Nerys Johnson: Contexts, Archive and Collection

本提案以艺术家兼策展人Nerys Johnson（1942-2001）的档案和收藏为基础，利用“Crip Time”的方法作为镜头，传达她的残疾生活经历如何支撑她的实践。我的研究将关注艺术家兼策展人奈瑞斯·约翰逊（Nerys Johnson）在她的残疾视角下的解读——其中，通过对她的生活和工作的残疾主义解读，“以残疾为中心”（Quayson, 2007）的唤起。从一个健全主体的角度来叙述约翰逊的一生，就是将残疾的身体政治化；将精神、身体、认知或智力缺陷视为“最低点的休耕终点”；通过她的生活年表划分或克服的问题（2020年5月）。《瘸腿时间》批评了健全叙述者的标准生命周期的假定寿命——“强制性健全”——随着年龄的自然增长而减慢（McRuer, 2015）。更确切地说，Crip Time是“在衰减、等待、暂停中注意力的绽放”，为下一个休耕期而生；它的标志是停止并重新开始（Kuppers, 2014）。我的第一章将通过许多有残疾生活经验的重要学者和散文家的作品来研究瘸腿时间：例如，艾莉森·卡弗（女权主义者，酷儿，瘸腿，2014）；莫莉·麦卡利·布朗（《我的身体去过的地方》，2021年）和残疾馆长阿曼达·卡奇亚(《身体能做什么？》2012)。在方法论层面上，《瘸腿时间》与对历史后果的理解融合在一起，这些历史后果被酷儿的时代性所扭曲（Halberstam, 2005），或者被女权主义者对生产力和劳动的批评所分裂（Weeks, 2011）。

This proposal approaches the archive and collection of Artist and Curator Nerys Johnson (1942-2001) by utilizing the methodology of 'Crip Time' as a lens to convey how her lived experience of disability underpins her practice. My research will be attentive to readings of the Artist and Curator Nerys Johnson within the lens of her disability - among them, evocations of 'disability as pivot' (Quayson, 2007) encountered through ableist readings of her life and work. To narrate Johnson's life from the vantage point of an able-bodied subject is to politicize the disabled body; to observe mental, physical, cognitive or intellectual impairment as but 'the fallow end of the Nadir'; a problem to be compartmentalized or overcome through the chronology of her life (May, 2020). Crip Time critiques the assumed longevity of the normative life cycle by able-bodied narrators - 'compulsory able-bodiedness' - as that which slows with the natural progression of age (McRuer, 2015). Rather, Crip Time is borne out of 'a blossoming of attention in attenuation, in waiting, in abeyance', for the next fallow period; it is marked by stopping and starting again (Kuppers, 2014). My first chapter will investigate Crip Time through the writings of numerous important scholars and essayists with lived experience of disability: for example, Alison Kafer (Feminist, Queer, Crip, 2014); Molly McCully Brown (Places I've Taken My Body, 2021) and disabled Curator Amanda Cachia (What can a Body Do? 2012). At a methodological level, Crip Time converges with an understanding of historical consequence bent by Queer temporalities (Halberstam, 2005) or fragmented by Feminist critiques on productivity and labour (Weeks, 2011).