{"id":86,"date":"2020-09-23T13:44:55","date_gmt":"2020-09-23T13:44:55","guid":{"rendered":"http:\/\/www.maritafraser.com\/site\/?page_id=86"},"modified":"2022-10-24T11:04:01","modified_gmt":"2022-10-24T11:04:01","slug":"research","status":"publish","type":"page","link":"http:\/\/www.maritafraser.com\/site\/research\/","title":{"rendered":"Research"},"content":{"rendered":"\n

Current Research Roles<\/strong>
Lecturer, MLitt Fine Art Practice, Post Graduate Programme,
The Glasgow School of Art<\/p>\n\n\n\n

Phd Candidate at the Royal College of Art, London, UK
Research funding with AHRC TECHNE Doctoral Training Partnership

Founding member of the Speaking of Her<\/em>, Research Network, Royal College of Art, London<\/p>\n\n\n\n

Performative Readings and Lectures<\/strong>
Carolee Schneeman\u2019s Feminist Frottage: \u201cSpeaking With\u201d Parts of
a Body House<\/em>, The Courtauld Institute of Art, 2022
Confabulations<\/em>, with Dr Zo\u00eb Mendelson, Durham and Queens Universities, 2022
No<\/em>, as part of the book launch for PROVA 5<\/em>, Southwark Gallery, London, 2022
Calling Occupants<\/em>, as part of INTERIOR\/INTERIOR, UAL, London\/Online, 2021
Performance Writing<\/em>, RCA, London, 2020
The Urgency of the Arts<\/em>, NAFEA Conference, RCA, London, 2019
AUTO\/\/FICTION<\/em>, RCA, London, 2019
Speaking With<\/em>, RCA, 2019
Say Something Back<\/em>, Merton College, Oxford, 2019
Flight Mode<\/em>, Assembly Point, London, 2018
The Blue Hour<\/em>, Safe Houses, London, 2017
Billy,\u00a0<\/em>Schneiderei, Vienna, 2017
The Cup<\/em>, RIAT, Vienna, 2016<\/p>\n\n\n\n

Publications<\/strong>
Fraser, M., ‘I care by using I, but not speaking about me’ , I Care By …<\/em> , Fraser, M. et al., eds., RCA Communiqu\u00e9 London. 2022 (upcoming)
Fraser, M. and Blackshaw, G., ‘Sick Pleasure’ PROVA 6<\/em>, Royal College of Art, London. 2022(upcoming)
Fraser, M., ‘Careless Reply’, Careless<\/em>, Blackshaw, G. and Kivland S. (eds), MA Biblioteque, London. 2021
Fraser, M., ‘No<\/em>,’ PROVA 5<\/em>, Fraser, M. et al., eds., Royal College of Art, London. 2020\/2022
Parts of a body house (after<\/em>), 2019 (artist’s book)
Dream’n Wild, <\/em>Alaska Projects, Sydney\/Vienna. 2019
AUTO\/\/FICTION<\/em>, Royal Collage of Art, London. 2019
PROVA 4,<\/em> Royal College of Art, London. 2017
Billy<\/em> 2017 (<\/em>artist’s book)
Looking at Painting, <\/em>Volume 2. 2016
Sculptors\/Sculpting, <\/em>ORF III Television, Austria, broadcast Oct. 2016
Fluc \u2013 Tanz die Utopie!, <\/em>Falter, Vienna. 2014
What is an art book V2<\/em>, Modern Language Experiment (eds.), London. 2014
WUK Kunstahalle Exnergasse 2012<\/em>, WUK, Vienna. 2013
Afterimage<\/em>, Kunsthalle Exnergasse, WUK, Vienna. 2012
Marita Fraser, Love of Diagrams<\/em>, Bucher Verlag, Austria. 2010 (monograph)<\/p>\n\n\n\n

—<\/p>\n\n\n\n

PhD Project, Royal College of Art
Speaking With<\/em>: New Forms of Notation for Scoring Excess<\/strong><\/p>\n\n\n\n

Keywords<\/strong>: Feminism, Refusal, Performance, Score, Excess<\/p>\n\n\n\n

Events<\/strong>: <\/p>\n\n\n\n

Texts as Dinner Guests, or, Corresponding with Other Voices<\/em>, Research Masterclass with Sophie Seita. Thursday 12 May 2022, The Courtauld Institute of Art, London.
Role: Invited participant

Calling Occupants<\/em>, as part of INTERIOR\/INTERIOR, 28 October 2021, UAL, London\/Online, 2021
Role: Presenter

Writing \/ Performanc<\/em>e, organised by RCA Writing and Performance, School of Arts and Humanities. Jan 30-31, 2020, Royal College of Art, London.
Role: Presenter

Speaking With<\/em>, keynote speakers Carol Mavor and Nadia Hebson, June 12, 2019, Royal College of Art, London.
Role: Organiser and Presenter

AUTO\/\/FICTION<\/em>, keynote speakers Sally O’Reily and Beatrice Gibson, July 9, 2019, Royal College of Art, London.
Role: Organiser, Presenter and Chair

NAFAE Research Conference 2019<\/em>, March 2019, Royal College of Art, London.
Role: Organiser and Presenter

Say Something Back<\/em>, organised by Visiting Research Fellow in Creative Arts at Merton College, Professor Rebecca Fortnum.
Feb 28, 2019, TS Eliot Theatre, Merton College, Oxford.
Role: Presenter<\/p>\n\n\n\n

(Re)enactment with Ali Smith, May 7, 2019 Royal College of Art, London.
Role: Panel participant

Master Class with Chris Kraus, October 30, 2018, Goldsmiths MARs Research Hub, London.
Role: Invited presenter and participant
<\/p>\n\n\n\n

PHD Abstract<\/strong><\/p>\n\n\n\n

I propose the term speaking with<\/em><\/strong> as a feminist method of practice that works with material, bodies and archive; bringing readers, writers, makers and the materials of practice close. Speaking with<\/em> holds in mind an awareness of proximity, resisting the urge to colonalise that which we come close to. Frottage, Fandom, I love to<\/em> you (Irigaray) are examined as modes of speaking with<\/em> and the work of Beatrice Gibson, Florence Peake and Carolee Schneeman are discussed in order to tease out what speaking with<\/em> offers feminist practitioners today. The score, as instructional text based works, has been utilised in art practice from the late 1950\u2019s to the present. This research project is a feminist analysis of the use of scores in art making, through the lens of three key terms: speaking with<\/em>, refusal and voicing excess. This project asks where and how to we situate the work of others within our practice, and how does the score bring this about.<\/p>\n\n\n\n

Refusal is a processual force in art practice and writing that creates spaces of cultural production from which feminist, maternal, non-normative and non-patriarchal voices can be heard. This project foregrounds Italian feminist Carlo Lonzi\u2019s construction of herself as \u2018nothing\u2019, as a cultural body acting through and within refusal, as a starting point to ask how does \u2018nothing\u2019 speak. The research considers the writing of Carla Lonzi; the poetry and essays of Anne Boyer; the writing and performance of Yvonne Rainer, and the performative practice of Florence Peak, as refusal as a method continues to connect to the urgency of the arts today and why the score is a necessary form in enacting refusal.<\/p>\n\n\n\n

The score was embraced by feminist art practitioners through the 1960’s and onward as an important method of making work which enabled a space ‘off the page’, between text and its reading\/performance via endless mutable repetitions, to be activated. It is this ‘off the page’ space generated through the making and performance of scores which holds and speaks of excess. Here I understand excess to be the subjective, the collaborative, the personal and the social; being poly-vocal and chorus like. The score as text work sits across genres of poetry, fiction, autofiction, instruction and script. As a slippery form of writing and performing, the score allows for collaboration in authorship, voices, and bodies. Within contemporary practice, the score continues to be a vital form in text, film, painting and performance practices. Through my own practice of writing, performing, film making and painting, and feminist analysis of others, this project offers speaking with <\/em>as a new method for thinking about and working with score based practice.<\/p>\n\n\n\n