Right, so this was my first formal proposal which was created for a unit called Creative Strategies. It roughly outlines my key research interests and ideas. I will be adapting this proposal for my final research project of my MA.
Abjection and the uncanny: Creating the unfamiliar female body.
For the purpose of this research proposal I have formulated three questions which I will be attempting to answer. These questions are;
1) How do the theories of the uncanny and abjection relate and what is their relationship to the body and contemporary performance?
2) How is technology and the uncanny linked in terms of doubling, and how does this relate to the portrayal of gender?
3) In which ways can the human form be distorted to the point it becomes uncanny or unfamiliar?
This project will include an investigation of the theories of the uncanny, abjection and the use of female form within this framework. Historically the uncanny has been predominantly explored by men, distorting the female form. This is especially the case of surrealists working between the 1920‘s and the1960’s. I am interested in how female artists approach these theories and how the outcomes differ between the male and female perspective. The key elements of interest within uncanniness lay within the double and the unfamiliar body. I am intrigued to find if I can create both inaccurate and exact doubles of myself.
This investigation into the unfamiliar body relates to my interest of distortion. I am curious as to how I can distort the female form to the point of reducing the body to an object. I am also curious about the theory of abjection and how this relates to the uncanny. Within abjection, the key focus will be the products produced by the body, such as hair and nails. I am interested in finding how I can use the body’s by-product as a key element within my practical work. I am keen to investigate the relationship between the uncanny and abjection and how the two theories compare. I am also interested in how the uncanny and abject can become so absurd that a comic element emerges. This relationship between what is horrifying and humorous will be investigated throughout this project.
Rationale:
Freud, S. (1919) ‘The Uncanny’ explains the feeling that we experience when something we see as familiar becomes unfamiliar. This theory that will be a key focus of the project. I will also be using Royle, N. (2003) The Uncanny as a contrast to Freud’s theory, Royle (2003) will act as way of understanding the development of the uncanny within a contemporary setting. Jentsch, E (1906) On the Psychology of the Uncanny will be explored. This was written 13 years prior to Freud’s theory, and I am interested in how these three key texts differ or relate to each other. Alongside theories of the uncanny Kristeva’s writings around abjection shall be investigated, comparing how the two theories compare. I will be exploring how these theories have been presented practically, both within a historical (pre 1960’s) and contemporary (post 1960’s) context.
Alongside this theoretical exploration a full investigation will occur into artists who have presented work in the fields of abjection and the uncanny. This will range form the early works of Ernst Theodor Wilhelm Hoffmann and Pierre Molinier, to the current works of Stelarc, Alice Anderson and Igloo. This project will explore how the body can be changed and distorted to create a sense of unfamiliarity within the human form. The works of both Stelarc and Pierre Molinier involve disfiguring the body to create non-human objects. Stelarc uses science and technology to modify and distort his body, such as the addition of a prosthetic ear which was surgically implanted into his left arm. Molinier used multiple limbs within his photographic work to transform his body into bizarre forms. Alice Anderson uses the uncanny theme of doubling extensively within her work. She works with dolls who act as miniature versions of herself, masks of her face, and a combination of the live body against life size images of herself. Anderson also works with abjection by working widely with dolls hair, which matches her own colour identically. Igloo also work with doubling within their work but in a different form. Igloo use technology to create digital doubles of both themselves and environments. Their performances range from virtual installations to live performance.
Methodology:
This investigation will have a strong focus on research and a literature review will be conducted. This will consist of psychoanalysis essays, performance reviews, academic books and artistic statements. The literature review will include a comparison of theories highlighting the similarities and differences of the theories. It will question how the uncanny and abjection relate to the body and performance. Gaining a deeper theoretical understanding of the the uncanny and abjection is crucial to the development of the practical work. Alongside this theoretical investigation I will also be visiting such institutions such as The Tate Modern, The Freud Museum and the British Library. Studio work will be key element of this project. Within the studio I will be working with dolls, mirrors, movement, video and photography. My aim is to create various works which both stand alone and coexists to communicate my thoughts and explorations around the theories of uncanniness and abjection.
- Exact doubling will be investigated through the use of video, stop animation will be used to create multiple versions of myself.
- Inaccurate doubles will be created by altering dolls to resemble myself. These dolls will be used in the studio to create various scenes which will be photographed.
- Working within the field of abjection a series of photographic workshops will be carried out involving my hair. I will be exploring how placing clumps of hair in unusual places on the body and in the studio can become abject.
- I will be attempting to distort my body with the use of costume and film. The mirrors within the studio will be used to create a live distorted body.
- Within the studio I will working with live projections to create digital doubles of myself.
Documentation will play a key part within this project and all practical workshops will be filmed. Alongside video documentation there will also be written evaluations of each session. I will create an online research blog. This will consist of weekly diary entries commenting on any practical workshops, reading sessions or thoughts. I intend to form a clear and precise documentation of both creative practise and theoretical research which will be widely accessible.
Resources:
The research project will require the use of a small studio space, a camera to record any practical workshops and the use of a projector. The Laban and Goldsmiths library as well as the British Library will be used for specific books and journals. Online archives such as www.ubuweb.com will allow access to AV files. Institutions such as the Freud museum and The Live Art Development Agency will act as key institutions of research. I plan to attend any exhibitions, discussions and performances such as; Magical Night 2011 The Royal Opera House, a performance in which toys come to life.
Alice Anderson Fort Da 2011, Saatchi Gallery, Chelsea, Installation of a giant bobbin made of dolls hair.
Mike Kelley: The Uncanny 2004, The Tate Liverpool, an exhibition based on Freud’s theory of The Uncanny.
Mike Kelley: The Uncanny Conference: The Uncanny Day 2004, The Tate Liverpool, a conference in which Feud’s theory is discussed in relation to contemporary art.
Collaborators:
This is a solo research project therefore no collaborators will be involved within the work. I will however be relying on three of my peers to give regular feedback on my practical work. They will act as an outside eye and will be a key element within the evaluation process. Regular tutorials with my supervisor will be attended to discuss and gain feedback of the creative progress of the work.
Supervisor/Tutor/Advisor:
Martin Hargreaves.
Outcomes:
The final product of this research will take the form of an installation, containing a series of uncanny objects, live performance and an accompanying film. The installation will take place in the Bonnie Bird theatre. This piece will not be presented in the traditional proscenium arch form but will occur on the stage. The stage will be blocked off from the seating bank. The Audience will be led through the backstage entrance of the theatre adding to the unfamiliarity of the space. This location is key to the project as a dark space is required. This adaption of the space also allows for an immediate feeling of uncanniness which will continue throughout the installation.
Indicative Bibliography/Reference List:
Barewaldt, W. (2001) Pierre Molinier. Art Data, London
Dixon, S. (2007) Digital Performance: A history of new media in theatre, dance, performance art, and installation. The MIT Press Cambridge, Massachusetts, London, England
Freud, S. (1919) ‘The Uncanny’
Jentsch, E (1906) On the Psychology of the Uncanny
Kristeva, J. (1982) Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press.
Limoges, S. (2011) Alice Anderson : Childhood Rituals. Archibooks
Morris, G. (1996) Moving Words re-writing dance. London & New York : Routledge
Royle, N. (2003) The Uncanny. Manchester University Press.
Russo, M. (1995) The female grotesque : risk, excess, and modernity. New York : Routledge.
Smelik, A (2007) The danger of hair , In: Jan Brand and Jose Teunissen (ed.), Clothing & Accessories . Arnhem: Terra / Artez Press, 2007: 172-177
Smith, M. (2005) Stelarc The Monograph Electronic Culture: History, Theory and Practice MIT Press Cambridge.
