SERIES OF PERFORMANCE AND NEW MEDIA TEXTS
FOR POSTHUMAN FUTURES
Motherload aims to interrogate the female body as host
to the parasitic implantation of another body, as well as to explore
the ethical and scientific impacts of recent developments in genetic
engineering/technologies. Through research and consultation with
genetic scientists it has investigated the impacts of the new genetic
and cloning technologies on the female and human body and psyche,
DNA monitoring and reproduction. Genetic engineering, along with
new information technologies is one of the last contemporary
frontiers of knowledge. Popular science/ culture sources have also
been explored - the Human Genome Project, the IVF debate, and Dolly
the sheep! This piece has the exciting potential to cross boundaries
of art and technology.
The future performance may take place at a range of sites, including
laboratory/ public sites/ conferences/ the internet/ radio/ performance
spaces. The artists aim to collaborate with the science they are
interrogating. The project will explore ways of interacting with
scientific agencies for the presentation of the work- ie, laboratory
environments, conference or technological venues.
Mother Load has been conceived by monologue/performance
artists Maude Davey (SA)
(NSW), and Heather
Grace Jones (NSW).
Maudes recent solo performance (performed while 8 months pregnant!)
The Pickle or the Pickle Jar continued her corporeal
interrogations as she explored what happens to a body when a parasitic
force invades it. Catherine Farghers recent works Ophelia
Body and the Marigold Hour explore the internal
and private territories of the female body and psyche as important
frontiers of knowledge. Heather Grace Jones monologue text
I want milk and co-edited book Baby Hunger: Surviving
childbearing losses have explored the pitfalls of reproductivity
and the phenomenon of infertility.
Our key New Media collaborator has been Sarah Waterson. Sarah is
an installation/multi-media artist, whose work deals with the influence
of electronic technologies on subjectivities. Over the past fifteen
years she has exhibited her installations/interactive environments
and digital works both nationally and internationally, including
Germany and the USA. Waterson has worked extensively to incorporate
new technologies into live performance, including contain.her, Internalised
Cities and memo.
Motherload has drawn upon the expertise
of genetic scientist Tony Roscioli , a clinical geneticist at Westmead
Childrens Hospital in Sydney.
The project has been funded by a research and development grant
from the New Media Fund of the Australia Council for the Arts.