Sue Lynch, Adrian Northover, Verity Susman, Artur Vital performing Pauline Oliveros; France-Lise McGurn, Kimberley O'Neill and Cara Tolmie; Ash Reid and Liene Rozīte; Lisa Busby; Cathy Lane; Ain Bailey, Holly Ingleton and Johnny Pavlatos; Lucy Reynolds.
When Electra was invited to be the first organisation-in-residence at Wysing Arts Centre in the summer of 2015, two prominent interests seemed to intersect with the centre's annual theme of 'the Multiverse'. Firstly, a continued investigation into the feminist performance score: a form, perhaps inherently 'multiversal', full of potential to destabilise authorship, temporality and 'originality'. Secondly, the connection of this investigation to the work of theoretical particle physicist and queer feminist philosopher Karen Barad, whose concepts of 'intra-action' and 'agential realism' undermine the very notion of singular agency and collapse matter with meaning. As a response, we invited contibutions from a number of artists and composers with whom there had been an entanglement relating to this question of the feminist performance score.
The participants arose from previous involvement in, and ongoing conversations around, the 2012 symposium Her Noise: Feminisms and the
Sonic, jointly curated with Cathy Lane and Holly Ingleton, conversations that have led to further research and public moments such as the exhibition Slow Runner and the workshop Here are some scores for you to
do. Most joined Electra on residency for a series of days, or even weeks, making new work and participating in reading and discussion. The programme also acknowledges Pauline Oliveros, whose work formed a major part of this trajectory.
With many thanks to Wysing Arts Centre (Donna Lynas, Lotte Juul Petersen, Mark Searle, Richard Decordova, Bryony Graham, Lisa Wilkens, Louise Thirlwall, Chelsea Pettitt and others) for their enormous support throughout the year.
Image: Cara Tolmie, Kimberley O'Neill and France-Lise McGurn, Nos Algae's (2014-15), courtesy of the artists.
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