Curating Commissioning Producing


"If we're going to use this wretched term,
then let's be clear who was innovating in it."

Wysing Arts Centre
25 July 2015


For this event Electra made public two intersecting strands of enquiry explored during their six week residency at Wysing; the feminist performance score, and the early sound works and video of Stuart Marshall (1949 - 1993). The event takes its title from a comment made by David Toop in an interview conducted by artist Conal McStravick with Electra’s Irene Revell. It refers to "sound art", but might equally refer to the proposition of the "feminist performance score".

With a shared interest in the politics of Marshall’s work in sound and move towards video, McStravick and Revell continued the interview with Toop at Wysing, focussing on Marshall’s overlooked legacy in the history of sound art. The conversation was in dialogue with the audience and recorded as part of McStravick's research project Learning in a Public Medium, looking at the work of the late British video artist and its contemporary resonances. The event included a video programme of Marshall’s early video works, alongside Pauline Boudry/Renate Lorenz’s To Valerie Solanas and Marilyn Monroe, In Recognition of Their Desperation (2013), a film of the eponymous 1970 Pauline Oliveros text score.

In parallel the afternoon also saw a performance programme that included Lisa Busby’s Negotiating with the Dead: A self-help programme for composers (2014), an instruction score inspired by the Margaret Atwood text of the same name; and the first part of Lucy ReynoldsFeminist Chorus at Wysing (2015), an iteration of Reynolds’ Feminist Chorus project, which in this instance documented the residency itself.

Further individual and collaborative new performances developed in this period by Busby, Reynolds, Holly Ingleton, Cathy Lane and others formed Electra’s programme for Wysing’s Space-Time: The Multiverse festival on 5 September, alongside other work including a new performance of Pauline Oliveros’ Saxual Orientation (1977) with Verity Susman (tenor), Sue Lynch (tenor), Artur Vidal (alto) and Adrian Northover (soprano).

Organisation in Residence

In July and August 2015, Electra took up residence at Wysing Arts Centre in a six-week research project that continued investigations into the history of the feminist performance score and its relationship to the recent ’Performative Turn’ in Science and Technology Studies. As part of its 2015 theme ’The Multiverse’, Electra concentrated on the work of theoretical particle physicist and philosopher Karen Barad and her concept of the intra-acting agency of objects, approaching the very matter itself of collective enactment. This project was also joined by a day of events at Wysing’s music festival ’Space-Time’ in September 2015.


Related Links
Entanglement: The Multiversal Score