A bit about Ruth Myers…
Body Acts and Documents, Ruth Myers
Tuesday 14 June- Wednesday 15 June, various sites
Thursday 16 June 10-10.30, Test Space
This project explores body acts and their documents as performative scenes which emerge through and are conditioned by disciplinary frameworks and performative mechanisms. Specific training tasks drawing on home and personal contexts, and technological mediation explore expanding or exerting pressure on this ‘scene’ to think relations differently.
floorpress, Karetai Rd, 2016
being made, performing disciplining bodies explores encountering the performative and disciplinary body as shared performance. Key ideas of the disciplinary body (Foucault) and performativity of body acts (Butler) are examined through spatial and temporal positioning and encountering of body in early film, 60’s and 70’s feminist video art practice and contemporary art where body is trained, restrained, limited, realigned and re-configured. From these framings, practice considers the notion the personal is political, and explores through sculptural, technological and performance encounters, ‘performative scenes’, in this case floor, table, and doorway, as social sites, structures and movements in which body acts, exert, request and reveal, and require and implicit audience in contingent, relational and political performances of ‘being made’.
Paw Paws, Lucy Meyle, 2016
3 Samoa House Lane
(NB. Entrance off Beresford St)
Auckland-based artist Lucy Meyle makes sculptures and drawings proposing humourous perspectives on everyday things.
Using materials like masking tape, orange peel, PE foam, and sunlight, the exhibition works to uncover the possibilities of the intersection of care and humour. Why are certain degrees of care considered silly, and why are other types considered appropriate responses? Through shifts in scale and alternative uses of objects, the sculptures and drawings in Serving Suggestions investigate roles of humour and care in art and society.
Serving Suggestions will run until Saturday 22 April 2016
being made explores participating in the disciplining body through encounters with technologically mediated body performance in early film and contemporary art. Drawing on Michael Foucault’s notion of disciplinary power, disciplinary practices are considered here as located in the moving and gesturing body. These performances of disciplinary body are situated through a feminist reworking as performative and political, and understood as contributing to a relational and provisional situating of subjectivity as in-process. Within this the project takes up Irit Rogoff’s notion of ‘already implicated’ in exploring our participation in disciplining bodies.
Technological scrutiny of the moving and gesturing body as disciplinary practice is analysed through close attention to encounters with early filmic body performance in the19C kinetoscope. Here ‘present tense’ to-be-looked-at filmic display of disciplining bodies, as they pose, kiss and sneeze directly for the camera position the viewer within a physiological gaze. This scrutiny is replicated and repositioned for individual amusement via the kinetoscope peep hole, where the temporality of display and performers’ individual address mediate these performances as a shared positioning.These early filmic body performances reveal a technological attention to performing gender, which is considered further in the mediated body performance of Hannah Wilke’s and Lynda Benglis’s 70’s video art projects. Disciplinary procedures of exercise and documentation are explored in Laresa Kosloff, Mathew Barney and Alicia Frankovich’s artist body performances involving restraint, control, and reconfiguration.
being made concentrates specifically on artist body private performance, exercising and practicing disciplining body movements and gestures. Disciplining body is performed as spatially and temporally organised, examined and documented. This discipline is aided by provisionally made and found devices, props and attachments. The art positioning explores both ‘exhibition’ and ‘viewing’ contexts, situated within ‘political’ disciplinary slippage, such as evident in the science and amusement encounter of the Kinetoscope. Thus disciplinary bodies are technological re-performed and re-disciplined, focusing on the viewer’s performance of looking as implicated in this.