Description
This issue asks about the consequences and specific modalities of leftovers in the performing and visual arts as well as in broader cultural and social contexts: What is the status of leftovers when, for example, being on display or being distributed otherwise after a performance? To what extent do they ‘help’ or rather ‘betray’ the attempts to write performing art’s history? What kind of impact does the integration of debris as art’s material have on the conception and reception of the artwork as such? And in what ways does a certain performative quality apply when it comes to the arrangement of leftovers other than working with ‘unused’ and ‘fresh’ material? What about the politicality of integrating leftovers into ‘newly’ done work? And how does the value of leftovers change when reintegrated into the consumer’s society? Those reflections also imply more general questions about the cultural status and value of leftovers in the social and political realm.
Before Left Over
Susanne Foellmer, Richard Gough
The Critical Power of the Residual
Barbara Formis
Broke Blokes : Performance scraps
Mark Greenwood
Recycling, Reinvesting and Revaluing : On immateriality in Sarah Vanhee’s Oblivion
Annelies Van Assche
What to Do with the Leftovers of the Arts Industry? : Recycling artists and theatrical policies in twenty-first century Barcelona, Spain
Ricard Gázquez
Theatrical Bubble and Squeak : The stage direction as leftover in eighteenth-century theatre
Miriam Handley
Black Space and Trauma Ruins : How do leftovers perform?
Dorota Sosnowska
What is Whose and Who is What?
Liam Francis
Lest We Vanish Into Meaning : (Philip Guston and the politics of trash)
Francisco Sousa Lobo
The Performance of Leftovers
Sarah Levinsky
On the Political Nature of Leftovers
Susanne Foellmer
Trophies Remain : The history of New Zealand resource extraction and the Meat Fence photo-project
Jonathan W. Marshall
Performing Leftovers : On the ecology of performance’s remains
Edward Whittall
Saved from the Scrapheap : Revealing the creative and ecological potential of societal leftovers in scenography
Tanja Beer
Agricultural Detritus and Artistic Practices : Reflections on animating heritage and reclaiming place-specific narratives
Ffion Jones
Ragpickers and Leftover Performances : Walter Benjamin’s philosophy of the historical leftover
Frederik Le Roy
To Be or Not to Be There : When the performer leaves the scene and makes room for the audience
Angela Viora
The Values of Leftovers in Dance Research
Hetty Blades, Rosemary E. Kostic Cisneros, Sarah Whatley
