Adrian Heathfield writes on, curates and creates performance. His books include Out of Now, a monograph on the Taiwanese-American artist Tehching Hsieh and the edited collections Perform, Repeat, Record, Live: Art and Performance, Small Acts and Shattered Anatomies. His numerous essays have been translated into eight languages.

He was co-director of Performance Matters, a four-year AHRC funded research project on the cultural value of performance (2009–2013). From 2014-2016 he conducted the three year European Union funded creative research project Curating the Ephemeral on immaterial art and museal practices.

He co-curated the Live Culture events at Tate Modern, London (2003) and a number of other performance and durational events in European cities over the last sixteen years. He was a curatorial adviser and attaché for the 20th Biennale of Sydney and was an artistic director with the collective freethought of the 2016 Bergen Assembly, Norway. He was curator of Taiwan’s exhibition at the Biennale Arte 2017, Venice.

Heathfield has worked with many artists and thinkers on critical and creative collaborations including film dialogues, performance-lectures, dramaturgy, writing and workshop projects. He was President of Performance Studies international (2004–2007) and is Professor of Performance and Visual Culture at the University of Roehampton, London.


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  • Talk at Sotheby’s Institute of Art, London, 27 February 2018

    MACA Contemporaries: A Recurrence of Duration

    Sotheby’s Institute of Art, 30 Bedford Square, London WC1B 3EE
    27 February 2018, 5-6pm

    Organised by the faculty of the MA in Contemporary Art (MACA) at Sotheby’s Institute of Art, MACA Contemporaries is a series of talks dedicated to research and practice in the field. The talks provide a forum for scholars and practitioners to discuss their ideas and projects before an audience comprised of scholars, students and members of the public.

    In the first seminar of the series, Adrian Heathfield talks about his work with artist Tehching Hsieh, particularly focusing on their recent collaboration, Doing Time, Taiwan’s exhibition at the 57th Venice Biennale. Hsieh is renowned for a series of one year long performances in the late 1970s and early 80s that pushed physical and psychological limits and drew attention to time as an artistic material. Heathfield speculates on curatorial practice and performance, their relations with remaining and remains. He discusses the prescience of Hsieh’s work in terms of capitalism’s reformulation of labour and its regulation and acceleration of life.