Publications
This publication follows a conference that took place on May 14th, 2018 at the Beaux-Arts de Paris. Entitled, “La performance : un espace de visibilité pour les femmes artistes ?” [Performance: a place of visibility for female artists?], the conference was part of the interdisciplinary research programme “Visibilité et invisibilité des savoirs des femmes : les créations, les savoirs et leur circulation, XVIe-XXIe siècles” [Visibility and Invisibility of Women’s Knowledge: Creations, Knowledge and Circulation, 16th-21st century]. Led by Caroline Trotot in the heart of the Littératures, Savoirs et Arts (LISAA) research lab at the Université Paris-Est – Marne-la- Vallée from 2017-2018, this programme benefited from the support and active collaboration with the association AWARE: Archives of Women Artists, Research and Exhibitions, for both the conference and the present publication. One of the objectives was to study how creative work or the use of the body can give way to strategies of diversion allowing to question mechanisms of visibility and invisibility that regulate women’s knowledge. As a result, performance has become a field interweaving these aspects of the body and of the work of art, particularly since it has been largely invested by women throughout its history.
Contents
Articles
- “Cleaning is working” Camille Paulhan
- Beyond the Frame: Feminist Strategies in the Expanded Cinema of the 1960s and 1970s Maud Jacquin
- The Body in Performance: The Impossible Quest for Identity Thérèse St-Gelais
- Suffering Bodies and Transgressive Femininity in the Performative Works of Yvonne Rainer, Jo Spence and Hannah Wilke Johanna Renard
- The Performances of Gina Pane through the Prism of Apulian Tarantism: Between the Repressive Economy of Blood and the Visibility of Popular Feminine Rituals Janig Bégoc
- Counter Archives: Archaeological Ficttion of Embedded Submission Laboratoire de la contreperformance
Beyond the Frame: Feminist Strategies in the Expanded Cinema of the 1960s and 1970s
Maud Jacquin
Abstract
This article focuses on expanded cinema, a specific form of performance that remains under-appreciated despite its practice by many women artists in the service of a feminist project more or less conscious and articulated. In the 1960s and 1970s, women experimental filmmakers, visual artists and choreographers introduced a live dimension to film projection, often juxtaposing live bodies with filmed bodies to denounce the patriarchal ideology at the heart of the cinematic apparatus and to open spaces of transformation and resistance to the normative framework imposed on women’s bodies and desires. By confronting the bodies with its pre-recorded images, they highlighted the gap between the representation of women and their lived experiences. They also shed light on the performativity of everyday life and the construction of social roles through repetition, thus further anticipating latert heoretical developments on the performativity of gender.
Maud Jacquin is an art historian and curator. Her doctoral dissertation at University College London focused on the politics of narrative in feminist experimental film and video. In relation to her research, she notably organised a retrospective of films by Maria Klonaris and Katerina Thomadaki at the Jeu de Paume in Paris (2016), as well as a significant programme of screenings and performances entitled From Reel to Real: Women, Feminism and the London Film-makers’ Co-operative at the Tate Modern and at the Tate Britain in London (2016). She is the co-director of Art by Translation, a research and exhibition programme supported by the École supérieure d’art et de design — TALM–Angers and l’École nationale supérieure d’arts de Paris- Cergy (ENSAPC), involving students and partner institutions (art centres, art schools, universities) from four countries.
