“My so strange roots”
Performing Archive; Embodying Memory
Bibliographic Data
| ID | 21473155 |
|---|---|
| Authors | Catherine Morris (0000-0001-8455-7831), Catherine E Morris (0000-0002-7401-6545, The Office of Public Works, corresponding author) |
| Year | 2022 |
| Volume | 47-1 |
| Pages | 33-47 |
| Publication date | 2022-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Études irlandaises (JOURNAL) |
| Journal identifiers | ISSN: 0183-973X • E-ISSN: 2259-8863 |
| Publisher | OpenEdition (PUBLISHER) |
| DOI | 10.4000/etudesirlandaises.12553 |
| OpenAlex | W4280610433 |
| Language | EN |
| References cited | 3 |
All of my writing whether in autofiction, biography, historical analysis, poetry or theatre is a political act of solidarity in making an archive in which feminism and art intersect as social change. In this essay, I conjure solidarity with contemporary French and Irish feminist artists whose work unmakes the self inside cells and outside the aftermath of exploded lives. Breeze blocks, cages, a small prison cell filled by Alice Maher with a giant ball of thorns, the weight of sound equipment, boxes that are a writer’s life; the archive turns the key on all that cannot be carried lightly or held at all. How can a library contain Hélène Cixous’s archive? Where does performance begin or end in Louise Bourgeois’s art of memory? Why is the neo-liberal patriarchy of Ireland’s banking system looped back in repetitious sound to revolutionary feminist action in Jaki Irvine’s 2016 video and sound installation
Art · Art history · Biography · Bourgeoisie · Closet · Feminism · Indie film · Irish · Literature · Memory work · Patriarchy · Poetry · Politics · Prison · Sociology · Solidarity · Digital and Traditional Archives Management · Diverse Musicological Studies · Gender Studies · History · Law · Memory, Trauma, and Commemoration · Philosophy
| Highly cited | No |
|---|