Available courses

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This course introduces students to forms of performance art documentation and archiving. Through key theories and practical examples, it investigates into how ephemeral practice is translated into physical material, its meaning for the discipline and ways of use in artistic and curatorial practice.

Drawing from a variety of theories, exercises, and interdisciplinary practice, this course guides students through the creative process of developing of a live performance art piece.

This course investigates the intersections between performance art and video. Through the study of key works, selected readings, as well as physical exercises and writing activities, the course tackles questions such as “how are artists pushing the boundaries and expanding the definition of performance art and media? How does performative video and performance on network technologies communicate and participate in social and political discourses, meanings, and values?"

This course considers performance art as a means to negotiate, react to, or call attention to environmental issues. Through a variety of practical exercises, case studies, and theory, participants will gather tools for creating eco-performance, investigate into the relationship between the body and nature, and consider sustainable archival methods for performance art. 

Through a variety of practical experiments, discussions of case studies, and selected readings, this class examines the practice of using task-led activities as a means to conceive and compose performance art.

At the heart of this course is the question of how to continue making live art in a world that is more often pre-recorded, edited and virtual. Working with everyday materials and actions, participants will engage in a series of exercises to examine their experience and understanding of time. As participants focus on the element of time in their performance actions, we will consider questions such as "What remains essential? What do we relinquish? What transforms?"

Who is your audience?  What do you expect of them? What do you want to tell them?  What do you want to learn from them?  This course focuses on the relation between performance art and its audience. Through practical exercises, discussions and readings, participants will explore a spectrum of ways to interact with their viewers and engage them in the work. 

This course is focused on creating public actions. Participants are asked to consider their immediate neighborhoods as a place to re-embody their art making in ways that are responsive to and integrated with the natural world and the community around them.
Through practical exercises and readings, they will be prompted to think about different modes of being in public and responding to their environment, considering the complications of making art in and from a place that is familiar.

Focusing on the role of physical action and bodily creativity in performance art making, the course introduces students to the philosophical principles, the processual forms, and the techniques needed to work with their own body as a starting point of the process of creating performance art.

This course offers an introduction to methods of working with site-specific performance art, in natural environments, public space, collaboratively, as well as using online space as a performance site. It will through presentations, discusssions, and practical exercises connect theory to practice. 

This course will explore writing as and about performance art. It is aimed at practitioners who use writing as part of their work, as well as those who need inspiration when writing about their own, or another artist’s work. Through a series of structured discussions and a number of writing tasks, we will experiment with how to write as/about/alongside performance art: your own or someone else’s.  As a starting point, we will explore a range of different kinds of writing, including performative writing (Hannah, Black, Tim Etchells, Tracy MacKenna), site-writing (Jane Rendell), art writing (Maddee Clark, Lorraine O’Grady), and auto-ethnography (Unoma Azuah, Mary E. Weems). We will think about how we might use writing not only to document live work but to invent further. We will explore what might come first: the performance or the text, body or language. We will experiment with form and content. We will explore relationships between text-based work and other media and discourses. The overarching aim of the course is to inspire students to get writing as part of their own practice in innovative and generative ways.

This course addresses the confluence of Feminism and Performance Art. Through the analysis of key works of feminist performance artists, the class approaches the multiple positions of Feminism and analyzes how and why performance art became crucial in the dismantling of standardizations regarding gender, sexuality, race, ethnicity, or class.

Using the regions of Latin America as focus point, this course explores performance art as a political tool. Through the study of case studies, readings, as well as practical exercises, participants will learn about political performative strategies such as protest and the use of public space, satire, cabaret as well as digital possibilities and how to utilize them to express their own, individual political agenda, be it social, cultural, or personal.

This course focuses on the 'body' in performance art from South and Southeast Asia. Selected readings, the discussion of case studies, as well as practical exercises introduce participants to the various meanings of the body as a political tool, a site for the (re-)construction of identity, and a place of devotion in performative practices from regions such as Thailand, Vietnam, Singapore, Iran, India, Pakistan, China, and Sri Lanka. 

This intensive online workshop is dedicated to performance-based filmmaking's conceptual, aesthetic, and practical aspects.