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Abstract

By researching the intersections of art, geography, and violence, this paper interrogates performance art and its capacity to question one’s gendered existence in space/place. Through an analysis of two performance art pieces—J. Hawkes’s Playing Kate (2018) and Cassils’s PISSED (2017)—I explore the connections between art, gendered bodies, and space/place, while establishing a link between and across feminist and trans* gendered tyrannies. While discussing feminist and trans* performance art, this paper probes the felt and lived harms that are experienced by feminist women and trans* individuals in gendered locales and addresses ways in which art can challenge socio-spatial violence. Overall, through a broad exploration of geographies of art and violence, this paper speaks of spatial gendered oppression as well as spatialized potential and hope.

Author Biography

Egle Karpaviciute earned an MA in Gender Studies at University College Dublin (UCD), School of Social Policy, Social Work and Social Justice. She is a former Teaching Assistant in Gender Studies at UCD, presently working as a Policy & Communications Officer in an Irish frontline NGO that assists survivors of sexual exploitation and human trafficking. As a recipient of the prestigious Ursula Barry Scholarship in Gender Studies and a First Class Honours MA degree, Egle holds an interest in the intersection between gender, sexualities, and religion; post- Soviet gendered frictions; masculinities; and the anti-gender movement. Her auto-ethnographic dissertation From Holy to Whole: Losing My Religion detangled tensions that emerge at the nexus of Catholicism and women’s bodies as gendered, sexed, and affective entities and focused on a lived and embodied experience of Catholic shame. Overall, Egle’s feminist research is informed by affect theory, the feminist politics of emotion, and a Foucauldian lens.

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