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."

“我的论文探讨了同性恋，跨性别和性别不符合艺术家如何在二十世纪后期围绕医疗保健发展了一种批判性语言。酷儿身份复杂化，并通过传统的医疗实践复杂化：我的项目旨在了解酷儿如何参与和挑战这些协议作为艺术家，也作为活动家，照顾者，患者和幸存者。当代女权主义的科学和技术理论将提供一个框架，用于理解在英国和美国的重大健康危机之后重新审视艺术遗产的政治潜力。“基于我对酷儿艺术遗产的硕士研究，我将研究LGBTQ+艺术家如何参与酷儿身体的医学鉴定，围绕诊断，治疗和姑息治疗领域的健康协议开发一种批判性语言-协议通常依赖于“自然”健康身体的想法或性别和性身份的差异。看看佐伊·伦纳德、让·卡洛穆斯托和芭芭拉·哈默的作品，以及伊芙·塞奇威克、凯西·阿克和奥德丽·洛德的自传体作品，我的主要问题是：通过当代理论框架重建艺术遗产，我们能以不同的方式思考生与死的二元术语吗？接下来是一系列次要的挑衅：通过新的理论立场重新审视历史遗产会获得什么？除了记忆或批判，历史材料能否开启对当代酷儿生活的关怀和哀悼的生成性理解？阅读芭芭拉·哈默（Barbara Hammer）的《生命体征》（Vital Signs，1991）--一部对超越死亡的亲密关系的温柔描绘--通过学者尼娜·莱克（Nina Lykke）对她与伴侣身体亲密关系的自传式描述，如何能发展出对超越生命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，我转向后人文和女性主义科学研究，在那里，有利于“编织”时间性的理论立场有助于放松生与死，在场与缺席的二元性。凯伦·巴拉德的《半路遇见宇宙》（2007）;尼娜·莱克的《酷儿寡妇》（2015）;唐娜·哈拉维的《与麻烦同在》（2016）为我们探究历史如何作为一个“活档案”存在于当下提供了一个重要的基础。我的项目借鉴了理论和医学文献，以研究这些模型如何结构主观化。以非二分法的方式考虑这些关系，有助于关注那些经常被排除在外的生存和适应故事，这些故事伴随着生活经验而来。从1980年到2000年，整个酷儿社区和支持他们的网络在艾滋病毒/艾滋病危机中被抹去。弥合艺术、行动主义和医学之间的障碍可以激发变革，纽约的艾滋病毒/艾滋病倡导组织ACT UP（释放力量艾滋病联盟）就是一个例子，它对美国联邦机构如何处理艾滋病毒健康优先事项产生了根本性的转变。2017年是ACT UP成立30周年，越来越多的奖学金正在出现，其目的是评估该组织影响的重要性。交叉遗产往往是扁平化或册封：我的论文将直接致力于了解酷儿，跨性别和性别不符合艺术家在ACT UP的作用，以及在/可见性的挫折，催化了分支拍摄组：女同性恋复仇者，DIVA电视（该死的干扰视频活动家）。这个时代的艺术家（如芭芭拉·哈默）不仅关注与艾滋病毒有关的健康问题，还关注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WRoCAH的医学人文联系-将得出对其艺术历史相关性的有价值的理解。"