This section of our website contains links to downloadable documents designed to provide an overview of Live Art and the infrastructures that support it in the UK.
Happiness, Loneliness and Animals: Reflections of Participants of Compass Festival 2018 (2019)
A publication by Chris O'Connor reflecting on Compass Festival 2018, which took place in Leeds between 16 and 25 November. The publication was supported by a Live Art UK enhancement fund. The publication is available online, in it's entirety.
It’s Time: how Live Art is taking on the world from the front line to the bottom line (2019)
A collection of case studies from 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. Read extracts from the publication by Cecilia Wee, Karl Taylor and Mel Evans and Hayley Newman.
Scottee - The Outsiders' Handbook (2018)
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." Published by the Live Art Development Agency.
On Live Art, Class and Cultural Privilege (2018)
Artist Kelly Green was invited to undertake a residency exploring Live Art practices and methodologies in relation to issues of class and cultural privilege, as part of the Live Art Development Agency's project Restock Rethink Reflect Four. She produced Let's Get Classy, a Study Room Guide on issues of class and cultural privilege, and Ways of Getting Classy, a toolkit of methodologies for working with those excluded through social and economic barriers.
On Live Art and the Displaced (2018)
Artist and researcher Elena Marchevsk was invited to undertake a residency exploring Live Art practices and methodologies in relation to the experiences of the displaced, as part of the Live Art Development Agency's project Restock Rethink Reflect Four. She produced The Displaced & Privilege (Live Art in the age of hostility), a Study Room Guide looking at key issues and works in relation to displacement and working with the displaced and Toolkit for Itinerant Artists, a toolkit of methodologies for working with the displaced.
On Live Art and Ageing (2018)
Professor Lois Weaver was invited to undertake a residency exploring Live Art practices and methodologies in relation to working with older individuals and communities, as part of the Live Art Development Agency's project Restock Rethink Reflect Four. She produced Know How, a Study Room Guide looking at key issues and works in relation to working with older constituencies and Action Recipes, a toolkit of methodologies for working with older constituencies.
On Live Art and the Young (2018)
Dr Sibylle Peters of Theatre of Research (Germany) was invited to undertake a residency exploring Live Art practices and methodologies in relation to intergenerational practices, especially with children/young people, as part of the Live Art Development Agency's project Restock Rethink Reflect Four. She produced Live Art & Kids, a Study Room Guide looking at key issues and works in relation to Live Art by, for, and with, children; Performing Research, a toolkit on how to conduct research projects with kids and adults using Live Art strategies
Critical Interruptions Vol 1: Steakhouse Live (2018)
A pilot project undertaken as part of the 2016 Steakhouse Live Festival of Live Art and Performance. The publication brings together artists, curators and producers, writers and critics to think through their relationship with criticism.
LAUK: Listen (2017 - ongoing)
The LAUK: Listen podcast is available on iTunes, and as a transcript.
PDF transcript - Episode 2 (August 2017)
LAUK: Listen (2016 - ongoing)
The LAUK: Listen podcast is available on iTunes, and as a transcript.
PDF transcript - Episode 1 (August 2016)
Glasgow’s Review of International Performance (GRIP) has been created and printed by Take Me Somewhere, and is supported by Live Art UK.
Playing Up by Mary Paterson (2016)
Mary Paterson's written response to PLAYING UP, a live art game for kids and adults, developed by Sibylle Peters and supported by Live Art UK.
Fundraising Resource Handbook (2015)
Fundraising Resource Handbook for artists, developed by LADA, Artsadmin and Home Live Art as part of Arts Council England’s Catalyst scheme (2013-15)
Live Art, potential, and changing the world by Mary Paterson (2015)
Mary Paterson's provocation to attendees of WEATHERING THE STORM, the Live Art UK Associates' Gathering held at Watershed, Bristol, on 12 February 2015.
The Art of Disobedience by Dan Gorman (2015)
The Art of Disobedience, written by Dan Gorman has been published in collaboration with LIFT as part of IETM’s Fresh Perspective series and explores the relationship between art, artists and politics, presenting specific case studies of artists engaged in political work.
Unruly Utterances: Participation, Criticality and Compass Festival (2014)
Ten practitioners reflect on themes of participation, audience, criticality and writing in a series of short essays and provocations inspired by their own practice and numerous works in the Compass Festival 2014. Edited by Yvonne Carmichael and Amelia Crouch.
Think Tank Workbook (2014)
Pacitti Company's Think Tank Workbook reflects the public events series at its Ipswich Think Tank building
Live Art UK statement on Arts Council England NPO announcement (2014)
I see a fake moon rising, Live Art in the public realm (2013)
I see a fake moon rising, Live Art in the public realm is a free online publication about artist and audience development created in response to IBT13: In Between Time Festival, Bristol, 2013. The publication is edited by Maddy Costa and co-published by Live Art UK and In Between Time as a strategic partnership to profile the contribution of Live Art to the creation of new spaces and sites for art and new forms of audience engagement.
Take the money and run? Some positions on ethics, business sponsorship and making art by Jane Trowell, Platform (2013)
In this Guide to materials in the Live Art Development Agency's Study Room, the arts, social justice and environmental group Platform has selected some key texts that they think are useful in helping to position yourself ethically with regard to financing or supporting artistic practice through business or corporate sponsorship.
Witnessing the Event / Capturing the Particular (2013)
Witnessing the Event / Capturing the Particular is the long awaited online publication that follows on from the Compass Live Art Symposium in November 2011. The Compass Live Art Symposium was a weekend of engaging reflection and discussion on live art in the public realm and live art as socially engaged practice. Director Sarah Spanton presents this record of and interpretation of some of the wide-ranging dialogue that took place over these three seminal days in Leeds.
NVA #7 – on performance and Live Art (2012)
In 2012, Hatch guest-edited issue #7 of Nottingham Visual Arts magazine. The whole issue was given over to coverage of all things performance-y and included the Hatch-ifesto and a potted history of Hatch as well as interviews with East Midlands based artists and companies Reckless Sleepers, Reactor and Hetain Patel. Further creative contributions came from Helena Goldwater, Andy Field, Claire Marshall and hancock & kelly live.
Getting It Out There (2012)
Getting It Out There was a one-day symposium exploring the future of touring for contemporary theatre and Live Art. Held in Lancaster on 12 May 2012, it brought together panels of art-form specialists to ask questions about the role of curators, programmers, producers and venues. It considered the wider implications of the structures used to fund, develop and present new work, and emerging models for touring countrywide. Live at LICA and Live Art UK have now published a 40 page collection of texts from and reflections on the event.
Guide to Funding Opportunities for the International Mobility of Artists and Culture Professionals in Europe (2011)
Resource for artists, by PRACTICS and On the Move - September 2011.
“Build It” - The beginnings of Forest Fringe (2008)
by Deborah Pearson, Co-director and Founder of Forest Fringe
Public letter from Live Art UK in response to the announcement by Arts Council England of its National Portfolio Organisation awards for 2012-15. (April 8, 2011)
Letter from Live Art UK to Jeremy Hunt - Secretary of State for Culture, Olympics, Media and Sport (December 15, 2010)
"Live Art UK is deeply concerned about the recent cuts by DCMS to Arts Council England (ACE). At a time when artists and arts organizations are planning their futures and
preparing for significant cuts to arts provision, we wish to collectively respond to the critical shifts being implemented by DCMS."
In Time: a Collection of Live Art Case Studies (2010)
In Time: a Collection of Live Art Case Studies, is designed to represent some of the innovative and pioneering ways in which Live Art has both posed and responded to many of the exciting cultural challenges of our times. Each case study was directed by members of Live Art UK, using either their own work or the work of others as its focus. The case studies are complemented by contextualizing essays from cultural commentator Sonya Dyer and critic Lyn Gardner.
The following responses to the In Time collection were invited from artists Paul Hurley and Search Party, and presented at the Bristol Live Open Platform, Arnolfini, Bristol, 28 March 2010:
Manifesto Club campaign against UK Home Office restrictions on non-EU visiting artists and academics (2008)
On 27 November 2008, The UK Home Office introduced new border restrictions which have had a detrimental impact on non-EU artists and academics who are invited for performances, talks, conferences, exhibitions or artists’ residencies. Visitors and their hosts now have to submit to a serious of arduous and expensive procedures to get “sponsorship” and visas if they are from a visa-national country. Many artists and performers have had their visa applications rejected, have been deported at UK borders, and some have even been banned from entering the UK for 10 years. Recently visiting artists have been threatened by UK Borders Agency should they be caught playing, performing, making art or photographing!
The Manifesto Club has been campaigning against these draconian restrictions in alliance with arts organisations, artists, musicians, gallery directors, theatres, academics and students. Together we call for these parochial, protectionist and suspicious regulations to be reconsidered, and affirm the vital contribution made by global artists and scholars to UK cultural and intellectual life.
The following documents have been used as tools for lobbying government and policy makers, as well as for artists and the general public fo find out more about the negative impact of these regulations. We would encourage readers to get further involved in the campaign and take further action. The campaign website suggests how you can help to press government to re-consider these intrusive and bureaucratic regulations.
Live Art UK Annual Networking Meeting (2007)
The Live Art UK Annual Networking Meeting 2007 took place at the Great Eastern Hotel in London and was attended by over 50 delegates from around the UK. Mary Paterson, a witer participating in the Critical Writing Initiative attended and has prepared summary of the day's activity.
Live Art UK Vision Paper (2004)
The Live Art UK Vision Paper was prepared as a discussion paper for a major meeting of Live Art UK members and other organisations and individuals interested in Live Art that took place in Liverpool in October 2004.
Focus Live Art (2001)
Focus Live Art was a series of meetings held in September 2001 bringing together key artists, promoters and funders in each English region to address the challenges facing policy and provision for Live Art and to consider solutions for a more sustainable future.