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Felt Acts is an online platform for performance that works through an ongoing conversation between Bryony White and a guest writer. Felt Acts offers an online space for artists, writers, performers and curators to explore  disciplinary, and critical approaches to performance. From within performance studies, literary studies, the visual arts, art history and museum and curatorial practices, we aim to take an expanded and non-standardised approach to the understanding of ‘performance’, in both how we write and in the work we write about.

Emergency INDEX is inspired by the early issues of the performance art magazine High Performance (1978-1997), in which artists were openly invited to send in reports of their performance artworks. Performance art, at that time a new form, had yet to define itself; therefore, the editors of High Performance deemed that any artist who called their work performance art was legitimately defining the field.

Consequently, High Performance became an amazing survey of real practice, a definition of performance art created internally by its varied creators, not post-rationalised or interpreted by critics and institutions. Since then, performance art has become one of the best documented forms of performance practices, while undocumented acts of performance have proliferated in fields outside of visual art.

INDEX, following the model of High Performance, will practice a policy of radical inclusion; therefore, included works will not be restricted by genre, quality, popularity, politics, or venue. However, creators of performance works will be asked to describe the primary problems driving the work, and the tactics developed in the performance to address them.

 The goal is to highlight not the experience of the performance, but to document achievements, innovations, and developments in the field. In this way, Emergency INDEX will allow performance makers a way to survey their field in a timely fashion; will give access to performance works which occurred only fleetingly or remotely; and can offer creators a way to share the advances made in their performance works.

Performance is Alive: “I was recently challenged to prove that performance art as a medium is not dead. The performance art community is certainly alive and presenting meaningful work around the world. This site intends to share the work of performance artists working today.” Quinn Dukes

Total Art Journal

TOTAL ART is a peer-reviewed journal that seeks to establish a dynamic forum for interdisciplinary discourse grounded in the arts. We are committed to nurturing new ways of understanding and interrogating work that crosses the practice-theory lines endemic to traditional academic and artistic worlds.
The journal takes its name from Alan Kaprow’s 1958 essay, “Notes on the Creation of a Total Art,” and sees performance, understood as a broad category of analysis, as central to the post-disciplinarity at stake in the concept of a Kaprowian “Total Art.” Grounded in local attention, performance here names an approach rather than a discrete artistic practice – an approach that brings with it new ways of doing work at the intersections of art/life, theory/practice, and academia/activism.
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Artpotheek. Performance Platform Brussels
Momentum. Platform for Performance Art Brussels


Action Art Now York
Arts Admin, Creation of performance, site-specific and interdisciplinary work London
Compass Live Art Project Yorkshire and Humber
Performativity Symposium London
Live Art Development Agency London
Live Art UK, National Network of Live Art Promotors
Performance Klub Fiskilturnik
Performance Space London
PSi Performing Rights London
Spill Festival of Performance London


PERFO! Performance, Music and Video Event, Telakalla
Performannssi Turku


Infra’action. International Performance Art Festival Sète ≠
Infra’action Paris. International Performance Art Festival, Paris ≠
Performing Arts Forum St Erme ≠
Polysonneries Performance Art Festival Lyon ≠
PréAvis de Désordre Urbain, International Urban Performance Art Festival Marseille


Grimmmuseum Berlin
Direct Action Berlin ≠
GloguaAIR Artist in Residence Program Berlin
IPAH International Performance Art Heidelseim
Infraction Venice ≠
Paersche, Cologne
PAS Performance Art Studies
Performer Stammtisch Berlin
Plot in Situ, Festival of Live Art Berlin ≠
Interval Essen

Association for Performance Art in Berlin 

APA, Cologne


Performance Art Event Rotterdam
Slow Down Festival Amsterdam
To Be Present, Live No Tech Performance Art Events, Amsterdam ≠


Harta Performing Monza, International Exhibition and Performce Art Festival Monza
Infr’action Venice
InterAzione, International Performing Arts Festival Sardinia
T.P.A. Turin Performance Art Turin
Venice International Performance Art Week Venice


Bbeyond Promotion of Live Art Events Belfast
FIX Live Art Biennal Belfast

Live Collision, Dublin

BIFPA, Belfast

Dublin Live Art Festival


Never or Now Performance Art Festival Bergen ≠
Nordic Tantrum Bergen
PerformanceArt Bergen


Castle of Imagination, International Performance Art Festival Slupsk
EPAF, European Performance Art Festival Warsaw
Interactions Festival International Action Art Festival Krakow
Interakcje International Art Festival Piotrkow
Living Gallery


Epipiderme Lisbon ≠
Line Up Action Coimbra

To perform 


New Territories. International Festival of Live Art Glasgow


IMAF International Multimedial Art Festival Odzaki


Abierto de Acción Murcia
Acción con Hambre, Performance and Food Project Madrid
Acción es León Performance Festival León
Acción!MAD. International Live Art Meeting Madrid
Act Festival Bilbao
Artón Monthly Performance Art Event Madrid
BokAcción Live Art in Nature Madrid
Cerco Acción Live Art Festival Zaragoza
Artón, Monthly Live Art Meeting Madrid
Châmalle X, International Live Art Seminar Pontevedra
Cuadete. International Live Art and Landscape Meeting Caudete
Cuerpo a Cuerpo, Live Art Festival Las Palmas de Gran Canária
Contenedores. International Live Art Fair Sevilla
eBent International Meeting of Performance Art Events Barcelona
FEM. International Meeting of Women Performance Artists Girona
JIAP International Live Art Meeting Pumarejo
La Bolsa, Performance Video Magazine Caceres
La Interior Bodega, Fluxus Space Barcelona
La Mas Bella, Live Art and Experimental Editorial Projects Madrid
La Muga Caula. International Meeting of Poetry, Live Art and Performance Art Les Escaules
La Ovella Vermella Tarragona
Nau Côclea Camallera
Nau Estruch. Space for Performative Practice Sabadell
Out of Mind Performance Festival Zaragoza
REDacción Iberian Network of Live Art and Performance Art Projects
Reformance Festival de Performance Reciclada Madrid
Sierra Centro de Arte Huelva
Sinberifora Live Art Programme Valencia
Terrritorio Performance de Periferias Huesca
Usual Iberian Congress of Live Art Organisations


Bone Festival Bern
Migma Performance Festival Luzern
Turbine, Giswil. International Performance Art Festival Giswil
Stromereien Performance Festival Zurich


Live Action International Performance Festival Gothenburg
No Budget Performance, Nomadic Performance Art Events Stockholm


Experimetica Live and Time Based Arts Festival Cardiff
The Centre for Performance Research Aberystwyth

A Space for Live Art

Eight experienced cultural structures have been brought together to develop and reinforce the space for Live Art. Located throughout the European territory, each of the eight partners (Belgium, France, the UK, Slovenia, Finland, Germany, Poland and Spain) will be offering a range of events concerned with live art over the five years.

APAB. The Association for Performance Art in Berlin e.V. (APAB e.V.)

Diverse Universe 


Exchange Live Art

…is a point of crystallization within the different existing European networks with interdisciplinary and interactive encounters. The  products and results will  be installate as Performances as communities.These  encounters are realized and refined in a number of projects.


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Performing Documents: modelling creative and curatorial engagements with live art and performance archives.

Performing Documents will research and facilitate a further significant advance in the understanding, engagement with and use of these archival materials and performance archives more widely. Where traditional scholarship has tended to appraise archives in relation to art-historical narratives and read documents as the textual remains of past events, this project will produce models for the investigation of this archival material through practice-as-research. Thus the project will advance an understanding of existing archival holdings through their relationship to current and future creative practice, in ways that will deepen academic, professional and public engagement with what remains of this ephemeral work.

…it will develop practical models for the future use of this material for a wide range of communities of professional users, including scholars, practitioners and curators. It will also develop strategies for the exhibition of these materials and ephemera, such that culturally significant, event-based art can be understood and communicated across generations of artists and scholars, as well as to a broader public.

Practical approaches to historiography will be explored through three distinct dialogues between renowned professional practitioners and scholarly practitioner-researchers, and between academic and cultural industry partners. The first workshop will focus on artists’ re-use of their own archival materials; the second on artists’ use of other artists’ documents; the third on the exhibition of documents and performance ephemera using curatorial practice as its mode of enquiry. Each enquiry explores a distinct approach to engaging with these documents: they model a set of experimental tools for future creative use and re-use. The project will enable audiences, scholars and professional practitioners to access these workshops through a series of symposia and showings, which will make these processes public, alongside ongoing online documentation. The third workshop concludes with a two-day conference that will be synchronized with an exhibition and performance of selected outcomes. This will draw out and make public significant discussions and comparative reflections from the previous symposia and add a wider call for international academic engagement with the project’s questions. A co-authored and edited book, combining DVD, will compile documentation and reflection on the practical inquiries, essays from the investigators and developed conference papers. Published by a leading publisher, this will be distributed internationally across the various sectors involved…

From University of Exeter Research projects.

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Arxiu Aire, Photographic Live Art Archive Barcelona
Live Art, British Library Online Live Art Archive
Live Art Work, International Performance Art Resources
National Review, Live Art Archives Glasgow Scotland
Open Frames, Archive for Performance Based Work
Sound Art and Performance Art Archive University of Castilla la Mancha, Spain
The Black Kit, Archive for Performing Arts, Action and Intermedia arts
The Live Art Archives University of Bristol
What’s Welsh for Performance Dept Theatre, Film and Television Studies, Aberystwyth University
European Live Art Archive University of Girona


Fluxus Archive
Ubu Visual, Concrete and Sound Poetry Archive

The Record of Live Art Practice. University of Bristol Theatre Collection

RLAP holds information about existing Live Art / Performance Art materials, records and publications primarily in England and the UK, from 1994 to the present. It is mostly paper-based although it does contain some videos and dvds, audio-tapes and slides.

RLAP holds more than 200,000 records of Live Art work, and is the most extensive record of Live Art worldwide.

The Live Art Archive (LAA) from which RLAP has evolved was first established in January 1994 when the Arts Council of England invited Dr Barry Smith (as he was then) of The Nottingham Trent University to formalise and expand his research collection in order to create as complete and current a record as possible of Live Art events in England from around 1960 onwards. This Archive was subsequently developed as a unique research resource at Nottingham Trent University and it then transferred to the University of Bristol Theatre Collection in January 2006 where it continues to grow.

The Record of Live Art Practice contains material from a wide range of significant performance artists who have worked with the Live Art Archive and contributed to its development over the years. Once such artist is Alastair MacLennan, who is respected and renowned for his work in this field.

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