Mierle Laderman Ukeles, Hartford Wash: Washing, Tracks, Maintenance (Outside), 1973, Part of Maintenance Art performance series, 1973-1974, Performance at Wadsworth Atheneum, Hartford, CT, Courtesy Mierle Laderman Ukeles and Ronald Feldman Fine Arts, New York
This study day is part of the larger interdisciplinary research program “Visibility and invisibility of women’s knowledge: creation, knowledge and their circulation from the 16th to the 21st century”. It aims to question the impact of performance art on the visibility of women artists, exploring how it became grounds for the expression of feminist claims.
Performance is not only a form of knowledge in 20th-century art history, but also makes use of other skills that include the body, society or action in its broader sense. While we do not claim to put together a comprehensive survey of the medium, we wish to underline its capacity to utilise knowledge in which women are actors, creators and subjects. Therefore, performance must be considered from its historical angle, like a space that questions the visibility and invisibility of women’s knowledge in dialectical terms and from the point of view of its historiography. Lastly, we will question performance in relation to feminism. The visibility of a performance often relies on the visibility of the body, which is a crucial part of performance art. We will therefore organise the study day around the following 3 main themes: the exposed body: proportions and movements; intimacy and sexuality; interaction with society.
Amphithéâtre des Loges
Beaux Arts de Paris
14 rue Bonaparte
Subway lines: 4, Saint-Germain-des-Prés
Bus lines: 24, 27, 39, 63, 70, 86, 87, 95, 96