Performativity can be seen as a process. The body is gendered through the repetitive enactment of societal markers. This repetitive enactment is not demonstrative of a preexisting identity, but rather is the mode of identity construction within a binary gender system. Judith Butler talks about the possibility of norms “actually materialis[ing] a body,” and “how we might understand the materiality of the body to be not only invested with a norm, but in some senses animated by a norm, or contoured by a norm” (Judith Butler in an interview by Peter Osborne and Lynne Segal, London, 1993.) When looking at performativity in the construct of gender identity it is interesting to question the role of performing the gaze within this concept. What role does looking–a performative act–play in the process of becoming/constructing identity/gender? Through performance the body can be the site for ‘dissonant inscription,’ or the locale for displacing the norm. If spectatorship can be seen to be a societal marker of gender, does the performance-based practice break down, or reinforce, the typical gender reads? How does the performance artist use their medium to challenge or rebuff the socially constructed constraints of gender identity?
Rozalinda Borcila (University of South Florida)
Joanne Bristol (Banff Centre)
Liss Platt (New York)
Anita Ponton (London, England)
Moderator: Mireille Perron (Calgary, AB)
Format: The discussion will open with each panelist doing a 5-10 minute performative presentation about their work. This presentation can be done in a variety of modes: a small excerpt of the work, recreation, spoken word, or work-shopping with the audience, etc. We would like to stay away from the traditional ‘artist talk’ format in order to ensure the audience members have a glimpse into each panelist’s performance work in M:ST2.
Rozalinda Borcila is an Assistant Professor at the University of South Florida: Performance Art, Installation, and is the Head of the 3-D area.
Joanne Bristol’s artistic practice investigates relationships between nature, culture, the body, and language. She has presented performances, installations, text-based works, and single-channel videos internationally. Her recent research combines feminist performance and critical spatial practice with perspectives from the emergent field of critical animal studies. This research informed a doctoral thesis she completed at the Bartlett School of Architecture in 2016. Her work has been recently published in Poetic Biopolitics: Political and Ethical Practices in the Arts (London, 2015), and Public 50: The Retreat (Toronto, 2014).
Liss Platt is a media artist whose works take the form of photographs, videotapes, films, websites, performances, and installations. Her artwork combines personal narrative, critical analysis, humour, and gender politics to explore how we come to understand ourselves within the world. Her work has been exhibited and screened throughout the United States, Canada, and Europe.
Anita Ponton lives and works in London. Educated at Central St. Martins School of Art and Goldsmiths College, she is currently completing her doctorate in Fine Art. Trained as a painter/sculptor, she now works principally in performance, situating her body as site, as process and as object. Her work has been exhibited/performed internationally, including events and shows at the ICA London, the Venice Biennale and the Liljevalch Kunsthalle, Stockholm. She teaches at undergraduate and post-graduate level and curates performance events and exhibitions in unusual places. Her practice is currently concerned with the relationship of the body in performance to technology and to feminine representation.
La pratique artistique de Joanne Bristol examine les relations entre la nature, la culture, le corps et la langue. Elle a présenté des performances, des installations, des œuvres axées sur le texte et des vidéos à canal unique à l’échelle internationale. Ses dernières recherches mêlent la performance féministe et la pratique spatiale critique à des perspectives du domaine émergent des études critiques animales. Cette recherche a alimenté une thèse de doctorat achevée à la Bartlett School of Architecture en 2016. Son travail a été publié dans Poetic Biopolitics : Political and Ethical Practices in the Arts (Londres, 2015) et Public 50: The Retreat (Toronto, 2014).