Nerys Johnson: Contexts, Archive and Collection

本方案以艺术家和策展人Nerys约翰逊（1942-2001）的档案和藏品为研究对象，以“跛脚时间”为透镜，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和策展人内里斯约翰逊在她的残疾透镜内的阅读-其中，通过对她的生活和工作的健全人阅读，唤起“残疾作为支点”（Quayson，2007）。从一个身体健全的主体的Vantage位置来叙述约翰逊的生活是将残疾的身体政治化;观察精神，身体，认知或智力障碍，但“最低点的休耕结束”;通过她的生活年表（2020年5月）划分或克服的问题。Crip Time批评了健全叙述者对规范生命周期的假设长寿-“强制性健全”-随着年龄的自然增长而减缓（McRuer，2015）。相反，CripTime是出于“衰减中的注意力的蓬勃发展，等待，搁置”，为下一个休耕期;它的标志是停止和重新开始（Kuppers，2014）。我的第一章将通过许多有残疾生活经历的重要学者和散文家的作品来调查瘸子时间：例如，艾莉森·卡弗（女权主义者，酷儿，瘸子，2014）;莫莉·麦卡利·布朗（我把我的身体带到了哪里，2021）和残疾策展人阿曼达·卡奇亚（身体能做什么？2012年）。在方法论层面上，Crip Time与对历史后果的理解相融合，这种理解被Queer temporalities所弯曲（Halbertek，2005）或被女权主义者对生产力和劳动力的批评所割裂（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).