Press

‘superb’

— HG Masters, ArtAsiaPacific

‘[a] must-see show for performance art-interested visitors to Venice’

— Royal Academy of Arts

‘[Hsieh’s] most extensive retrospective yet … some of his most fascinating and thought-provoking works’

— Brigid Delaney, The Guardian

‘testimony to an extinct time of wild artistic commitment’

— El Pais

‘The Biennale’s two-year cycle takes on new weight in the Taiwanese pavilion … Hsieh’s focus is not the endurance or the deprivation that is so evident in his images but instead the use of time as a medium.’

— The New York Times

‘meticulously compiled photographs and documentation of [Hsieh’s] often-gruelling live works’

— The Telegraph

‘One of the most energizing and provocative contributions to the 2017 Venice Biennale’

— Robert C Morgan, Hyperallergic

‘impressive and utterly astounding’

— The Culture Trip

‘Floating through the four parts of Ally, I was reminded that we are never completely isolated in our perceptions of the world, in art and otherwise. We are always settled with others, inside multiple histories and contexts. Ally crafts these connections as inevitable, and shows how it’s possible across artistic mediums, gender, and generations to honor these many invisible presences.’

— Tara Sheena, Hyperallergic

‘rich and multi-layered’

— Jonathan Stein, Thinking Dance

‘What emerges from Ally is not an obvious assemblage of dance and art, but another seamless amalgam – one that challenges both who practices these disciplines and how they are presented in original and exciting ways.’

— Kathryn Tully, DanceTabs

‘Ally activates the boundaries of form — the interstices — methodically examining the nature of intimacy, of poetry of the body and material.’

— Sarah Muelbauer, Title Magazine

‘Life is brought to life (again, again, again) in its withdrawal – as routine ecstasy, in erotic privation, through flesh’s serial vacation of now, which makes now urgent. This urgency, given yet again in Tehching Hsieh’s and Adrian Heathfield’s collaboration, again and again and uncontainably held in your hand right now, is Out of Now.’

— Fred Moten

‘This impressive and beautifully written book offers the first comprehensive study of an outstanding body of work. An extraordinary performance!’

— Hans Ulrich Obrist

‘There is a lot of love in this publication, not in the hagiographic sense, but in the pastoral sense. It’s not often that an artist receives the kind of respectful, patient, uncompromising, searching attentiveness that Adrian Heathfield ... has brought to his subject. All the works are contextualised and analysed with an authority that doesn’t flatten ... Compiled in this way, and against expectation, they seem to create a kind of poetics of facticity.’

— Barbara Campbell, Real Time Arts

‘ … a handsome and imposing volume, demanding proper room on one’s bookshelf just as much as the artworks it concerns demand their place in histories of performance and art. There is a profound dialogue under way in this project, between the visible appearance of this giant object and the very quality of the work it documents.’

— Giulia Palladini, Contemporary Theatre Review

‘Tehching Hsieh has created a profound body of “lifeworks” that integrate the live with the aesthetic, producing hybrid experiences that question the very nature of what we call “art.” This brilliant book, which includes documentation and smart, poetic, and historically inflected writing by Heathfield is an invaluable record of Hsieh’s work. A unique commentary on the writing of the histories of art and performance.’

— Amelia Jones

‘It is evident that a lot of thought and effort went into this extended conversation, and it feels like a tremendous privilege to be able to read Hsieh's own thoughts about the origins, meanings, and problems of his work. In relation to these incomprehensible acts, what is stunning … is the degree to which he seems fully to have comprehended the magnitude of what he was undertaking. His knowing, fearful, and courageous attitude toward what he did makes them all the more remarkable.’

— Theron Schmidt, a-n

‘The breadth and depth of Perform, Repeat, Record are astonishing and the range of artists, scholars and insights invigorating.’

— Caroline Wake, Real Time Arts

‘ ... in its exhaustive presentation of different types of performances, documentation, and critical approaches, it suggests a way of reading performance that is no longer beholden to modernist notions of transgression, transformation, and the avant-garde.’

— Jennie Klein, Performance Art Journal

‘Perform, Repeat, Record collects a wealth of insights, artifacts, and exchanges germane to pressing issues at the nexus of performance and historiography. Scholars will find it essential to navigating emerging currents of thought at the dynamic intersection of visual arts and performance studies, and it will serve as a useful supplement for courses on performance art.’

— Pannill Camp, The Drama Review