Body Hegemonies 2017: An Experimental Transfer
(2021)
author(s): Monica Clare van der Haagen-Wulff, Michael Lazar, Fabian Chyle
published in: Journal for Artistic Research
Body Hegemonies is an artistic project aimed at exploring and making transparent some of the themes of epistemic violence and hegemonic orders resulting from the legacy of colonialism and slavery, as the hidden flip-side of modernity and enlightenment. Our aim was to examine the Eurocentric logic of dehumanization and processes of exclusion from the perspective of bodies and their embeddedness within these hegemonic structures. The goal was to use artistic methods as tools to research topics commonly examined within an academic framework. The project focused on aspects of bodies that have been/are being excluded or made invisible within contemporary and historical discourses. “Body Hegemonies” worked on the trans-disciplinary interface (entanglement) of theorists, performers and everyday practitioners (experts), in an attempt to make possible other forms of knowing and knowledge production. Specifically, we tried to performatively re-inscribe the historically erased body within the production of knowledge. To engage with and explore these questions, a one-week laboratory was held in which six artists/(social)scientists gathered in a secluded location near Cologne Germany to hold video conversations with international experts over three days on the topics mentioned above. Resulting from these conversations, the Cologne participants presented individual performative responses to the group, which in turn were worked into a “performative score” presented to the public on the last day of the laboratory. This was flanked by a mini-symposium with two international scholars on the topic of body-hegemonies to expand the discursive field within which to locate and understand the artistic explorations.
Painting as Discourse
(last edited: 2019)
author(s): Andrew Bracey
This exposition is in progress and its share status is: visible to all.
'Painting-As-Discourse' is a methodology to complement painting practice with a reflection of “on action and in action” (Gray & Malins, 2004, p21) that is central to the research and its findings. Selected individuals (from a range of expertise and levels of knowledge of the author's research) have partaken ‘Painting-As-Discourse’ conversations with Bracey in regard to one body of practice (ReconFigure Paintings), through the course of his PhD. In this way the artistic researcher has been encouraged and challenged about what he is saying verbally about the practice and being encouraged to respond to new readings and possibilities for the research. Each conversations is then used to form an ongoing series of revised statements about the work, following the approach of Elizabeth Price’s ‘Sidekick’ (Price, 2006). Each revised statement is given to the most recent 'Painting-As-Discourse' participant prior to the conversation to act as a spur for the conversation.
Gray, C. and Malins, J. (2004), Visualising Research: A Guide to the Research Process in Art and Design. Ashgate.
Price, E. “Sidekick.” In Thinking Through Art, edited by Macleod, K. & Holdridge, L. (2006), Oxford and New York: Routledge, p122-132.