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

关于过去情况和经验的知识不仅以文件和短暂的形式存在于当代生活中，而且以具体化的记忆和无形的文化存在。对于那些受压迫的人来说，继承的故事、感情和创伤往往是他们历史的唯一形式。在爱尔兰，殖民暴力对妇女造成压迫，取而代之的是民族主义和宗法的教会和国家，在妇女的身体、她们的经历和知识方面滋生了一种沉默和羞耻的文化。今天，这种压迫的影响潜伏在具身记忆中，产生于情感上的代际相遇。这种片面的知识萦绕在官方档案的空白中，并“提醒人们缺少了一些东西”（Gordon, 1997: 15）。爱尔兰的女权主义现场艺术实践已经成为一个提醒和记住女性所经历的创伤经历的平台，并挑战一个想要忽视和忘记的国家（Healy和Walsh 2011）。我的博士项目将专注于20世纪80年代爱尔兰女权主义现场艺术家的实践，当时现场艺术开始在爱尔兰作为一种形式出现，直到本世纪末。具体来说，我将重点关注艺术家Pauline Cummins， Mary Duffy和Alanna O'Kelly。我的目标是揭示康明斯、达菲和奥凯利作为爱尔兰历史故事独特宝库的实践，并重新思考他们的表演作为一种情感体验，传播一种具体化的女权主义档案，并引导我们注意到女权主义的困扰。我的目的是询问在生产现场艺术文件的替代模式的情感过程的可能性。此外，我将采纳丽贝卡·施耐德（Rebecca Schneider）的建议，“将表演视为一种媒介，在这种媒介中，消失可能成为物质性”（2014:106），并在此背景下质疑什么是表演，什么是记录。这个项目的预期成果是一篇书面论文，以及一个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。

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.