Professor of Visual Arts, School of Art & Design
Phone: +64 9 921 9999 X 8746
WM508B, 40 St Paul Street
School of Art and Design
Faculty of Design and Creative Technologies
Private Bag 92006
Braddock, C (2016). 'Layne Waerea’s Public Laughter', Australasian Drama Studies, (69), 60-81.
Braddock, C (2015). ‘Silence and Alterity in a Recitation of the Qur'an’, In Performance Research, 20 (5), 22-29.
Braddock, C (2012). ‘Contagious Animism in the artwork of Felix Gonzales-Torres and Dane Mitchell’, Drain: A Journal of Contemporary Art and Culture(13): unpaginated online journal. www.drainmag.com.
Braddock, C (2011). ‘Contagious Participation: Magic’s Power to Affect’, Performance Research, 16 (4), 97-108.
Braddock, C (2010). ‘Alicia Frankovich and the Force of Failure’, Column, 6, 8-15.
Braddock, C (2010). ‘Sympathetic Magic and Contemporary Art: Stanley J. Tambiah’s Persuasive Analogy in Ritual Performance’, International Journal of Interdisciplinary Social Sciences, 4 (12), 113-30.
Braddock, C (2009). ‘Random Entrant and the Force of Failure’, Frakcija Performing Arts Journal, 50 (Spring), 26-33.
Braddock, C. (2018 forthcoming). ‘Silence will Change the World: Kierkegaard, Derrida and Islamic Sufism’. In R. Nicholls & H. Salazar (Eds.), The Philosophy of Spirituality (pp. TBC). Leiden & Boston: Brill.
Braddock, C. (2017 forthcoming). ‘Aphasic Participation: Jakobson, Poetics and Art’. In D. Dattaray (Ed.), Literature & the Other Arts (pp. TBC). Kolkata: Jadavpur University.
Braddock, C. (2017 forthcoming). ‘Introduction: Animism and Animacies’. In. C. Braddock (Ed.), Animism in Art and Performance. London: Palgrave Macmillan.
Braddock, C. (2017 forthcoming). ‘Animism, Animacy and Participation in the Performances of Darcell Apelu’. In C. Braddock (Ed.), Animism in Art and Performance (pp. pages TBC). London: Palgrave Macmillan.
Braddock, C., Jones, A. (2017 forthcoming). ‘Animacies and Performativity’. In C. Braddock (Ed.), Animism in Art and Performance (pp. pages TBC). London: Palgrave Macmillan.
Braddock, C (2013), Performing Contagious Bodies: Ritual Participation in Contemporary Art. Basingstoke: Palgrave Macmillan, 223 pages.
Braddock, C. (2008), ‘Blasphemy and the Art of the Political and Devotional’, in Elizabeth Burns Coleman and Maria-Suzette Fernandez-Dias (eds.), Negotiaing the Sacred II: Blasphemy and Sacrilege in the Arts (Canberra: ANU E-press), 147-159.
Braddock, C (27 September, 2016). ‘Performing Contagious Bodies in Art and Performance’, Inaugural Professorial Address, Faculty of Design & Creative Technologies, Auckland University of Technology. AUT Public Lecture Series 2016.
Braddock, C (2016). ‘A Call to Silence’ In Performance Studies international (PSi#22). Melbourne: University of Melbourne.
Braddock, C (2015). ‘Animism and Participation in the Artworks of New Zealand Pasifika Performance Artist Darcell Apelu’ In The Art Association of Australia and New Zealand (AAANZ) 2015 Annual conference, Brisbane: University of Melbourne and the QAGOMA, Brisbane.
Braddock, C (2015). ‘Layne Waerea as itinerant female-Mãori-artist-activist (of sorts)’ In Assembly Symposium, Performing Mobilities as part of Fluid States, Performance Studies international (PSi#21). Melbourne: RMIT University and University of Melbourne Victorian College of the Arts.
Braddock, C (2015). ‘Mystical Participation and Animism in the performances of Darcell Apelu’ In Animism and Material Vitality in Art & Performance, Auckland University of Technology.
Braddock, C (2013). ‘Layne Waerea—Public Conjurer’ In the Art Association of Australia and New Zealand (AAANZ) Annual Conference, University of Melbourne.
Braddock, C (2012). ‘Contagious Infiltrates: Dane Mitchell’s Radiant Matter’ In the panel Relational Contemporaries convened by Greg Minessale and Caroline Vercoe, The University of Auckland in the Art Association of Australia and New Zealand (AAANZ) Annual Conference, University of Sydney.
Braddock, C (2011). ‘Laresa Kosloff and the Force of the Name’ In the Art Association of Australia and New Zealand (AAANZ) Annual Conference, Victoria University of Wellington, New Zealand.
Braddock, C (2010). ‘A Corporality of Voice in Performance Art and the Force of Mimesis’ In Talking Tongues, Speaking Gestures, International Conference on Orality & Performance, Jadavpur University, Kolkata, India.
Braddock, C (2009). ‘Stanley J. Tambiah’s Persuasive Analogy in Ritual Performance’ In the Fourth International Conference on Interdisciplinary Social Sciences, 8-11 July. Athens: University of Athens.
Braddock, C., Webb, O. (2017). Skull Acoustics 2 (collaborative live performance), 7 October. Auckland: Auckland Art Gallery Toi o Tāmaki.
Braddock, C., Webb, O. (2016). Skull Acoustics (collaborative live performance), 12:30-13:00, Thursday 7 July and Friday 8 July, Old Law Quad, Performance Studies International (PSi#22), University of Melbourne.
Braddock, C (2015). ‘Repeating Silence’, performance with live stream video In Performing Mobilities, Performance Studies International PSi#21), RMIT Design Hub, RMIT & VCA, Melbourne. Curated by Mick Douglas and David Cross.
Braddock, C (2013). ‘Take Series’ and ‘From Above’, video artwork and sculpture In Material Traces: Time and the Gesture, Galerie Leonard & Bina Ellen, Concordia University, Montréal, Québec, Canada. Curated by Amelia Jones.
Braddock, C (2011). represented New Zealand with a performance and video work In Prague’s Veletržní Palace (Museum of Modern Art) for the PQ11 Prague Quadrennial of Performance Design and Space. Curated by Sue Gallagher and Tracey Collins.
Braddock, C (2010). ‘Trying from Above’, video artwork In How does a Network Activate a Public?, South Project, West Wing Melbourne Central, Melbourne. Curated by Zara Stanhope.
Braddock, C (2009). ‘Back’, video installation In Performance Studies International (PSi#15), Zagreb, Croatia.
Braddock, C (2009). ‘Back’, video installation In Past-Present-Place, Videos Aus Neuseeland, selected for this international touring exhibition of New Zealand video art in Germany and Denmark at the Heidelberger Kunstverein and Co-Lab, Copenhagen. Curated by Leonhard Emmerling.
Braddock, C (2007). ‘The Artist Will Be Present #2’, video and sculpture, School of Art Gallery, RMIT University, Melbourne.
The Aotearoa New Zealand Association of Art Educators (ANZAAE)
The Art Association of Australia and New Zealand (AAANZ)
Performance Studies International (Psi)
Chris Braddock is Professor of visual arts at Auckland University of Technology (AUT). He co-leads the Ph.D. and M.Phil. programmes and the Art & Performance Research Group. In 2015 his performance with livestream (Repeating Silence) was selected for ‘Performing Mobilities’ in Performance Studies International (PSi#21) curated by Mick Douglas and David Cross. He is author of Performing Contagious Bodies: Ritual Participation in Contemporary Art (Palgrave Macmillan, 2013) and editor of Animism in Art and Performance (Palgrave Macmillan, 2017). See www.christopherbraddock.com
In 2012 I founded the higher degree ‘Art and Performance Research Group’ (AUT) co-led with Dr Janine Randerson. Key pedagogical and university aims include increased quality assured publications, increased recruitment (visible on-line research group) and timely degree completions through active publishing and group submissions. We have convened five peer-reviewed conferences which included papers from international professors Bruce Barber, Amelia Jones and Rebecca Schneider.
In my role as postgraduate supervisor at AUT, I have a total of 60 higher degree completions. These include: 14 Bachelor of Art & Design Honours, 35 Master of Art & Design, 3 MPhil, 2 MPMA and 9 Ph.D. completions (6 primary and 3 secondary supervisions). I currently supervise 2 MPhil candidates and 11 Ph.D. candidates. I have a 94% completion rate of candidates I have supervised.
My solo-authored book Performing Contagious Bodies (2013) was a philosophical engagement with the history of Western perceptions of magic and contemporary art. Peer reviewer, art historian Amelia Jones, said it was “a major contribution not just to studies of Australian and New Zealand performance but to performance studies and art historical research on body art more broadly speaking.” My edited book, also with Palgrave Macmillan, Animism in Art & Performance (2017) explores Māori and non-indigenous entanglements with new materialism. Back cover endorsements include Dr. Ngarino Ellis: “Particularly exciting is the way that Māori and indigenous thought is woven through the chapters in a deliberate and unselfconscious manner, and in doing so sets a new direction for writing in the 21st century.” And Prof Douglas Kahn: “a very interesting and valuable collection of Māori scholarship, buzzing materialist thought and ontological be-keeping.”
My research into Māori and Pasifika themes profiles postgraduate candidates I supervise. These include: Layne Waerea (Ngāti Kahungunu) for the Australasian Drama Studies journal (2016); a book chapter on Darcell Apelu (Nuie-NZ) with Palgrave Macmillan (2017); a book chapter referencing Kalisolaite ‘Uhila (Tonga-NZ) with Jadavpur University, Kolkata (2017).
My public performances with live stream explore the artist/self through concepts of silence and passivity. Repeating Silence 1-3 (2015) for Performance Studies International at RMIT & VCA Universities, Melbourne, was curated by Mick Douglas and David Cross and viewed by hundreds of spectators. Jondi Keane writes in the catalogue: “Repeating Silence petitions persons, again and again, to be-have in different ways—subtle enough to shift something.” These concerns filter into my writing where my article for Performance Research (2015) “Silence and Alterity in a Recitation of the Qur’an” explores public rituals and religious fundamentalisms.