Paisid AramphongphanChercheur invité

Novembre-décembre 2020

Paisid Aramphongphan was a Terra Foundation Postdoctoral Fellow at the Smithsonian American Art Museum and the winner of the 2019 Terra International Essay Prize. He holds a PhD in the History of Art and Architecture from Harvard University and specializes in modern and contemporary art, particularly its intersection with performance and issues of sexuality. More recently, he has also become interested in the question of embodied phenomenology, the materiality of artistic process, and subjectivity, incorporating his practice in dance, somatics, and yoga (RYS-200). Paisid currently teaches at the International College at Mahidol University in Thailand. His first book, Horizontal Together: Art, Dance, and Queer Embodiment in 1960s New York, is under contract with the Manchester University Press. Previously, Paisid taught at the Leicester School of Art as an Early Career Academic Fellow and Vice Chancellor's 2020 Lecturer. His writing has appeared in Art JournalPAJ: A Journal of Performance and Artthe Movement Research Performance Journal and is forthcoming in American Art. Paisid was a Helena Rubinstein Fellow in Critical Studies in the Whitney's Independent Study Program, and his research has been supported by the Terra Foundation Summer Residency Program in Giverny, the Open Gate Foundation, the Charles Warren Center for American History at Harvard, and the Edmond J. Safra Foundation.

 

Publications (selected)

  • Horizontal Together: Art, Dance, and Queer Embodiment in 1960s New York, book under contract, Manchester University Press

  • “An Artist in the Secular World: Paul Thek’s Relics,” American Art, forthcoming (Winner of the 2019 Terra Foundation for American Art International Essay Prize)

  • “Paul Thek’s Warrior Leg,” EyeLevel Blog, Smithsonian American Art Museum, July 25, 2019

  • “Reading Jack Smith's The Beautiful Book Reparatively,” Art Journal 78, Number 1 (Spring 2019): 30-47

  • “Review of Wade Guyton's One Month Ago,” caa.reviews, May 25, 2017

  • “Real Professionals? Andy Warhol, Fred Herko, and Dance,” PAJ: A Journal of Performance and Art 110 (2015): 1-12

  • “A Roundup of Performance >< Archive Initiatives,” Six Degrees Blog, New Museum, New York, May 29, 2014.

  • “Who Owns Dance? Contemporary Performance in the Art Museum,” Movement Research Performance Journal 42 (Spring 2013)

  • “Fabulous Freddy,” Movement Research Performance Journal 41 (Summer 2012, Judson Dance Theater Fiftieth Anniversary issue)

  • “Interview with David Gordon,” in Platform 2012: Judson Now, ed. Jenn Joy and Judy Hussie-Taylor (Danspace Project: New York, 2012, reprinted 2018), 89-94

  • Dance/Draw, catalogue entries for exhibition catalogue, ed. Helen Molesworth, Institute of Contemporary Art/Boston (Ostfildern: Hatje Catnz, 2011)

  • “Pure Expectancy: Cui Xiuwen’s Angel Series,” Cui Xiuwen's official website (2009)

Research project

Drawing Release

Centering on the work of the late dance teacher/choreographer Nancy Topf (1942-1998), my project deepens our understanding of the beginning of release technique in contemporary movement practice, situating it within the context of its emergence in visual art and experimental dance after the Judson Dance theater and the counterculture. In particular, through Topf, I pay close attention to the visual world of her embodied practices: the use of visualization techniques among Topf technique practitioners and the materials, such as drawings, that resulted from the movement modalities, pedagogic exercises, and, in some cases, staged concert performances. Rather than seeing the works on paper as traces left behind after the physical movement, however, I explore how the somatic, pedagogic, and visual work take place in
tandem, while also opening ways of thinking about related post-1960 visual art developments, such as conceptual drawing and the broadening of the parameters of notation and the score around this time.