Morris, Catherine (2022) “My so strange roots”: Performing Archive; Embodying Memory. Études Irlandaises, 47 (1). pp. 33-47. ISSN 2259-8863
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Abstract
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?
| Item Type: | Article |
|---|---|
| Keywords: | archive, performance art, memory, feminism, prison |
| Faculty / Department: | Faculty of Creative Arts & Humanities > School of Humanities |
| Depositing User: | Catherine Morris |
| Date Deposited: | 21 Apr 2023 09:07 |
| Last Modified: | 05 Dec 2024 16:31 |
| URI: | https://hira.hope.ac.uk/id/eprint/3882 |
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