Hardship Art: Pain and Performance Art, 1990 to the present

苦难艺术：痛苦与行为艺术，1990年至今

• 批准号: AH/L009250/1
• 负责人: Dominic Johnson
• 金额: $ 22.4万
• 依托单位: Queen Mary University of London
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2014
• 资助国家: 英国
• 起止时间: 2014 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FL009250%2F1
• 关键词: Hardship; Art; Pain; Performance; 1990

Works of art and performance that privilege hardship, extremity, pain and wounding may sometimes seem unbearable, unwarranted, or unintelligible, for straying too far beyond a certain aesthetic limit. I propose to undertake a series of research-based activities on the theme of hardship art after 1990. These activities will include two strands: firstly, the completion of the typescript for a sole-authored publication (under contract); and public engagement activities in London and Los Angeles. Some events will take place during a period of research as AHRC Visiting Professor at University of California, Riverside, lasting one month. A defining assumption of the project considers 'hardship art' as a set of important contemporary trends in the performance of extremity. While the works of key artists have been undeniable fixtures on the national and international programming circuits in visual art and performance, their theorisation and historicisation has been limited. The term 'hardship art' was put forward in the 1980s as a tentative critical neologism, with a short and peripatetic history of usage, falling out of favour for less specific umbrella terms. Subsequent studies have historicised the work that came before or around the time of its first provisional theorisation. A starting point for the project involves an acknowledgement of 'hardship art' as a terminology for studying performance art, live art, theatre and visual art, and the elaboration of new critical methods to engages with performance of excess or 'extremity'. "The Preferred Ordeal: 'Hardship Art' and the Performance of Extremity" (the monograph) constructs a history of contemporary performances and related documents that involve the production and representation of pain, wounds, and hardship. I counter the absence of sustained study of hardship art and related practices by arguing that such works demand a reconfiguration of our assumptions about politics and aesthetics. Case studies include Ron Athey, Franko B, Sheree Rose and the late bob Flanagan, Rick Castro, and Kira O'Reilly. These artists are familiar to specialised audiences, but perhaps less well-known to general audiences of art and theatre. I therefore contextualise their art practices through new close readings of more established artists including the most-cited and vastly exhibited artists including Marina Abramovic, Vito Acconci, Chris Burden, Robert Mapplethorpe, ORLAN, and Gina Pane. Introducing emerging or marginal practices is a revisionist strategy to insert disorganizing supplements into the existing cultural histories of performance and visual culture. The length of the introduction and seven chapters will be around 10,000 words each; the projected word count is 86,000 words (including prelims and bibliography). Through primary research and extensive critical analysis, I will show that these artists and others enable new perspectives on the cultural politics of performance and visual culture. They provoke new approaches to the ideological function of institutions: artistic, theatrical, critical, legislative and academic. "The Preferred Ordeal" suggests that we might search for the bite, the flinch, and the grimace of one's confusion in the encounter with art and performance - despite the consolations that more convivial forms might sometimes offer. The PE activities complement, extend and inform the written research towards the monograph. As such, the project involves a series of engaging and accessible critical dialogues with key artists in London and Los Angeles, at non-HE institutions including: Tate Modern, Institute of Contemporary Arts, and/or INIVA (London); and Culver Arts Center and Human Resources (Riverside/Los Angeles). Representatives of the venues in London have provisionally confirmed their willingness to discuss programming the proposed events; the venues in California are confirmed.

那些以艰难、极端、痛苦和伤害为特权的艺术和表演作品，有时可能会因为远远超出某种审美极限而显得难以忍受、毫无根据或难以理解。我建议在1990年后开展一系列以艰苦艺术为主题的研究活动。这些活动将包括两个方面：第一，完成一份单独撰写的出版物的打字稿（根据合同）；以及伦敦和洛杉矶的公众参与活动。一些活动将在美国加州大学河滨分校作为AHRC客座教授进行为期一个月的研究期间进行。该项目的一个定义假设是将“艰苦艺术”视为一组重要的当代极端表现趋势。虽然关键艺术家的作品在国内和国际视觉艺术和表演节目中已经成为不可否认的固定装置，但他们的理论化和历史化一直受到限制。“艰苦艺术”这个词是在20世纪80年代作为一个试探性的批评性新词提出的，它的使用历史很短，也很不稳定，后来因为不太具体的总称而失宠。随后的研究将其第一个临时理论之前或前后的工作历史化。该项目的出发点包括承认“艰苦艺术”作为研究表演艺术、现场艺术、戏剧和视觉艺术的术语，并阐述新的批评方法来参与过度或“极端”的表演。“优选的磨难：‘苦难艺术’与极端的表演”（专著）构建了一个涉及痛苦、创伤和苦难的生产和表现的当代表演和相关文献的历史。我反对缺乏对艰苦艺术和相关实践的持续研究，认为这些作品需要重新配置我们对政治和美学的假设。案例研究包括Ron Athey， Franko B， Sheree Rose和已故的bob Flanagan， Rick Castro和Kira O'Reilly。这些艺术家对专业观众来说很熟悉，但对艺术和戏剧的普通观众来说可能不太熟悉。因此，我将他们的艺术实践背景化，通过对更成熟的艺术家的新的仔细阅读，包括被引用次数最多、展览次数最多的艺术家，包括玛丽娜·阿布拉莫维奇、维托·阿肯西、克里斯·伯登、罗伯特·梅普尔索普、奥尔兰和吉娜·帕内。引入新兴或边缘实践是一种修正主义的策略，将混乱的补充插入到表演和视觉文化的现有文化历史中。引言和七个章节的篇幅都在1万字左右；预计字数为86,000字（包括初稿和参考书目）。通过初步研究和广泛的批判性分析，我将展示这些艺术家和其他人为表演和视觉文化的文化政治提供了新的视角。它们激发了对机构意识形态功能的新方法：艺术的、戏剧的、批评的、立法的和学术的。“首选的磨难”表明，我们可能会寻找一个人在遇到艺术和表演时的咬，退缩和困惑的鬼脸-尽管更欢乐的形式有时可能会提供安慰。体育活动是对专著的书面研究的补充、扩展和信息。因此，该项目涉及与伦敦和洛杉矶的主要艺术家进行一系列引人入胜的、可访问的批判性对话，这些对话在非高等教育机构进行，包括：泰特现代美术馆、当代艺术研究所和/或INIVA（伦敦）；卡尔弗艺术中心和人力资源（河滨/洛杉矶）。伦敦各场馆的代表已暂时确认他们愿意讨论拟定活动的日程安排；加州的比赛场地已经确定。

项目成果

Unlimited Action: The Performance of Extremity in the 1970s

无限行动：20世纪70年代的极限表现

• 发表时间: 2019
• 作者: Johnson DF

Naked hitchhikers: the unknown photography of William A. Rhoads

裸体搭便车者：威廉·A·罗兹 (William A. Rhoads) 的不为人知的摄影作品

• DOI: 10.1080/23268743.2016.1252161
• 发表时间: 2017
• 期刊: Porn Studies
• 作者: Johnson D