Bobby Somners - Academia.edu (original) (raw)

Papers by Bobby Somners

Throughout this performance Davis drew on marginal histories in LA, including feminist art moveme... more Throughout this performance Davis drew on marginal histories in LA, including feminist art movements from LA to Fresno, California. Her performance was no doubt an archival one, in the form of a nonlinear, fragmented, oral history-telling. 2 At the performance, all attendees received an eight-by-ten-inch box containing the performative text of her act, "visualities," and letters. 3 These boxescum-archives, wrapped in hand-dyed fabrics, are simultaneously singularities and multiples. Her "body/self" meshes with her archives, and vice versa, in no small way she embodies aspects of Diana Taylor's theory of the body, the archive, the repertoire. 4 As I show here, there is a queer archival impulse to Davis's studios, performative arts, and body/self -all the while revealing that queer art and archives produce counterknowledges and histories, which are nonenlightenment based over what was the "true," "real," and linear event/s; a strand of queer performativity refuses traditional systems of knowledge-production binary operations, and chronology.

Throughout this performance Davis drew on marginal histories in LA, including feminist art moveme... more Throughout this performance Davis drew on marginal histories in LA, including feminist art movements from LA to Fresno, California. Her performance was no doubt an archival one, in the form of a nonlinear, fragmented, oral history-telling. 2 At the performance, all attendees received an eight-by-ten-inch box containing the performative text of her act, "visualities," and letters. 3 These boxescum-archives, wrapped in hand-dyed fabrics, are simultaneously singularities and multiples. Her "body/self" meshes with her archives, and vice versa, in no small way she embodies aspects of Diana Taylor's theory of the body, the archive, the repertoire. 4 As I show here, there is a queer archival impulse to Davis's studios, performative arts, and body/self -all the while revealing that queer art and archives produce counterknowledges and histories, which are nonenlightenment based over what was the "true," "real," and linear event/s; a strand of queer performativity refuses traditional systems of knowledge-production binary operations, and chronology.