Lehrende und MitarbeiterInnen
Strecker, Lucie wiss. Mitarb. MMag.
|Arbeitsschwerpunkte / laufende Projekte
|In the 20th century the relationship between ecology and the arts has become increasingly crucial to concepts of performativity.
From this relationship, theories of action/reaction, audience/player, somatic techniques, improvisation or other systems of
training and collaboration have shaped performance practices and performance research (Giannachi and Steward 2005).
Concepts of ecology have changed dramatically since biotechnology reproduces or synthetic biology has engineered life, and
placed it in the ambiguous realm of being created both naturally and technologically. Life has become matter and matter has
become life, the Aristotelian distinction between artificial and natural has become obsolete (Karafyllis 2003).
The position of new materialism, arising i.a. from science studies and gender studies, offers ways of encountering this dramatic
change and extends the relationship between ecology and performativity. To further explore the implications of a perspective
of new materialism for the performative arts, this project develops an experimental set-up that aims to produce a semi-living
being that is half artificial and half natural: a Biofact, as coined by Nicole C. Karafyllis. The development of this experimental
setting and the guiding research questions are based on previously undertaken research projects with molecular labs and artists.
National and international cooperation that will provide additional expertise for theory and arts-based artistic practice
in the project has been developed.
For “The Performative Biofact”, an experimental setting will be designed that treats animals, humans and biotechnical apparatus
equally and allows a form of relational becoming that takes non-human agents seriously in the creation of matter, questioning
the thresholds of what is human and what is non-human (Barad 2012). Therefore we will 1) interrogate the historical and mythological
creation of biological relics of animals as filtered by diverse cultural techniques such as fine arts, handcraft and literature.
2) We will query how paleogenetic methods, which consider preserved genetic material for the study of the past, may alter
the narrative of their origin. 3) We focus on creating a set up in which the relics can influence their own transformations
into biofacts. Molecular, sensor and interface technologies will interact with artistic interventions to enable matter to
express its postsubjective and ecological agency. We will analyze how this approach allows the researchers to experience themselves
as immersed in the materiality’s productive contingencies (Coole and Frost 2005). Theoretical and scientific impacts developed
throughout the process will affect the project’s artistic practices. The scientific community, artists and a broader audience
will be temporarily united in the diverging research design of the project. My study aims to meet the concern that life itself
has undergone ontological changes, requiring performance research and performance practice to face new aspects of their entanglements
with ecology, including new normative assumptions and ethical concerns.
||The Performative Biofact
||02/2016 bis 02/2020