The text of short talk that I gave at DASER in Washington DC a couple of weeks ago, as part of a themed event on science and performance (you can also watch it here – and see the other speakers’ talks):
Whilst the Arts Catalyst’s work is primarily situated in the visual arts, we see our work – the artistic outputs of our work – as ‘experiences’, in which the medium itself is not the main criteria. I would like to look at three projects that the Arts Catalyst has commissioned, which centre on or incorporate performance as an artform or tactic, and to discuss them through the lens of ‘performativity’, a term which has increasingly entered the social sciences and humanities over the past two decades.
Previously used primarily within theatre and the performing arts, the term ‘performance’ – or the notion of ‘performativity’ is now often employed as a principle to understand human behaviour. The notion that we ‘perform’ our role in society has roots in the 1940s and 50s in the writings of scholars such as Erving Goffman, who in his highly influential book, ‘The Presentation of Self in Everyday Life’ (1959), emphasized the link between social life and performance. In the 1990s, Judith Butler famously theorized gender, along with sex and sexuality, as performative. Scholars interested in the notion of performativity stress the active, social construction of reality, as well as the way that individual behaviour is determined by the context in which it occurs.
The concept of performativity in the social sciences sprang from its use by the language philosopher J L Austin, who argued against the predominant view in philosophy at the time (1970s): that the chief business of sentences was to state facts. In particular, he described a type of sentence, ‘performative utterances’, which perform a certain kind of action (such as ‘I name this ship …’). This concept of ‘performativity’ has been picked up, developed and extended by theorists across many disciplines. It has broadly come to be used to describe theories, models or activities that affect and are affected by their actions, rather than being objective observations or truths.
In the study of science, until recently, experiment – science’s interaction with the world – was viewed as something secondary to theory and technology was barely theorised at all. But a new generation of historians and philosophers have pointed out that science doesn’t just think about the world, it makes the world and then remakes it. In the 1990s, Andrew Pickering argued that studies of science should go beyond science-as-knowledge to include the material, social and temporal dimensions of science . Rather than seeing scientists as ‘disembodied intellects making knowledge in a field of facts and observations’, he suggests that we should start from the idea that the world is filled not, in the first instance, with facts and observations, but with agency.
From the earliest days of the Arts Catalyst, I have been interested in commissioning art, in any medium, that reflects this ‘performative turn’, exploring how scientists shape society, culture and the world and are also shaped by them, rather than art that simply represents scientific discoveries or technologies.
The first project I want to speak about, Jan Fabre’s A Consilience, we were inspired to commission when my colleague at the time Rob La Frenais interviewed the Belgian artist Jan Fabre and returned to the UK to show me a film that Fabre had made with the famous Russian artist Ilya Kabakov, in which Fabre represents the world of the beetle, and Kabakov the realm of the fly.
We invited Fabre to undertake a residency at the Natural History Museum in London, a working scientific research institution as well as, of course, a world-famous public museum. He proposed to interview senior entomologists, each to be costumed in the guise of the insect of the scientist’s focus of study. Fabre himself was an amateur entomologist. To our surprise, the scientists not only agreed to participate, but there was such enthusiasm that we practically had to hold casting sessions.
In the end, five scientists, including the Keeper of Entomology Professor Dick Vane-Wright and the Deputy Keeper Dr Rory Post, took part in a series of conversations held in the museum’s extraordinary backstage collections. As well as discussing their scientific interest in the subject, each was happy to ‘perform’ a number of physical actions of the insects of their field of study. Through this, the film – shown in the museum as a two-screen installation – played on the notion of how the insects and their behaviours act on the humans who study them, as much as being purely the objects of scientific curiosity.
Extracts from Jan Fabre’s A Consilience, 2000, featuring Professor Dick Vane-Wright
In my second example, we brokered and facilitated a collaboration between the French dancer and choreographer Kitsou Dubois and the multidisciplinary scientific Biodynamics Group at Imperial College London. They worked together from 2000 and 2005, studying control and movement of the body in weightlessness, including a number of zero gravity flights with the European Space Agency and the Russian Gagarin Cosmonaut Training Centre, that we organised.
This work led to installations, performances, films and scientific papers, as well as a published scientific paper and a whole new area of scientific research for the Biodynamics Group.
Kitsou Dubois – Trajectoire Fluide (video extract), 2000
Kitsou Dubois – Trajectoire Fluide (performance), 2003
In the spirit Pickering’s introduction of a ‘performative image of science, which aimed to rebalance our understanding of science away from an obsession with pure knowledge and towards recognising science’s material powers, Bruno Latour and Steve Woolgar – in their book Laboratory Life – suggest that the aim of science is not to provide facts or representation about nature but rather to ‘perform’ it . Among their cast of actors are the new products of science, such as genetically modified organisms.
In the US group Critical Art Ensemble’s participatory performance GenTerra (2002), performed as part of Arts Catalyst’s CleanRooms exhibition, audience members could grow and own a sample of transgenic bacteria and, after an intensive learning experience, make their own decision on the ‘release’ of transgenic organisms into the environment.
Since the 1970s, spectacularly rapid developments in the biological sciences have become a source of concern as well as excitement. Many scientists warn of the dangers of commercial pressures to push forward with biotechnology, a technique that contains many unknowns and many defects, leading to real and possible dangers to our health and to the ecosystem.
Critical Art Ensemble’s work from 1993 to around 2006 sought to expose misinformation about biotechnology that came from such sources as market directives and science fiction. As few people have direct experience of working with biotechnology, the subject can seem abstract and too difficult for a non-specialist to understand. A key Critical Art Ensemble tactic therefore was to bring this science out of the lab and stage it in the public domain – giving people direct experience of common scientific processes and reliable information on a one to one basis.
The artists’ projects described above give present a few brief examples of how tactics of ‘performing science’ can focus attention on science’s ‘performativity’: on science as a series of actions that affect the world.
(This talk drew on an essay I wrote about Critical Art Ensemble’s work for the book: ‘Performative Science: The case of Critical Art Ensemble’ in Interfaces of Performance, ed. Maria Chatzichristodoulou, Janis Jefferies and Rachel Zerihan, Published by Ashgate, 2009)
 Andrew Pickering, The Mangle of Practice: Time, Agency, and Science (University of Chicago Press, 1995)
 Bruno Latour and Steve Woolgar, Laboratory Life (Princeton University Press, 1986).