CHTHONIC (2019) PSYCHOGENESIS SERIES (2018) PERCEPTION:LAB (2015)
- Submitting institution
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Middlesex University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 1515
- Type
- I - Performance
- Venue(s)
- Mobius, Boston USA
- Open access status
- -
- Month of first performance
- June
- Year of first performance
- 2015
- URL
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http://eprints.mdx.ac.uk/31321/
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This submission comprises three individual Performance Artworks exploring the notion of a ‘phenomenological wound’, they are: PERCEPTION:Lab (2015), Psychogenesis Series (2018), and CHTHONIC (2019/20).
Thematically linked, the ‘wound’ is perceived beyond the visceral/literal, instead through psychological, existential, empathic/sympathetic (or rejection) processes between the shared phenomenological space/flesh of artist and audience. This was an investigation into the queer dis/abled body through a methodology that maps an artist’s psychogenesis through performative action, asking:
• How is the perception of psychogenesis affected of altered through failure?
• How does the materiality of the artefact hold the presence of a psychogenesis through the absence of Being?
• How do external and internal borders manifest in Being or psychogenesis through the queer or dis/abled body?
Our practice produced insights upon the phenomenological perception of an artist’s own psychogenesis. Sitting within the field of analysis of performance art proposed by Amelia Jones (2009), application of Luc Boltanski (1993) on sublimation, Jones highlighted the problems for aesthetic hierarchy – akin to Cartesianism – between painter and action, before considering how the performance artist collapses these processes and responses into the action of their own body (2009:49). The research builds upon these implications for the physical wound, applying a phenomenological lens to the wound as expressed/explored via the methodologies of duration, failure and enacted personal histories as psychological and existential wounds, catalytically queering normative perception towards a multiplicity beyond a Cartesian essential Self.
PERCEPTION:Lab (2015) was shown in Boston USA at the Mobius Gallery, supported by University of Bristol; Psychogenesis Series (2018) began while in residency at The Sidney Nolan Trust, and CHTHONIC (2019) was shown at Bow Arts, Raw Labs as part of the London Festival of Architecture with funding from Arts Council England.
- Author contribution statement
- -
- Non-English
- No
- English abstract
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