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 practice-based course focuses on memory as immediate inspiration and tool for creating performance art. Through discussion of historic and contemporary examples, selected readings, and performance experiments, participants are guided to employ concepts of personal, group, and collective memory and embedded discourses to expand their artistic practice.

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.

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.

This course offers an introduction to new immersive technologies available to performance artists such as virtual reality, augmented reality and 360 photo and video capture, critically addressing their impact and meaning for the field.

This workshop offers practical training in the use of a variety of technical tools that produce Extended Reality (XR) experiences. In addition it provides students with the opportunity to develop individual artistic, curatorial, or scholarly projects and proposals under expert guidance and in exchange with fellow participants.

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 course takes a hemispheric look at how to think through the goals of decolonialization and how they are shaped by artists, activists, and academics in the post-neoliberal world. We will analyze current activist activities and relevant theory but it is especially through participants' own background, ideas, and work that we will be able to address questions of how decolonizing can remain grounded, continue to make territorial acknowledgements, advocate for restitution and reparations, and create new perception under these ever-changing conditions. 

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