Caring for the queer body: Imagining after-lives and post-human futures through art practice in the UK and US, 1980-2000

关爱酷儿身体：通过英国和美国的艺术实践想象来世和后人类的未来，1980-2000

• 批准号: 1939304
• 金额: --
• 依托单位: University College London
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2017
• 资助国家: 英国
• 起止时间: 2017 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-1939304
• 关键词: Caring; queer; body; Imagining; after

"My thesis examines how queer, trans and gender non-conforming artists have developed a critical language around healthcare in the late twentieth century. Queer identities complicate and are complicated by conventional healthcare practices: my project aims at understanding how queer persons have engaged with and challenged these protocols as artists but also as activists, caregivers, patients and survivors. Contemporary feminist theories of science and technology will provide a framework for understanding the political potential of revisiting artistic legacies produced in the wake of major health crises in the UK and US."Building on my MA research into queer artistic legacies, I will examine how LGBTQ+ artists have engaged with medical identifications of the queer body, developing a critical language around health protocols in areas of diagnosis, treatment and palliative care - protocols which often fall back on ideations of a 'natural' healthy body or eclipse differentiation in gender and sexual identity altogether. Looking to works by Zoe Leonard, Jean Carlomusto and Barbara Hammer and to autobiographical writings by Eve Sedgwick, Kathy Acker and Audre Lorde, my primary question asks: by reconstructing artistic legacies through a contemporary theoretical framework, can we think differently about the binary terms of life and death? A series of secondary provocations follow: what stands to be gained by revisiting historical legacies via new theoretical positions; beyond remembrance or critique, can historic material open up generative understandings of care and mourning in relation to contemporary queer life? How might reading a work such as Barbara Hammer's Vital Signs (1991) - a tender portrait of intimacy beyond death - through scholar Nina Lykke's autobiographical account of intimacy with her partner's body develop new artistic/theoretical considerations of connection and intimacy beyond life? To answer these questions, I turn to post-humanities and feminist science studies, where theoretical positions that favour a 'braided' temporality help to loosen the binaries of life and death, presence and absence. Karen Barad's Meeting the Universe Halfway (2007); Nina Lykke's 'Queer Widowhood' (2015); and Donna Haraway's Staying with the Trouble (2016) form a critical basis for this enquiry into how history resides in the present as a 'living archive'. My project draws on theoretical and medical literatures to examine how these models structure subjectivisation. Considering these relations in non-dichotomous terms attends to the oft-excluded stories of survival and adaption that come with lived experience. From 1980-2000 entire communities of queer persons and the networks that sustained them were erased in the HIV/AIDS crisis. Bridging barriers between art, activism and medicine can incite change, exemplified by HIV/AIDS advocacy group ACT UP (Aids Coalition to Unleash Power) in New York who effected a fundamental shift in how US federal agencies addressed HIV health priorities. 2017 marks 30 years since the founding of ACT UP and increasingly, scholarship is emerging with the stated aim of assessing the significance of the group's impact. Intersectional legacies are often flattened or canonised: my thesis will directly work towards understanding the role of queer, trans and gender non-conforming artists in ACT UP and the frustrations of in/visibility which catalysed off-shoot groups: Lesbian Avengers, DIVA TV (Damned Interfering Video Activists). Artists of this era (such as Barbara Hammer) addressed not only HIV-related health but engaged broader issues of illness and care. Reconstructing these works through contemporary medical and theoretical research - such as the medical humanities links across WRoCAH - will draw out valuable understandings of their art historical relevance."

我的论文研究了同性恋、跨性别者和性别不一致的艺术家如何在20世纪末围绕医疗保健发展了一种批评性语言。同性恋者的身份让传统的医疗实践变得复杂起来：我的项目旨在了解同性恋者作为艺术家，以及作为活动家、照顾者、患者和幸存者，是如何接触和挑战这些协议的。当代女权主义科学技术理论将为理解重温英国和美国重大健康危机后产生的艺术遗产的政治潜力提供一个框架。“在我对同性恋艺术遗产的MA研究的基础上，我将研究LGBTQ+艺术家如何参与同性恋身体的医学鉴定，在诊断、治疗和姑息护理领域围绕健康协议发展一种批判性语言-这些协议通常依赖于‘自然’健康身体的概念，或者完全超越性别和性身份的区分。看着佐伊·伦纳德(Zoe Leonard)、让·卡洛穆斯托(Jean Carlomusto)和芭芭拉·哈默(Barbara Hammer)的作品，以及伊芙·塞奇威克(Eve Sedgwick)、凯西·阿克尔(Kathy Acker)和奥德丽·洛德(Audre Lorde)的自传体作品，我的主要问题是：通过当代理论框架重建艺术遗产，我们能否以不同的方式思考生和死的二元术语？一系列次要的挑衅随之而来：通过新的理论立场重新审视历史遗产将获得什么；除了记忆或批评，历史材料能否开启对当代同性恋生活的关怀和哀悼的生成性理解？通过学者尼娜·莱克对伴侣身体亲密关系的自传式描述，阅读一部作品，如芭芭拉·哈默的《生命体征》(1991)--一幅关于超越死亡的亲密关系的温情肖像--会如何发展出对生命之外的联系和亲密关系的新的艺术/理论思考？为了回答这些问题，我求助于后人文科学和女权主义科学研究，在这些研究中，支持时间编织的理论立场有助于放松生与死、在场与缺席的二元论。凯伦·巴拉德的《中途遇见宇宙》(2007)；妮娜·莱克的《酷儿寡妇》(2015)；以及唐娜·哈拉韦的《与麻烦同行》(2016)，构成了这部作品的关键基础，这部作品探讨了历史是如何作为一份活的档案存在于当下的。我的项目利用理论和医学文献来考察这些模型是如何构成主观化的。用非二分的术语来考虑这些关系，是为了关注经常被排除在外的生存和适应的故事，这些故事来自于生活经验。从1980年至2000年，整个同性恋社区和支持他们的网络在艾滋病毒/艾滋病危机中被抹去。在艺术、激进主义和医学之间架起桥梁可以刺激变革，纽约的艾滋病毒/艾滋病倡导组织ACT UP(艾滋病释放力量联盟)就是一个例子，他们从根本上改变了美国联邦机构处理艾滋病毒健康优先事项的方式。2017年是ACT成立30周年，而且越来越多的学者正在兴起，其明确的目标是评估该组织的影响的重要性。跨界别的遗产通常是扁平化或经典化的：我的论文将直接致力于理解同性恋、跨性别者和性别不一致的艺术家在ACT UP中的角色，以及催生了副拍团体的内部/可见性的挫败感：女同性恋复仇者，DIVA TV(该死的干扰视频活动人士)。这个时代的艺术家(如芭芭拉·哈默)不仅探讨了与艾滋病毒相关的健康问题，还参与了更广泛的疾病和护理问题。通过当代医学和理论研究重建这些作品--例如贯穿WRoCAH的医学人文联系--将对它们的艺术史相关性得出有价值的理解。