Podcast appearances and mentions of ron athey

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Can self-harm be art? In Performance, Masculinity, and Self-Injury (Routledge, 2024), Lucy Weir, a Reader in History of Art at the University of Edinburgh rethinks the recent history of performance to understand the ‘injurious turn' in contemporary live art. The book challenges the usual associations between self-harm and gender by exploring the work of a diverse range of artists.  Taking Viennese Actionism as its starting point, the book then offers detailed case studies of, amongst others, André Stitt, Ron Athey, Wafaa Bilal and Pyotr Pavlensky. Each artist is considered in relation to their context, as well as how their work relates to the more general question of how masculinity itself relates to extreme performance in challenging and censorious settings. As well as being theoretically and empirically rich, the book offers an engaging route into art theory and art history for non-specialists. It will be of interest widely in humanities, medicine and the social sciences. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In which Theo & Brian discuss eight separate pieces of performance art, each of them receiving much critical acclaim, praise, and even massive controversey. From cannibalism to crucifixion to intentionally shooting yourself, this episode gets weird. Viewer discretion is advised. MAJOR TW: Cannibalism, Death, Self Harm, Pregnancy Trauma, Blood, Murder - Sebastian Horsely: https://en.wikipedia.org/wiki/... - Zhu Yu: https://en.wikipedia.org/wiki/... - Vito Acconci: https://en.wikipedia.org/wiki/... - Ron Athey: https://en.wikipedia.org/wiki/... - Aliza Shvartz: https://en.wikipedia.org/wiki/... - Chris Burden: https://en.wikipedia.org/wiki/... - Ham Cybelle: https://faroutmagazine.co.uk/s... - Marina Abramovic: https://en.wikipedia.org/wiki/...

Kanani and Courtney talk about their experiences at SunFest XXXIV (https://owow.org) and Hilary gives a little more info into the Performance Art Intensive, Darkness Visible, that she performed at with Ron and Michele. Then Ron Athey and Michele Occelli join to discuss Automatic Writing and Trance Work. SPONSORS - Check out Cucina Aurora ‘s new Magickal Marinara and Lemon-Asparagus Risotto and the INCREDIBLE new Magickal Marinara sauce, along with Magickally-infused Kitchen Witch goodies including dips, risottos, infused oils, cookbooks, and coffees! Use code WITCHLIFE and get 10% off. - Blessed Be Magick has a new Lilith line! Gorgeous, Magickal, talisman jewelry pieces made FOR Witches, by Witches at blessedbemagick.com Use code WITCHLIFE15 and save 15%! - Check out the phenomenal teas at thejasminepearl.com and save 10% with coupon code WITCH2023. Free shipping on orders over $35. Make sure you let them know you heard about them on That Witch Life Podcast!

Lydia and Tim celebrate the birth of 2022 in two parts, with past guests. In part one, they reflect on the past year with Adele Bertei, Sydney Silver and Ian White. In part two they keep the reflection and story telling going with Eugene Robinson and Ron Athey. Happy New Year everyone!

On this week’s episode, I spend time with Kayla. Kayla and I met in Los Angeles in 2017, working on a performance with Opera Povera and Ron Athey at the Cathedral Vibiana. I remember feeling pulled towards Kayla. Have you ever got a felt sense about someone you’ve just met? Maybe it was because we shared an experience that was yet to be disclosed... Leaving a review for I Miss You on Apple Podcasts helps others find our little show! ❤️ Find me on Instagram @imissyoupodcast Support this podcast

In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Gothic Queer Culture: Marginalized Communities and the Ghosts of Insidious Trauma (University of Nebraska Press), Laura Westengard examines the intersection of queerness and the gothic. Westengard’s scope is broad enough to encompass Lady Gaga’s meat dress, lesbian pulp fiction, Dracula, queer literature, and sadomasochistic performance art. What brings these diverse cultural objects together is the way they re-appropriate tropes of the gothic that have been used to marginalize queer and gender-variant people throughout history. If mainstream culture depicts queer people as predatory, monstrous, and threatening, the artists analyzed in Gothic Queer Culture find beauty and meaning in gothic tropes: in the crypt-like undergrounds of lesbian bars, the vampiric performance art of Ron Athey, and in the Frankensteinian practice of juxtaposing conflicting genres in the same text. The gothic then becomes a way to process trauma and rewrite the often-conservative genre of the gothic as something proudly queer, unsettled, and unsettling. Laura Westengard is an associate professor of English at the New York City College of Technology, City University of New York. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the sixth episode of our podcast series, with Document Human Rights Film Festival, Grace Schwindt, Jasmina Cibic and Ron Athey. Across this series, Gareth K Vile (Theatre Editor of The List Magazine, who also blogs wild critical theory here) chats to some of the amazing people who make, produce and contribute to our programme: from artists, curators and programmers, to community organisers and social clubs. We'll take a deep dive into exhibitions, gigs, performances and events - exploring the ideas and ethos that underpin our approach to programming and how you can get involved. Timings Sanne Jehoul & Sam Kenyon (Document Film Festival) - (47s) Grace Schwindt (artist) - (15m 39s) Jasmina Cibic (artist) - (29m 28s) Ron Athey (artist) - (37m 56s) Thank you to everyone who took part and to Unclassed Media & Sunny Govan Community Radio.

Frieze Talks featuring Rafa Esparza & Ron Athey in conversation

Nikolas Kasinos is a multidisciplinary artist, born in Cyprus in 1988, currently based in Berlin. Having as a core performance and video art, his artistic practice involves the exploration of identity, gender, transformation and mutation through the observation of human behaviour, media, popular culture within socio-political structures. Using his body as a subject - Nikolas explores the collective representation of ‘the self’ within these contexts. Works includes live and video performances, audio-visual installations, sound design, dance and photography.   He received his degree in Film & Video from University of The Arts, London, where he was based for 7 years. Within that period he experimented with video art while venturing into performance and developed work which is on-going until now. Through the years he collaborated with many artists such as Ron Athey, Chadd Curry, Ernesto Tomassini, Hector De Gregorio, Anton Mirto, Lina Lapelyte, in multimedia performance based projects. In 2014 he co-founded Ouroboros with visual artist Jeremy Carne focusing on creative and commercial video works until present. In 2016 he initiated RELAPSE collective with artists Vasiliki Antonopoulou and Dimitrios Michailidis aiming to give artists from different disciplines and geographic locations, the opportunity to come together and create a space for discourse.   He has exhibited and performed at several venues internationally, including his solo exhibition at EA Gallery at the University of Colorado, at Weld and Museum of Modern Art in Stockholm, Galeria Zé dos Bois in Lisbon, The Performance Shop in Limassol, Flux Factory in New York; Chelsea Theatre, Peltz Gallery, Royal College of Art, David Roberts Art Foundation, Cafe OTO in London. Residencies include The Yard in Cyprus, ImPulsTanz in Vienna, Dance4 in Nottingham, Skogen in Gothenburg. The book mentioned in the interview is The Agony of Eros by Byung-Chul Han.   @nikolaskasinos // nikolaskasinos.com Courage in the Face of Reality, 2016, Three Channel Video Installation 20:20 minutes Sometimes I’m ARrt, 2010–Present, Performance & Multimedia

we talk to Ron Athey about growing up with weird religion, having sex in the 1970s, having aids in the 1980s, being used as a pawn in the NEA Culture wars, the early West coast punk rock/ industrial performance circuit, The pre-lapsarian Los Angeles tattoo/body mod scene, being banned in the USA being received in Europe collaborating with classical musicians, blood and death, sanctity in mortification, politics, subculture, grant money, generation gaps, and trying to keep your art out of the hands of music video directors

Pleading in the Blood: The Art and Performances of Ron Athey (Intellect Books) Ron Athey is a central figure in the development of performance art since the early 1990s, and this is the first book devoted to his practice. Pleading in the Blood (ed. by Dominic Johnson) foregrounds the prescience of Atheyʼs work, exploring how his visceral practice foresaw and precipitated the central place afforded sexuality, identity, and the body in art and critical theory in the late twentieth century. This landmark publication includes Atheyʼs own writings, and commissioned essays by maverick artists and leading academics. It showcases full-colour images of Atheyʼs art and performances since the early 1980s, including extensive documentation of solo performances and ensemble productions, and his photographic collaborations with other visual artists. Pleading in the Blood also includes three newly commissioned essays on different aspects of Atheyʼs work by Adrian Heathfield, Amelia Jones, and Dominic Johnson. These scholarly essays are complemented by shorter texts byHomi K. Bhabha, Jennifer Doyle, Tim Etchells, Guillermo Gómez-Peña, Matthew Goulish, Lydia Lunch, Juliana Snapper, Julie Tolentino, Alex Binnie, Catherine (Saalfield) Gund, Bruce LaBruce and Catherine Opie, along with a hand-written text from Robert Wilson. Including new pieces and hard-to-find archival texts. The publication is lavishly illustrated with full-colour images by photographers including Catherine Opie, Manuel Vason, Elyse Regher, Slava Mogutin, Dona Ann McAdams, Bruce LaBruce, Rick Castro, Sheree Rose, Edward Colver, Jennifer Precious Finch, and others, and includes a foreword to the publication written by Antony Hegarty of Antony and the Johnsons. Praise for Pleading in the Blood: "At long last, Dominic Johnsonʼs book begins the dauntingly exhilarating task of assessing the richly provocative art of Ron Athey. Incorporating Atheyʼs own prose version of his extraordinary childhood, astute critical essays, and moving appreciations from other artists, Pleading in the Blood advances Performance Studies and Art History by forging a mode of commentary expansive enough to address an artist who consistently works to expand the intricate drama of human embodiment. Atheyʼs art refuses the usual distinctions between pleasure and pain, or faith and doubt, and has been both blamed and celebrated for its radical inquiries into the limits and possibilities of queer bodies. Athey emerges from these pages as one of the most compelling theatre artists of our time."--Peggy Phelan, Standford University Ron Athey is an iconic figure in the development of contemporary art and performance. In his frequently bloody portrayals of life, death, crisis, and fortitude in the time of AIDS, Athey calls into question the limits of artistic practice. These limits enable Athey to explore key themes including: gender, sexuality, SM and radical sex, queer activism, post-punk and industrial culture, tattooing and body modification, ritual, and religion.

Kunst kann Medienkritik sein und Medienkritik kann Spaß machen, das jedenfalls lehrt die Kunst des Traumfabrikanten Götz Bury.

Dieses schöne Lied verstört, zumindest seit die Hardcore-Performance Gruppe Fuckhead dessen fortschreitende Dekonstruktion mit großen Gesten zelebriert.