Hauntings and herstories: Feminist Live Art in 1980's and 1990's Ireland

关于过去情况和经历的知识不仅以文件和短暂的形式存在于当代生活中，而且存在于具体的记忆和无形的文化中。对于那些被压迫的人来说，继承的故事、感受和创伤往往是他们历史的唯一形式。在爱尔兰，殖民暴力造成的对妇女的压迫，被民族主义和父权制的教会和国家所取代，在妇女的身体、她们的经历和知识周围滋生了一种沉默和羞耻的文化。今天，这种压抑的影响潜伏在具体的记忆中，产生于情感上的代际相遇。这种不全面的知识困扰着官方档案中的空白，并“发出遗漏的通知”(Gordon，1997：15)。爱尔兰的女权主义现场艺术实践一直是一个提醒和回忆女性遭受的创伤经历的平台，并挑战一个想要忽视和忘记的国家(希利和沃尔什2011年)。我的博士项目将专注于爱尔兰女权主义现场艺术家在20世纪80年代的S时期工作的未被充分代表的实践，当时现场艺术开始作为一种形式在爱尔兰出现，直到本世纪末。具体来说，我将把重点放在艺术家波琳·卡明斯、玛丽·达菲和阿兰娜·奥凯利身上。我的目标是揭示卡明斯、达菲和奥凯利作为爱尔兰英雄故事的独特宝库的做法，并重新思考他们的表演是如何传播体现的女权主义档案并引导我们注意到女权主义者的纠缠。我的目标是询问在制作现场艺术记录的替代模式中情感过程的可能性。此外，我将采纳丽贝卡·施奈德的建议，将业绩视为失踪谈判的媒介，或许成为实质性的问题(2014：106)，以质疑什么是业绩，什么是在这方面的记录。这个项目的预期结果是一篇书面论文，以及一场表演讲座和一系列女权主义研讨会/分享圈，我将在英国(与Lada)和爱尔兰制作这些研讨会/分享圈。

Knowledge of past conditions and experience exists in contemporary life not only in the form of documents and ephemera but in embodied memory and invisible cultures. For those who have been oppressed, inherited stories, feelings, and traumas are often the only form their history takes. In Ireland, oppression of women inflicted by colonial violence and replaced by a nationalistic and patriarchal Church and State bred a culture of silence and shame around women's bodies, their experiences and knowledge. Today, the affects of this oppression lurks in embodied memory, generated in affective, intergenerational encounter. This partial knowledge haunts the gaps in official archives and 'gives notice that something is missing' (Gordon, 1997: 15). Feminist Live Art practices in Ireland have been a platform for both reminding and remembering the traumatic experiences endured by women, and challenging a State that wants to ignore and forget (Healy and Walsh 2011).My PhD project will focus on the under-represented practices of Irish feminist live artists working in the 1980's, when Live Art began to emerge as a form in Ireland, up to the end of the century. Specifically, I will focus on artists Pauline Cummins, Mary Duffy and Alanna O'Kelly.I aim to uncover the practices of Cummins, Duffy and O' Kelly as unique repositories of Irish herstories and to rethink their performances as affective experiences that propagate an embodied feminist archive and lead us to notice feminist hauntings. I aim to interrogate the possibility of affective processes in producing alternative modes of Live Art documentation. Further, I will take up Rebecca Schneider's proposal 'to think performance as a medium in which disappearance negotiates, perhaps becomes, materiality' (2014: 106) to question what is performance and what is documentation in this context. The intended outcome of this project is a written thesis, alongside a performance-lecture and a series of feminist workshops/sharing circles which I will produce in the UK (with LADA) and in Ireland.