We invite artists and academics from different disciplines to contribute on an equal basis to research and experiment during the course of the academic year 2020 — 2021 in developing the field of Practice-as-Research (PaR).
We are the Interdisciplinary Laboratory for investigating what can be meant by the term ‘performance’ in academic contexts today. It asks how research can inform artistic practice and vice-versa.
‘Performance’ is normally understood as relating to an art practice or artefact; but it can also stand for a social interaction, a research process, or a philosophy. Enacting performance, these might creatively collide. There might be inherent tensions between making art and practicing research, as between performing and philosophising; but, we insist, there are no impermeable boundaries. We are keen to seek out the porousness here — the cracks, the mutations, the cross-currents.
PeARL will insist on the freedom to experiment. Our praxis will be informed by contemporary knowledge accumulated in the field of Performance Studies. We will valorise ideas on the Body across the project. Our research initiatives and intellectual
enquiry will be stimulated by contemporary art practices.
We will seek to open new ways in which performance as art-making, research, social practice and philosophy inform and enrich each other.
Professor of Theatre and Performance, Goldsmiths, University of London, Director: MA in Performance Making, Co-Director Centre of the Body and Departmental Research, and Artistic Director Athletes of the Heart;
Assistant Professor, HSE Art& Design School, Academic Director of the Doctoral School of Arts & Design HSE, Editor-in-chief of the Russian Fashion Theory: Journal of Dress, Body & Culture.
All sessions take place Wednesdays 5 pm — 7 pm (London Summer Time) 4 pm — 6 pm (London Winter Time) 7 pm — 9 pm (Moscow Time)
Selected bibliographies for October-December 2020 sessions (be kindly noted some information will be added to).
Anna Furse with discussant Roger Smith
Starting from her chapter ’Being Touched’, that explores the touch sense in relation to how the ’artsport’ Contact Improvisation can be understood in an ethical dimension, in this presentation Anna Furse will discuss this in the context of todays’ touch-phobic society and ask how we might address this very basic human need, socially and artistically.
Irina Sirotkina with discussants Laini Burton, Alison Matthews David and others
Masks can be used as markers of the boundary between public and private, personal and impersonal, the disguised and the revealed, the self and the Other. We can think, for example, of medical masks, of ‘the Moscow Metro Mask’, a reserved and hostile facial expression Russian people wear in public, of the infamous American ‘Blackface’, of half-masks the French mime, Étienne Decroux, used to hide his face, ‘the instrument of lie, the apostle of blather’. Yet we can also think of masks that are fun, of Italian commedia dell’arte, carnivals, of the DIY transformative make-up, or else of masks as healing tools in the hand of psychiatrists and art therapists
Roger Smith with discussant Jorella Andrews
This talk is about the semantic richness of movement as action and in
language. I relate this to agency, the power a person has to act, the
subjective feeling that goes with action, and the social and political
context of action. A performance always exhibits movement, about which
both performer and audience have feelings and to which they both
respond. The expression of agency in movement is central to identity.
Alexandra Staruseva-Persheeva and Tatiana Fadeeva
Globalised media theorists since the time of McLuhan and Youngblood have been visualizing the newer society developed by communicational technologies. However this type of evolution needs more of an engine than just technologies — a new type of empathy is to be built up. We argue that VR-technologies today are an apt instrument not only of artistic statement and communication, but also means of social integration which makes permeable «membranes» of social units. In virtual reality a user is able to experience the new subjectivity, being-with-the-Other, or — to a certain extent — being the Other. When such «meetings» take place in a safe space of aesthetic experience a spectator can literally take part in these scenarios and experience the affects that would be unimaginable in everyday life, expand his own boundaries of subjectivity and go beyond the limits of an egocentric position.
Participating in projects using VR technology for social purposes (such as Rising, Blood and Sand, The Machine To Be Another, Equal Reality, Tree VR, Etc.) viewers are able to fully understand actions and emotions of the Other (be it a human, tree, or animal) via bodily «solidarity» — as one of the fundamental foundations of empathy.
Participants: Ksenia Gussarova, Jana Melkumova-Reynolds, Lily McMenamy, Jana Romanova and others
Moderator: Liudmila Aliabieva