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    This bloody show : outside and inside the artist's body in performance and video work : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2019) Harris, Claire
    Utilising autobiographical content and her own body as medium and subject, the artist seeks to represent aspects of risk and self-harming without replicating or staging acts of self-harm. Drawing on writers Lea Vergine, Jennifer Doyle, Maggie Nelson and Amelia Jones, and artist Gina Pane’s performance work, this exegesis identifies points of contention in the production and reception of performative acts of self-harm. Beginning with installation and video works the artist creates tangential situations alluding to anticipation, depersonalization, and self-reflexivity in self-harm. Through this research the artist arrives at eggs as a fluid proxy for the body/self and for dynamics of anxiety in video and live performance works. Additional issues arising involve perceptions harm and risk; the “feminist performance art meets misogynous cinema” dynamic within this MFA work; and the double consciousness, self-management, and projection in being female subject, performer, and artist. This abstract is old now and not totally relevant.
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    [r{e]volving} apparatus : the [r]evolution of a bodily, technological, spatio-temporal practice : an exegesis presented in partial fulfilment of the requirements of the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2018) Lewis, Joshua
    This text is one of many apparatuses, produced whilst in motion of turning - a particularly acute turn of which has reconfigured my performance and writing practice indefinitely. The performing apparatus, in ever [r]evolving configuration, forms the foundation for a selection of personal artistic works spanning live spatio-temporal performances, ‘live’ installations, and discursive experimentations. Within this, the presence of human and non-human bodies - in virtual, mechanical and fleshy form - activate, enact, comprise, and pass through these apparatuses. The evolution of three major works guide the research through several interpretations of Karen Barad’s theory of Agential Realism. Through these turns the practice of apparatus transforms from technical means, to the locus of performance, and finally to a means of performatively entangling with the world. The culmination of this thesis has encode in myself and my practice a commitment to [r]evolving or perpetual falling. This momentum signals towards a future practice which is resistant to certainty or definitive conclusion, seeking ground only momentarily before continuing to [r]evolve.