Ron Athey. Incorruptible Flesh. Glasgow, 2006. Photo by Manuel Vason.
This recent conversation I have had with Ron Athey, one of the most outstanding ground-breaking performance artists of our times, has been made exclusively for LADA (Live Art Development Agency, UK) on early 2015. The agency, on behalf of its director Lois Keidan, is pleased to make it available for Performance Philosophy members and readers. The dialogue includes a discussion around the issues and concerns of contemporary Performance Art as well as an in-depth focus on the work of Ron Athey, past and present. With additional notes by Lisa Newman.
The conversation is downloadable at the following link:
http://www.thisisliveart.co.uk/blog/ron-athey-in-conversation-with-andrea-pagnes/
The same conversation, comprehensive of a photo selection from the archive of the artist and Manuel Vason’s, Athey’s Devine’s Funeral monologue text pdf ( conclusive part of his fourth installation and performance Incorruptible Flesh: Messianic Remains) originated and transcribed by the artist from Jean Genet’s novel Our Lady of the Flowers), and Incorruptible Flesh installations and performance series description are downloadable at:
http://www.researchcatalogue.net/view/206617/206618
Ron Athey is an iconic figure in contemporary art and performance. In his frequently bloody portrayals of life, death, crisis, and fortitude in the time of AIDS, Athey provides insights and calls into question the limits of artistic practice and research. These limits enable Athey to explore key themes including gender, sexuality, radical sex, queer activism, post-punk and industrial culture, tattooing and body modification, ritual, philosophy, literature, creative-automatic writings, spirituality and religion. The first monograph on his work, Pleading in the Blood, edited by Dominic Johnson, is published by LADA and Intellect Books in their Intellect Live series.
