• STUART BRISLEY, Celebration for Due Process, 1970, Royal Court, London

    Celebration for Due Process

    find out more

  • STUART BRISLEY, Preparation for Celebration for Institutional Consumption, 1970, Brighton Festival

    Celebration for Institutional Consumption

    Please go to Text section for further information

    Hand written notes at Tate archive

    find out more

  • STUART BRISLEY, Institute for Peculiar Studies, 1970, London

    Institute for Peculiar Studies

    find out more

  • STUART BRISLEY, Hille Fellowship, 1970, Poly Wheel – Robin Day stacking chairs. 212 chairs circle.

    Hille Fellowship

    I was contracted to work in the Hille furniture factory at Haverhill in Suffolk in 1970.This was at a time when the production facilities were being enlarged necessitating reorganisation of the factory.  I chose to work in what I thought were the least attractive conditions, the metal polishing room. There were roughly 6 to 8 working stations in the workshop. My intention was to break into communication with the workers and then to extend my contacts across the factory floor. I did manage

    find out more

  • STUART BRISLEY, Alexander's Car Showroom Event, 1971, Edinburgh Festival

    Alexander's Car Showroom Event

    find out more

  • STUART BRISLEY, Surgical Minutes, 1971, Berlin

    Surgical Minutes

    find out more

  • STUART BRISLEY, And for today... nothing, 1972, Gallery House Goethe Institute, London

    And for today... nothing

      Performance duration: App 2 hours each day for 2 weeks. I lay in a bath of black water in the bathroom of Gallery House for approximately 2 hours each day for two weeks. In the wash basin and on a ledge next to the bath I laid out some offal. During the two weeks the offal decayed, flies laying eggs and maggots hatching out to feed. There was a low light in the bathroom so it was difficult to see exactly what was in there. The door was left ajar. The only sign of movement was

    find out more

  • STUART BRISLEY, You Know It Makes Sense, 1972, Ikon Gallery, Birmingham

    You Know It Makes Sense (with reference to allegations made against the British Army in Ulster concerning torture)

    Please go to the Text section for further documentation. Tate archive: outlne of performance You Know It Makes Sense (With reference to Allegations Made by the Irish Times  Against the British Army in Ulster Concerning Torture), 1972 with Everelde Berry, Deborah Brisley, Janet Deuters and Michael Melluish. Photographer: Aleric Aldred   In March 1972, the then British Prime Minister, Edward Heath, claimed to have banned notorious torture methods which were later condemned

    find out more

  • STUART BRISLEY, Conference Table Action, 1972, Heine Onstad Foundation, Oslo

    Conference Table Action

    find out more

  • STUART BRISLEY, You Know It Makes Sense 2, 1972, Serpentine Gallery, London

    You Know It Makes Sense 2

    find out more

  • STUART BRISLEY, Artist as Whore, 1972, Gallery House, London

    Artist as Whore

    For one week, the artist dressed in soiled clothes and makeup and lay on a bed at Gallery House.

    Gallery House was an unrenovated space in London next to the Goethe Institute that had an 18-month existence in the early 1970s.
     
    Mitchell Algus 2011

    find out more

  • STUART BRISLEY, ANTI-FESTIVAL, 1972, Festival of the University of Ulster, Belfast

    ANTI-FESTIVAL

    find out more

  • STUART BRISLEY, ZL656395C, 1972, Gallery House, London, Collection: Tate

    ZL656395C

    Stuart Brisley made these three works during 1981, although they concern events from three different dates during the 1970s. They were conceived as works in their own right and are not simply documentations of performances. Brisley is suspicious of documentation; he feels that it can invest an action with an inaccurate, sometimes mythical status. He is anxious however to have some record which amplifies the unique status of the brief existence of an event and gives it more than temporary form.

    find out more

  • STUART BRISLEY, Bathwork, 1973, Bonn

    Bathwork

    find out more

  • STUART BRISLEY, The Minder's Line (Procrustean Bed), 1973, Walker Art Gallery, Liverpool

    The Minder's Line (Procrustean Bed)

    find out more

  • STUART BRISLEY, Arbeit Macht Frei, 1973, 20 minutes colour and black&white

    Arbeit Macht Frei

                Click here to watch the video Click here to listen to Stuart Brisley in conversation with Catherine Wood, Curator of Contemporary Art & Performance about his work.7 October 2011   The film Arbeit Macht Frei (Work Makes Free) was conceived after the performance 'And For Today... Nothing'  which took place at Gallery House Goethe Institute in London in 1972. The words Arbeit Macht Frei were wrought in iron and placed on or

    find out more

  • STUART BRISLEY, Action with Fluxshoe, 1973, Museum of Modern Art, Oxford <br />
(with Marc Chaimowicz)

    Action with Fluxshoe

    find out more

  • STUART BRISLEY, 10 Days, 1973, Editions Paramedia, Berlin

    10 Days

    Tate archive: Hand written proposal   The performance 10 Days happened during Brisley‘s DAAD artist exchange to Berlin. During this performance, which took place between 21 to 31 December 1973, Brisley offered the food he would usually consume to his audience, essentially living without any source of food for the whole 10-day duration of the performance. Brisley recreated the performance at the Acme Gallery in London

    find out more

  • STUART BRISLEY, At the Wall, 1974, Collection: The British Museum<br/>
© The Trustees of the British Museum

    At the Wall

    find out more

  • STUART BRISLEY, Bath Works, 1974, Berlin, Private Collection

    Bath Works

    I first used newspapers in 1969 as part of the process of thinking about the 'everyday'. Bath Works,  Berlin 1974  continues this exploration further - the head as a sensory receptacle is masked by the day's interpretation of the news. Like an ideological imperative applied to the head. It was made in private - the idea being that the photograph would become the work in public. The photographer was a friend and collaborator, Leslie Haslam, also a long term resident in

    find out more

  • STUART BRISLEY, Moments of Decision/Indecision, 1975, Galeria Teatr Studio, Palac Kultury i Nauki, Warsaw, Kontakt/Erste Collection

    Moments of Decision/Indecision

          Please see the text section for letter from Jozef Szajna, director of Teatr Studio, 1975. Please see the text section for Stuart Brisley's text, 'The Photographer and the Performer' from 'Live Art on Camera: Performance and Photography' by Alice Maude-Roxby, John Hansard Gallery 2007.    Moments of Decision /Indecision Teatr Studio, Palac Kultury i Nauki, Warsaw, 1975. I was offered a DAAD fellowship to live and work in West Berlin for a year in 1973/74.

    find out more

  • STUART BRISLEY, 12 Days, 1975, Kunst Forum, Rottweil

    12 Days

    Please go to the text section for school childrens' notes and letters to Stuart Brisley on this work.   Public informal discussions  Private formal construction of structure  Actions in public with structure in various states of completion  Collaboration through discourse  An everyday thought with subjective implications: make your own prison. ( I built a box the size of the limits of my own body)  Final outcome: Breakout  As with some other works

    find out more

  • STUART BRISLEY, 26 Hours, 1976, Adelaide, Australia

    26 Hours

    find out more

  • STUART BRISLEY, Weather Work, 1976, National Gallery of Victoria, Melbourne

    Weather Work

    find out more

  • STUART BRISLEY, Homage to the Commune (Sequence C), 1976, Collezione La Gaia

    Homage to the Commune

    Please go to the Text section for: - Stuart Brisley's statement in the catalogue for Arte Inglese Oggi, November 1975; - A text by Sharon Behr 1976.   Arte Inglese Oggi 1960-76, organised by the British Council and the Comune di Milano, took place at the Palazzo Reale and nearby venues between February and May 1976. It presented to the Italian public an overview of the art being made in Britain at the time, and included sections on Painting, Sculpture, “Alternative

    find out more

  • STUART BRISLEY, Untitled, 1976–2014

    Untitled

    find out more

  • STUART BRISLEY, Artist Project Peterlee / History Within Living Memory, 1976 - 1977

    Artist Project Peterlee / History Within Living Memory

    Tate Archive Peterlee Archive in Durham County Council Click here for information on Peterlee In 1975, Artist Placement Group approached new towns to set up the terms for artists to propose projects. The Development Corporation of Peterlee New Town responded and in 1976, Stuart Brisley was appointed. The project contained three distinct parts:    ▪    to develop an ongoing process of collecting and disseminating information under the

    find out more

  • STUART BRISLEY, Beneath Dignity, 1977, Englische Kunst Der Gegenwart, Bregenz, Collection: Tate

    Beneath Dignity

    Performance duration: 3 days This work took place over three days on the quayside of lake Constance in Bregenz. I made five wooden frames the size of my body with outstretched arms. Clear polythene was stretched across two of the frames to prevent paint leaking on to the quay. Black nylon cord was tied to form a cross shape on each frame. The frames were laid out in a line stretching towards the lake. I placed my body under the cord under he first frame, then stretched to express the

    find out more

  • STUART BRISLEY, Survival in Alien Circumstances, 1977, Documenta, Kassel, Collection: FRAC Bourgogne

    Survival in Alien Circumstances

    Performance duration: 14 days Digging a hole in which to make a place to live for two weeks, then leaving the evidence as an installation as echo. Choice of site was fortuitous as the rubble from the Second World War was deposited there, eventually forming the base for a park. In digging I came across all manner of detritus, including fractured parts of human bones, verified by a doctor friend visiting the site. Digging was to be continued for two weeks. As the hole progressed,

    find out more

  • STUART BRISLEY, Measurement and Division, 1977, Hayward Gallery, London

    Measurement and Division

    find out more

  • STUART BRISLEY, 24 Hours, 1978, Vienna Performance Festival, Collection: Henry Moore Foundation/Leeds Art Gallery

    24 Hours

      The action took place as part of the Vienna Performance Festival in 1978. I made 13 actions each lasting one hour  i.e hours 1, 3, 5, 7, 9, 11, 13, 15, 17, 19, 21, 23. It took place in the evening and through the night. The space was open during the 24 hours. In the intermediate hours 2, 4, 6, etc the space was open for viewing. A path was used dissecting the space to the wall opposite. Black and white pigment was laid out in two piles at the centre of the room and a taut black

    find out more

  • STUART BRISLEY, 180 Hours Work for Two People, 1978, Acme Gallery, London

    180 Hours Work for Two People

    At the Acme Gallery in London, Brisley performed 180 Hours Work for Two People (1978). He took both roles: “B”, a vocal bureaucrat inhabiting the upstairs part of the gallery, carefully preserving his urine and excrement and hanging it in a hole in the floor, above “A” who lives downstairs, a man-­off­-the­-street as active as “B” was vocal, but who says nothing. When “A” “disappeared”, “B” began playing his

    find out more

  • STUART BRISLEY, Bodyspace, Drawing and Context, 1978, Arnolfini Gallery, Bristol

    Bodyspace, Drawing and Context

    find out more

  • STUART BRISLEY, 10 Days/5th Year Anniversary, 1978, Acme Gallery, London

    10 Days/5th Year Anniversary

    Click here to watch the video

    find out more

  • STUART BRISLEY, Between the Wall and the Floor, 1979, Dublin

    Between the Wall and the Floor

    In this performance, in an abandoned warehouse in Dublin, Brisley suspended from the ceiling a dire construction fashioned out of chairs, paint and bags of sand. Moving along a network of cables spanning the space, the artist repeatedly attempted to engage this intractable object. 

    Mitchell Algus 2011

    find out more

  • STUART BRISLEY, Une Nouvelle Oeuvre pour la Consommation Institutionel, 1979, Musée D'Art Moderne de la Ville de Paris

    Une Nouvelle Oeuvre pour la Consommation Institutionel

    3 day and night continuous performance. Nomadic condition. Triangular structure for sleeping in - transported by the figure in and around the entrance to the Musee d'art Moderne... Communications with the homeless who spent the nights in the covered section of the entrance among the columns.Little or no contact with the visitors to the exhibition during the day. Stuart Brisley 2012   For this performance Brisley constructed a small shelter in which he could sleep and that he could carry

    find out more

  • STUART BRISLEY, Between, 1979, De Appel, Amsterdam

    Between

    Between de Appel, 1979   Between was based on Carl Jung's idea of the 4 stages of human life.   1. Childhood 2. Adolescence and early adulthood 3. Adulthood and mid life, between 35-50 years of age 4. Maturity, old age, alignment of the self and the anticipation of death   Two participants, Iain Robertson, aged 24 (in the 2nd stage of life), and the other, Stuart Brisley, 48 (3rd stage of life). One half the age of the other, and the other double the age of the

    find out more

  • STUART BRISLEY, Into Bits and Pieces, 1979, Innsbruck

    Into Bits and Pieces

    find out more

  • STUART BRISLEY, 4.35 pm, 25.12.77 / Self portrait, 1979, British Museum Collection <br />© The Trustees of the British Museum

    4.35 pm, 25.12.77 / Self portrait

    find out more