In the Beginning There Is an End

In this fifteen-minute lecture-performance, Malin Arnell presents her dialogue with the work of French-Italian artist Gina Pane (1939–1990). Oriented around textual and visual traces of Pane and Arnell’s historical intra-action, this ongoing dialogue explores performance art documentation and historical narratives. The project interrogates the operations of archives, asking: ‘How do queer feminist performance archives make you vulnerable, how do they make you feel, act, react?’ ‘Whose bodies remain present, and which bodies are lost?’ The framework of the work — its repetition with variations and its artistic and queer feminist methodologies — enables an exploration of history, documentation, and bodily epistemology as an attempt to take responsibility for what is not known by doing, through action — through performance.

‘Burn the Witch’: Decadence and the Occult in Contemporary Feminist Performance

This article introduces and theorizes ‘decadence’ as a key feature of Lauren Barri Holstein's performance Notorious (2017). The decadence of Holstein's work is approached in light of two main considerations: the spectacular presentation of witchcraft as an occult practice, and what Holstein ‘does’ with the staging of witches and witchcraft. Situated in light of performances associated with the neo-occult revival (Ivy Monteiro and Jex Blackmore), and a recent strand of feminist performance that revels in an aesthetics of trash, mess and excess (Ann Liv Young and Lucy McCormick), the article offers a close critical analysis of Notorious as a work that addresses and seeks to subvert gendered inequalities and forms of productivity in twenty-first-century capitalism. I argue that Holstein's overidentification with exertion and exhaustion as much as the subversive potentialities of witchcraft results in a decadent aesthetic, that her staging of the witch as a persecuted but powerful emblem of the occult sheds valuable light on the aesthetics and politics of decadence in performance, and that the subversive qualities of decadence emerge particularly strongly in its ‘doing’ as an embodied and enacted practice.

Patricia Herrera. Nuyorican Feminist Performance: From the Café to Hip Hop Theater

Patricia Herrera fills a void in scholarship on the Nuyorican Poets Café. Her focus on women performers ( performeras) and their writing and performance challenges these artists’ marginalization and erasure, while the Nuyorican feminist aesthetic she proposes, as situated within intersectional feminism, underscores the work’s critical intervention in feminist performance theory.

Performances of autonomy: Feminist performance practice and reproductive rights activism in Ireland

This article considers feminist performance practices in relation to reproductive rights campaigns in an Irish context. Following the successful campaign to Repeal the 8th Amendment in 2018 and the decriminalization of abortion in Northern Ireland in 2019, I explore the significance of feminist performance practices in developing discourses concerning reproductive autonomy and challenging the idealizing of motherhood. Through a discussion of key works by Áine Phillips, Amanda Coogan and myself, I outline how in deploying their bodies in their work live artists make visible the impact of oppressive gendered constructs and resist the policing and shaming of reproductive bodies in an Irish context. I demonstrate how through performing transgressive acts, live artists have ruptured the silencing surrounding both abortion and maternal experience. My article further critically reflects on the performances of the London-based direct-action performance group Speaking of IMELDA, drawing on my first-hand knowledge gained through my participation in the group’s successive performative interventions between 2013 and 2018. I discuss the group’s collective public vocalizations and, sometimes brazen, use of performance to unapologetically advocate for reproductive rights within an Irish context in a variety of social and geographical settings. I situate the performance activist aesthetics of IMELDA in voicing the intergenerational perspectives and solidarities of the London-Irish feminist diaspora as contributing to broadening understandings of Irishness. In outlining how the various performance practices discussed within this article have operated against cultural constructs of femininity and unashamedly advocated for reproductive autonomy, I locate performance as contributing to the development of feminist discourses.

Performing the techno-self: Paul B. Preciado’s Testo Junkie as a twenty-first century feminist narrative

This article examines Paul B. Preciado’s Testo Junkie as portraying the need for a postpornographic trans* feminism that contests homonormative queer and feminist responses to LGBTQIA+ (lesbian, gay, bisexual, transgender, queer/questioning, intersex, and asexual) individuals in neoliberal French and Francophone societies during the rise of far-right anti-gender movements. Interrogating Preciado’s autotheory text, which questions what gendered performance entails in the pharmacopornographic era, allows for a consideration of the author’s bodily subjectivity and how he represents material-discursive practices to theorise his techno-identity. The article argues that Preciado highlights his sexual and gendered performance to assert a trans* identity that rebels against classification. Unveiling the multiplicity of gendered and sexual experiences that counter Western hegemonic binary categorisations, Preciado shows readers that through his material representation, he controls his own subjectivity to centre possibility with postpornographic feminist performance, expanding what it means to be a feminist subject in the twenty-first century.

Cheeky Witnessing

Feminists witness legal worlds as they observe, document and share nothing less than the reproduction of life itself. The world of the abortion trail, where people and things move across borders to change life’s reproduction, has generated a rich variety of legal sources, figures and objects for feminist witnessing. In watching how feminist activists improvise with sources, figures and objects of legal consciousness on the abortion trail, this article seeks to contribute to critical understanding of a plurality of witnessing practice, particularly as it emerges in diaspora space. Focusing on Murphy’s concept of immodest witnessing, with its attention to bodies, protocols and apparatuses as constituents of knowledge, the article thinks with the diasporic feminist performance group, Speaking of I.M.E.L.D.A., about how they used self-examination, collaboration and knowledge-sharing on the trail to repeal Ireland’s 8th Amendment. The article argues that their improvisation with legal consciousness of reproductive choice enacts ‘cheeky witnessing’. Cheeky witnessing has three dynamics as a method of observation. First, it is messy and irreverent in innovating with names to display the mixed genealogies of feminist knowledge. Second, cheeky witnessing generates novel subject-figures who make connections between different reproductive labourers as observers of the trail in diaspora space. Third, cheeky witnessing places funny objects, knickers in this instance, so as to join up particular public locations and make them more, if unevenly, comfortable for sexual and reproductive bodies. Cheeky witnessing shows us how committed and partial practices play a role in speaking across interests and experiences, in stretching the legal imagination and in sustaining the everyday grind of making a better world.