postscripts by artists and writers that seeks Reflecting on the Collaborative Arts
to connect, exchange and witness through Partnership Programme (CAPP), Learning
the action, idea or form of a love letter. in Public: transEuropean Collaborations
In the midst of rapid change, polarisation in Socially Engaged Art offers a series of
and crises of social imagination in the UK provocations on the role of collaborative
and mainland Europe, TO YOU TO YOU TO and socially engaged arts. As well as
YOU suggests that small acts of imagination providing a record of CAPP’s activities
and friendship can become radical between 2014 and 2018, Learning in Public
interventions. features contributions from leading the
thinkers and writers Mick Wilson, Eleonora
TO YOU TO YOU TO YOU builds on the
Belfiore, Aida Sánchez de Serdio Martín and
Love Letters to a (Post)Europe programme
Susanne Bosch, and a series of dialogues
that took place at Bios, Athens in 2015,
between CAPP partners and artists.
in which twenty six artists created short
works in an act of gifting and assembly. In presenting a breadth of perspectives,
The publication includes contributions Learning in Public articulates the diversity
from Kate Adams, Demosthenes Agrafiotis, of practice and approach to collaborative
You can always count on Lucy Brian Catling & David Tolley, cris cheek, arts, offering difficult questions to a cultural
Robin Deacon, Tim Etchells, Alec Finlay, sector facing rapid and substantial change
Hutson to be Lucy Hutson. In her across Europe.
Matthew Goulish, Guy Harries, Steven
performances she strips down C Harvey, Catherine Hoffmann, Wendy Co-published with Create and the
through skin to bone to give us a Houstoun, Mikhail Karikis, Brian Lobel, Collaborative Arts Partnership
glimpse of self without pretence Claire MacDonald, Georgios Makkas, Programme (CAPP).
Ivana Müller, Mariela Nestora, Kira
or shame. In this extraordinary O’Reilly, Florence Peake, Erica Scourti, CAPP was a transnational cultural
piece of writing she bares heart Maria Sideri, Anna Sherbany, Jungmin programme running between 2015 and 2018
and focusing on collaborative practices,
and mind to walk us down the Song, Yoko Tawada, Nikki Tomlinson, a
collaborative text by Lisa Alexander and with the aim to improve and open up
shadowy corridors of mental opportunities for artists who are working
Mary Paterson, and an essay by artist and
health. Like Lucy, Everything researcher Claire MacDonald. collaboratively across Europe whilst
In My Head At One Time In My engaging new publics and audiences for
collaborative practices.
Life is unsparingly honest yet
full of the warmth, humour and CAPP partners were Create-Ireland
(coordinating lead partner), Agora
humanity we need to approach Collective (Berlin), hablarenarte: (Madrid),
the things that could save us if Heart of Glass (Liverpool), LADA (London),
they don’t kill us first. Kunsthalle Osnabrück (Osnabrück), Ludwig
Museum - Museum of Contemporary Art
Lois Weaver, artist
(Budapest), M-Cult (Helsinki), and Tate
Liverpool (UK).
13
LADA PROJECTS AND PROGRAMMES
The Library of Aisha Mohammed, and was followed by
a conversation between Barby Asante
Han Sifuentes talked about their
work, which was contextualised with
Performing Rights and Dr Karen Salt. contributions from Amit Rai (academic and
The Library of Performing Rights (LPR) was organiser), Áine O’Brien (co-founder and
A film and book of the project will be
originally developed in 2006 for PSi:12 co-director of Counterpoints Arts) and Ayça
published in 2019.
Performing Rights as a unique resource Çubukçu (Assistant Professor in Human
of materials examining the intersection Rights in the Department of Sociology and
between performance and Human Rights,
The whole DOI process has been the Centre for the Study of Human Rights),
and has been housed at LADA since 2007. one of revelation, sharing, and whose research explores migration, human
rights and creativity.
In 2017, we reactivated and reimagined unfolding delight. The workshop
the LPR in collaboration with the artists/ time spent with other women
researchers Lois Weaver and Elena
was hugely valuable - not only max+noa at LADA
Marchevska, as a place of action, a place
of knowledge exchange, a repository of in its creative stimulus but also In 2018-19, we worked with those ‘cunning
experience, and a resource and a context folk’ max+noa (formerly known as
in focusing our attention on
that others can use to support and advance Sheaf+Barley) on a residency and a new
the practices of self-care that commission – two participatory projects
their own work.
sustain us as women of colour. that respond to LADA’s East London homes
As well as a range of new activities past and present.
and resources, we instigated an annual
The performance at LADA and
commission in partnership with the Study the ‘in conversation’ between In Spring 2018, max+noa undertook a
Room in Exile in Liverpool. Barby and Karen was a beautiful ‘pilgrimage’ to the different spaces LADA
has inhabited since 1999, gathering plants
way to share, acknowledge and from those sites to replant at The Garrett
Barby Asante, Declaration honour the work. I can honestly Centre, and in the process think about the
of Independence The say that for me, the process was psychic ‘leftovers’ of LADA’s former homes
Library of Performing transformative. and how we carry these histories. To mark
the end of their ‘pilgrimage’ they created a
Rights commission 2018 Foluke Taylor, workshop/ public event, Weeding, and invited everyone
The first LPR commission was awarded
recitation participant who has some kind of history with LADA
to Barby Asante to develop Declaration to donate their own plants to be part of a
of Independence, a project which brings The Library of collective planting – and remembering –
and laying down of roots at The Garrett
together women of colour in a discursive
performance to explore what it is to find
Performing Rights Centre.
a sense of place as “we navigate life and Open 2018 max+noa also undertook LADA’s first
a world where we rarely hear our stories The first Library of Performing Rights Open Garrett Centre commission, which saw
although so many of us are working to event was organised in collaboration with them collaborating with Simple Gifts, a
create a more equitable world, whether our LPR partner, the artist and researcher social action organisation also based at The
this is through creativity, activism or in Elena Marchevska, and focused on The Garrett Centre, running art classes with
our everyday actions. By inviting women to Official Unofficial Voting Station: Voting for All local kids and lunches with local residents.
share stories in a backdrop of postcolonial/ Who Legally Can’t, a project by the US based
decolonial and migration histories, these
performed her-stories intervene in the
artist Aram Han Sifuentes.
Kids, Families, Gender
archive of these cultural histories.” There are 91 million people in the United
States and its territories who cannot legally
and Live Art
Declaration of Independence is part of Barby’s vote. Han Sifuentes and collaborators Bristol based Liz Clarke and her son Felix’s
wider project As Always a Painful Declaration created Official Unofficial Voting Stations show, I’m Bitter About Glitter, explores
of Independence - For Ama. For Aba. for across the US and Mexico, which welcomed questions of gender fluidity, identity and
Charlotte and Adjoa, a personal familial everyone to vote and offered spaces for the sexuality from an 9-year old’s perspective,
reflection on the idea of independence discontented and disenfranchised. In the and asks what it means to be part of an art-
and agency for women of colour from the face of Brexit, this LPR Open event asked making, non-conformist family.
departure point of the independence of what it means to create work in response to
Ghana in 1957. Liz and Felix’s work relates to some of the
Article 21 of the UN Universal Declaration
questions LADA’s Thinker in Residence
Declaration of Independence was performed of Human Rights and the fact that the
Hester Chillingworth was researching
at LADA in June 2018 by Selina Rose, Paula will of the people shall be the basis of
into opening up Live Art to young people,
Pinho Martins Nacif, Chloe Filani, Marwa the authority of government. Whose vote
particularly gender-questioning and gender-
Belghazi, Buki Bayode, Foluke Taylor, and counts more and why?
variant young people, and the ways that
Live Art can navigate and investigate the
trans experience.
14
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.
16
LADA OPPORTUNITIES FOR ARTISTS
DIY 15: 2018
Joanne Matthews, Wild Philosophy: Raving, Running, Nwando Ebizi, Afro Diasporic Ritual as Afrofuturist
Reading. Image Ali Wates Technology. Image Wellcome/Steven Pocock 17
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.
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
DIY workshops have been DIY in North America of theoretical investigations concerning
incredibly important in my career. the body, time, space, subjectivity,
With the support and advocacy of the documentation and communication.
I say this from the perspective of British Council USA, we continued to offer
a workshop leader as well as a 10 students formed the first MA Live Art
a programme of DIYs led by acclaimed
cohort, and started in September 2018.
workshop participant. As well as and experienced UK based practitioners to
artists in the USA.
an amazing source of support and Over the past few months of
growth, these workshops are also Tania El Khoury led a DIY, State Violence:
A Choreography, at The Chocolate Factory studying on the MA programme
fantastic ways of meeting new in New York, in collaboration with Luciana I have grown exponentially as
artists and collaborators. Achugar, and at Fusebox Festival in Austin,
both an artist and thinker. I
Nando Messias Texas, in collaboration with China Smith.
Dickie Beau led a DIY in collaboration with have been challenged in many
(DIY lead artist, 2018) ways and offered opportunities
Jack Fervour in Broken Footnotes on Camp
at The Chocolate Factory in New York, and to work with some of the most
will lead a DIY at Fusebox in Autumn 2019.
inspiring people in Live Art today.
Fundamentally I feel as though I
have been treated as an artist
as much as a student.
Becky O’Brien
Above: Nando Messias, Art & the Self:
What did Narcissus see?. Image Holly Revell
Right: Molly June Honer, Melting Piece, MA Live Art.
18 Image Holly Revell
Arthole Artist’s Award I believe - particularly in times Residencies
of great change, challenge,
The Arthole Artist’s Award supports a We host a range of self-directed research
groundbreaking and inspirational UK-based and revolution - that one of the residencies in our Study Room, offering
artist working in Live Art to undertake a important functions of art is opportunities for artists, researchers, writers
self-determined year-long research and to open our hearts, eyes and and scholars to undertake in-depth enquiries
artistic development programme that will into key themes, histories or artists.
have a significant and lasting impact on
minds. To help us think about
who we are, and who we can be. In 2018-19, we hosted research residencies
their practice, and on wider contemporary
with Aine Phillips, Oozing Gloop, Es Morgan
culture in the UK. The £10,000 Award I am a female leader working
& Charlie Ashwell: HereAfter, Sheaf+Barley,
is intended to plug a hole in art funding in the creative industries and I Edythe Woolley and Amy Lawrence.
for open-ended research and professional
development.
believe passionately in diversity,
The Arthole Artist’s Award was conceived
access and representation both The Adrian Howells Award
by the artist Joshua Sofaer in 2016 as an as human rights issues, and as for Intimate Performance
initiative to support individual Patronage precursors for creative innovation.
of Live Art, and was developed by LADA Adrian Howells (1962–2014) was one of the
As a physicist by training, I am world’s leading figures in the field of one-
in collaboration with Gary Carter. The
first Arthole Artist’s Award Patron was Lucio
sure that innovation does not to-one and intimate performance. In 2016
A C Shala and the first Arthole Artist’s occur without research. Onward the annual Adrian Howells Award for Intimate
Award recipient was Marcia Farquhar, who professional development, Performance was launched in a partnership
undertook a programme looking at the past between Take Me Somewhere, National
and the research which is the Theatre of Scotland, Battersea Arts Centre,
and future of her performance practices, its
place in history and its archiving as well as
foundation of that development University of Glasgow, and LADA.
attending to some unfinished business. is of vital importance not only The 2018 recipient of the award was Amy
In 2018-19, thanks to the generous support to individual practitioners, but Rosa, an artist based in Scotland working
of our new Arthole Patron, Alex Mahon, to society as a whole. Live Art is predominantly with found materials,
Chief Executive of Channel Four, we issued mostly from woods, beaches and parks,
significant, and so is the kind of creating spaces that focus on healing. One
an open call for proposals from artists to
undertake the second Arthole Artist’s Award.
funding represented by Arthole, of her main focusses is on creating an
The recipient of the second Award will be and so it is my great pleasure open dialogue about disabilities that are
announced in Spring 2019. to support the Arthole Artist’s still viewed with scepticism, ‘invisible’,
chronic conditions, using durational
Award for 2019. action, ritual and installation. Amy used
Alex Mahon, Chief Executive, the award to undergo a year-long process
Channel Four merging quantum theory, mindfulness and
meditation called Untitled (Ice).
19
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.
22
COMING UP SUPPORT
IN 2019 LADA
Animals of Manchester (including HUMANZ),
an intergenerational and interspecies Live
Please support LADA Staff
Art experience created by Sibylle Peters and help us set great art Alex Eisenberg
(Theatre of Research) and LADA for the and ideas in motion Ben Harris
Manchester International Festival and Lois Keidan
Whitworth Gallery 2019. A donation to LADA directly supports Finn Love
artists and programmes, makes influential CJ Mitchell
The second annual Garrett Centre artists’ development programmes possible, Joseph Morgan Schofield
commission, Earthlings by performance enables us to produce new publications Amy Poole
poet Katherine McMahon and community and commission new art by extraordinary Megan Vaughan
gardener Hari Byles. artists, and buys essential books for artists
The second annual Library of Performing and students to read in our Study Room. In 2018-19, Megan Vaughan left LADA
Rights commission, The Pink Supper by to undertake a PhD, Finn Love became
LADA welcomes donations of all sizes – we
Nando Messias. Programmes Manager, Joseph Morgan
can make a little go a long way, and make a
Schofield joined as Coordinator, Ben Harris
The second Arthole Artist’s Award recipient, lot go even further. £20 will buy a book for
joined as Studio Manager, and CJ Mitchell
to be announced. the Study Room, £200 will support a LADA
moved to a new part time role as Finance
The third and final round of Diverse Actions Screens, and £2,000 will make a DIY artist-
and Development Director.
Leadership Bursaries. led workshop possible.
The Katherine Araniello Bursary Award, for You can make a donation via LADA’s
website, or contact CJ Mitchell for more
Board of Directors
an unapologetically radical and politicised
information: info@thisisliveart.co.uk Stephen Cleary
artist who works in Live Art and identifies
Dominic Johnson
as a disabled person. Your contribution may be eligible
Peter Law
for Gift Aid.
LADA and Swiss Live art, a three-year Gill Lloyd
initiative with Pro Helvetia, the Swiss Arts www.thisisliveart.co.uk/support Jonathan May
Council to raise the profile of Swiss Live Art Emmy Minton
in the UK. Amit Rai
The Live Art Almanac, Volume 5, book. Gini Simpson
Marquard Smith
Joshua Sofaer: Performance, Objects,
Cecilia Wee, Chair
Participation, the seventh title in the
Intellect Live book series.
Daniel Oliver, Awkwoods, book.
Patrons
Marina Abramović
Ron Athey
Stay connected with LADA Neil Bartlett
We are giving LADA all of our Anne Bean
Please do sign up to receive monthly LADA Sonia Boyce
money after we die. We encourage
and Unbound newsletters and make sure Tim Etchells
you don’t miss out on the kind of news, anybody to think about what you Guillermo Gómez-Peña
events and opportunities you’ve read about might leave behind when you are Raimund Hoghe
in this Annual Review. gone. You can’t take it with you, Tehching Hsieh
Sign up to LADA Newsletters so why not give some or all of it to Isaac Julien
www.thisisliveart.co.uk/subscribe La Ribot
LADA? You don’t have to be rich to Lois Weaver
Sign up to Unbound Newsletters leave money after you die. We are
www.thisisunbound.co.uk/pages/subscribe
surprised that more people don’t
Live Art Development Agency do this. It’s a bit of administration, The Live Art Development Agency is funded
as a National Portfolio Organisation by Arts
The Garrett Centre but it’s also fun, political, caring Council England.
117A Mansford Street and creative, a treat for yourself, The Live Art Development Agency is a Company
Bethnal Green
London
a good thing to do that makes Limited by Guarantee, Registered in England
and Wales, number 3651554.
E2 6LX you feel right with the world.
The Live Art Development Agency is a
+44 (0)208 985 2124 You could make a show about it. Registered Charity No. 1079943.
www.thisisliveart.co.uk Charlotte Cooper, Simon Murphy,
www.thisisunbound.co.uk Kay Hyatt
www.facebook.com/thisisliveart
Twitter: thisisliveart Above: Charlotte Cooper, Simon Murphy
Instagram: thisisliveart and Kay Hyatt. Image the artists 23
Katherine Araniello
21 September 1965–25 February 2019
Artist, activist, LADA Board member