| Writing by other authors |
| Alexander Coupe, (2024) The Gender Politics of Contemporary Performance in Northern Ireland. Palgrave Macmillan.
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| Lena Šimic´and Emily Underwood-Lee (2021) Maternal Performance Feminist Relations. Palgrave Macmillan, p.3-4.
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Katherine Nolan (2020), Buttered Up, VAN: Visual Artist’s News Sheet, Issue 3 May-June 2020
https://visualartistsireland.com/buttered-up
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| Valérie Morisson (2020) ‘Countering Allegorical Motherhood in Irish and Northern Irish Contemporary Art: The Female Body as a Tool for Resistance’ in Motherhood in Contemporary International Perspective: Continuity and Change ed. by Professor Fabienne Portier Le-Cocq. Routledge |
| Ruth Fletcher (2020) ‘Cheeky Witnessing’ Feminist Review: Special issue on Abortion in Ireland, 124, pp.124-141. |
| Dr. Aine Phillips (2019) ‘Critical Perspectives: An incomplete history of performance art in Ireland (and its blood relationship to theatre)’ in Irish Drama and Theatre Since 1950 ed by Patrick Lonergan: Methuen Drama |
| Kate Antosik-Parsons (2019), ‘A Body is a Body: The Embodied Politics of Women’s Sexual and Reproductive Rights in Contemporary Irish Art and Culture’ in Saroj Bakhru, Tanya (ed.), Reproductive Justice and Sexual Rights: Transnational Perspectives, London and New York: Routledge, pp. 33-58. |
| Suzanna Chan (2019), ‘Speaking of Silence, Speaking of Art, Abortion and Ireland,’ Irish Studies Review 27(1), pp.73-93. |
| Evelyn O’ Malley, (2019), ‘Taking the ferry: Performing Queasy Affects through Irish Abortion Travel in Thorny Island and My Name is Saoirse,’ Contemporary Theatre Review, 29 (1), pp. 23-38. |
Mairead Enright, (2018) ‘Watching Women’s History in the Irish Pro-Choice Referendum’ Critical Legal Thinking.
http://criticallegalthinking.com/2018/05/04/watching-womens-history-in-the-irish-pro-choice-referendum/
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| Niamh NicGhabhann, (2018) ‘City walls, bathroom stalls and tweeting the Taoiseach: the aesthetics of protest and the campaign for abortion rights in the Republic of Ireland,’ Journal of Media and Cultural Studies, 32 (5), pp. 553-568. |
Ann Rossiter (2018) Update of ‘Ireland’s Hidden Diaspora, the ‘abortion trail’ and the making of a London-Irish underground, 1980-2000.
http://www.abortionireland.co.uk/update |
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Dr, Emily Underwood-Lee (2017) ‘Performance and the Maternal: Motherhood in the Live Stage Encounter’
http://mamsie.org/2017/05/12/performance-and-the-maternal-motherhood-in-the-live-stage-encounter/
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Eleanor Careless, Alex Coupe and Edwin Coomasaru ‘Seeing Red: Menstrual Blood and Abortion Politics’ (6 March 2017)
https://fournationshistory.wordpress.com/2017/03/06/seeing-red-menstrual-protest-and-abortion-politics/ |
Morisson, Valérie, ‘Contemporary performance art by Helena Walsh: embodiment as empowerment in an Irish context,’ Revue Miroirs, 4 ,Vol.1 (2016).
http://www.revuemiroirs.fr/links/femmes/volume1/article8.pdf |
| El Putnam, (2016) ‘Discipline, Resistance, Resilience,’ Visual Artists of Ireland News Sheet, July-August 2016 https://issuu.com/visualartistsireland/docs/2016_04_jul_aug_van/23 |
Valérie Morrisson, ‘Women’s Art in Ireland and Poland 1970-2010: Experiencing and Experimenting on the Female Body, Études Irlandaises, 37 (2) (2013).
http://etudesirlandaises.revues.org/3169
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| Liz Burns, ‘Labour Intensive,’ in Visual Artists of Ireland News Sheet, May-June 2012 https://issuu.com/visualartistsireland/docs/vanmayjune2012l |
Keef Winter, LABOUR at ]performance s p a c e[ (2012).
http://www.allotropepress.com/#/labour-090212/4561190803 |
Magdalena Maria Wieckiewicz, Helena Walsh at Right Here, Right Now, Kilmamham Gaol (2010).
http://performanceartlive.weebly.com/helena-walsh-magdalena-maria-wieckiewicz-joseph-carr.html |
James Merrigan, ‘A Post- Patriotic Performance: Helena Walsh, Sinead McCann, Alex Conway, Right Here, Right Now, Kilmainham Gaol, November 4,’ Billion Journal, (2010).
http://billionjournal.com/time/3.html |
Writing by Helena Walsh |
| Book Chapters |
| 2022 |
Ann Rossiter and Helena Walsh, ‘From the underground to the avant-garde: A conversation on contributions of the Irish Feminist Diaspora to reproductive justice in Northern Ireland’ in Decriminalising Abortion in Northern Ireland, Bloomer, F., and Campbell, E. (eds.). Bloomsbury. |
| 2021 |
Co-authored with Speaking of IMELDA, ‘Homing in on the States we are In: Speaking of IMELDA’ in: Legacies of the Magdalen Laundries: Commemoration, Gender and the Postcolonial Carceral State, ed. by McAuliffe, M., Pine, E. and Haughton, M., Manchester University Press. |
| 2019 |
Co-authored with members of the Speaking of I.M.E.L.D.A., ‘A Radical Feminist Diaspora: Speaking of IMELDA, Reproductive Justice and Ireland’ in The Routledge Handbook of Radical Politics edited by Ruth Kinna and Uri Gordon. Routledge. |
| 2015 |
Helena Walsh ‘Developing Dialogues: Live art and Femininity in Post-Conflict Ireland’ in Performance Art in Ireland: A History, edited by Dr. Áine Phillips. Intellect and the Live Art Development Agency. |
| Articles in Peer-reviewed and other Journals |
| 2022 |
Helena Walsh, ‘Performing Resistance, Care and Labour: Feminist Art and Activism in an Irish Context’ in performingborders e-journal #2: Rallying the Commons. |
| 2020 |
Helena Walsh, ‘Performances of Autonomy: Feminist Performance Practice and Reproductive Rights in Ireland’ in Scene: Special Issue on Performance and Ireland, 8 (1), pp. 29-45 |
| 2020 |
Helena Walsh, ‘Hanging our Knickers Up: Asserting Autonomy and Cross-Border Solidarity in the #Repalthe8thCampaign,’ in Feminist Review: Special Issue on Abortion in Ireland, 124, pp. 144-151 |
| 2020 |
Valérie Morisson, ‘Interview with Helena Walsh’ in Études Irlandaises 45(1), pp.25-32 |
| 2018 |
Christelle Seree-Chaussinand and Helena Walsh, ‘Incarnating and articulating the female other. Interview with Helena Walsh’ Études Irlandaises: Special Issue Irish self-portraits the artist in curved mirrors, 43:1 (2018) |
| 2015 |
Co-authored with Speaking of I.M.E.L.D.A., ‘Dirty Work Still to be Done: Retrieving and Activating Feminist Acts of Resistance,’ online article to coincide with Contemporary Theatre Review: Special Issue on Gesture, Theatricality, and Protest 25(3) (2015). http://www.contemporarytheatrereview.org/2015/margaretta-darcy/ |
2013 |
Helena Walsh ‘Performing Processes: Live Art and Irish Culture,’ Contemporary Theatre Review: Special Issue on the Northern Irish Peace Process 23:3 (2013), 334 -344 |
2012 |
Johanna Linsley and Helena Walsh ‘Gobsmacked: Getting Speechless in Performance,’ Contemporary Theatre Review: Special Issue on Live Art in the UK, 22:1 (2012), 161-166. |
Catalogue Essay |
| 2012 |
Helena Walsh LABOUR: Producing Potentials for Empowerment, essay in LABOUR Exhibition Catalogue. Dublin: The Lab / Dublin City Council
http://www.dublincityartsoffice.ie/content/files/LABOUR publication 2012.pdf |
Other |
| 2018 |
Blog by Helena Walsh based on her presentation at the Border Patrollers event at the Live Art Development Agency as part of Aine Phillips’ Future Histories Project ‘Border Patrollers’ event, which formed part of Aine Phillips’ ‘Future States’ project examining the relationship between Ireland and the UK, in the context of a post-Brexit future. http://www.thisisliveart.co.uk/blog/future-states-by-aine-phillips-no.4 |
| 2018 |
Speaking of IMELDA, ‘On the Road to the Referendum,’ Red Pepper Magazine
https://www.redpepper.org.uk/on-the-road-to-the-referendum/ |
| 2017 |
Speaking of IMELDA, ‘When Enda Met Imelda’ Cult Magazine, Issue 08 |
| 2016 |
Speaking of I.M.E.L.D.A. Direct Action Feminist Performance Group, (2016) Online interview produced as part of the Victoria and Albert Museum’s exhibition You Say You Want a Revolution? Records and Rebels 1966-1970.
https://www.vam.ac.uk/articles/speaking-of-imelda |
| 2016 |
Contribution to Performing Borders: A Study Room Guide on physical and conceptual borders within Live Art (2016) compiled and written by Alessandra Cianetti for the Study Room of the Live Art Development Agency London |
| 2016 |
Contribution to Live Art and Motherhood: A Study Room Guide on Live Art and the Maternal (2016) compiled and written by Emily Underwood-Lee and Lena Simic for the Study Room of the Live Art Development Agency London |
| 2016 |
Benjamin Sebastian and Helena Walsh ‘Producing Potentials for Empowerment’ in The Live Art Almanac Volume 4, (2016) edited by Harriet Curtis, Lois Keidan and Aaron Wright published by The Live Art Development Agency. |
| 2015 |
Contribution of artist’s map to Are We There Yet? – A Study Room Guide on Live Art and Feminism published by Live Art Development Agency London, curated by Lois Weaver in collaboration with Eleanor Roberts |
| 2015 |
Contribution of artist’s map to Live Art and Feminism in the UK, Google Cultural Institute, December 2015. A partnership with the Google Cultural Institute to create an online exhibition on Live Art and Feminism in the UK. This exhibition,curated by Live Art Development Agency (London) in collaboration with Eleanor Roberts (Queen Mary, University of London), offers a snapshot of some of the key figures and issues of Live Art and Feminism in the UK since 1970. https://goo.gl/zUlE8e |
| 2011 |
Ann Maria Healy and Helena Walsh, Brutal Silences: Live Art and Irish Culture, a study room guide commissioned by Live Art Development Agency, London. http://www.thisisliveart.co.uk/resources/Study_Room/guides/healy_walsh.html |
