# Tom Cuthbertson (2021) *'Behaviour: Marking': Charlotte Prodger's Territoriality*. : . > [!INFO] > Type:: [[]] > Title:: 'Behaviour: Marking': Charlotte Prodger's Territoriality > Author(s): [[Tom Cuthbertson]] > Year:: 2021 > Tags:: > DOI:: 10.1386/miraj_00061_1 > Citekey:: cuthbertson_behaviour_2021 > ZoteroURI:: [Open in Zotero: `Behaviour: Marking': Charlotte Prodger's Territoriality](zotero://select/items/@cuthbertson_behaviour_2021) > ReviewedDate:: [[2024-12-30]] > Related Note: 202501062105 ## Citation ```latex [@cuthbertson_behaviour_2021] ``` ## Summary ## Annotation “As she fosters deeply subjective dialogues and connections between these spaces, Prodger marks them, leaving traces behind in ways that deliberately mimic recognizably animal territorial practices and patterns of behaviour.” (Cuthbertson, 2021, p. 11) “But White’s title also holds out the promise of moving beyond the bracketed self and towards the world and the other beings this world contains.” (Cuthbertson, 2021, p. 12) “White’s text explores how encountering those animal others that lie beyond the delimited self might nevertheless sustain other meanings and possibilities.” (Cuthbertson, 2021, p. 12) “Challenging ideas of exclusive ownership or property rights, it is concerned not with aggressive display, nor with the possessive patrolling of perimeters.” (Cuthbertson, 2021, p. 13) “Prodger’s videos seem to move from location to location, jumping huge distances across space and time, scrambling the certainties of fixed coordinates” (Cuthbertson, 2021, p. 13) “she leaves traces of her desires, curiosities, interests, associations, attachments, pleasures, experiences, encounters and identifications behind.” (Cuthbertson, 2021, p. 13) “What was tested in this video was not necessarily the possibility of becoming avian, but rather the question of what could be unleashed if a human were to momentarily behave like another animal, if they were to adopt as their own some of those things other creatures have going on (as Ian White might put it).” (Cuthbertson, 2021, p. 13) “As she blurs borders between animal and human behaviours, Prodger investigates what Jack Halberstam has presented as a queer kind of ‘wildness’ – one capable of unsettling categorizations of gender and sexuality and of proposing other modes of knowing and understanding found at the meeting point of the subjective, the social and the environmental” (Cuthbertson, 2021, p. 13) “Prodger’s is a creative practice that has combined multiple elements of moving image, printed image, sculpture, installation and text, having alighted at various points upon certain signature formats before sometimes changing direction to embrace the possibilities and constraints offered by other forms.” (Cuthbertson, 2021, p. 14) “As illustrated by the examples considered in this article, the transformations in duration and focus engaged by a move to longer works viewed on a single screen have vastly increased both the variety of audio-visual materials that Prodger assembles and the complexity and intensity of the connections she very carefully establishes between them.” (Cuthbertson, 2021, p. 14) 이 글에서 다루어진 예시들로 볼 때, 단일 화면에서 긴 작품을 감상하는 방식으로의 전환은 프로저가 조합하는 시청각 자료의 다양성과 이들 간에 그녀가 신중하게 구축한 연결의 복잡성과 강도를 크게 증가시켰다. 이는 2017년 노르웨이 베르겐 쿤스트할에서 열린 개인전의 중심 작품이자 2018년 터너상을 수상하게 한 비디오 BRIDGIT에서 잘 드러난다. 이 작품은 놀라울 만큼 다양한 요소들이 풍부한 구성 논리에 따라 결합되어 있다. 비디오의 내레이션에서, 프로저는 스코틀랜드 애버딘셔의 시골에서 십대 시절 커밍아웃한 경험, 남자로 오인되거나 낯선 이들에게 그녀의 행동이 오해된 사례, 그리고 수술 마취 중 깨어 있는 상태와 반쯤 잠든 상태를 오가는 경험에 대해 언급한다. 이 비디오의 중심은 프로저가 아이폰으로 촬영한 스코틀랜드 시골 풍경과 그곳에 있는 고대 선돌들로 이루어진 다양한 길이의 영상들이다. 프로저는 펑크 음악가이자 골동품 연구가인 줄리안 코프가 저술한 선사시대 거석 유적에 대한 베스트셀러 안내서에서 인용하며, BRIDGIT의 제목을 제공한 선사시대 신이 시간이 흐르고 공간적 이동을 거치며 진화한 숭배의 역사 속에서 불리던 다양한 이름들을 나열한다. 이와 유사한 방식으로, 프로저는 비디오의 다른 부분에서 트랜스젠더 연구 선구자인 샌디 스톤을 지칭하는 여러 명칭들을 열거한다. 이처럼 BRIDGIT와 그녀의 다른 작품들에서 나타나는 인상은 일관되게 풍요로움, 다양성, 그리고 충돌과 협업을 통해 다양한 구성 요소를 결합하는 데 있다. “In a form of personal filmmaking that seeks not to reinforce the ‘stability or legibility’ of the self, but rather to bring out its mutability and ‘dispersal’, emphasizing how it is continually shaped from within and without, Prodger traces how, as Balsom writes, ‘we are made and unmade, how we make and unmake ourselves’ (2018: 214).” (Cuthbertson, 2021, p. 14) “ongoing processes of making and unmaking” (Cuthbertson, 2021, p. 14) “autobiographical accumulation” (Cuthbertson, 2021, p. 15) “At the core of the artist’s work, there lies a resilient impulse to take stock, to inventorize, to catalogue, to expand an archive. Amongst the countless entries that are thus assembled, Prodger is led to draw together, above all else, the sometimes latent traces and glimmers of queerness she finds in other texts, narratives and media.” (Cuthbertson, 2021, p. 15) “the self in Prodger’s work is determined and redetermined over and over again” (Cuthbertson, 2021, p. 15) “multivocal qualities of her videos” (Cuthbertson, 2021, p. 15) “Alongside the diegetic sounds they also contain, Prodger’s images are reliably accompanied by a stream of voice-overs that relate only ever imperfectly and partially, never directly, to what is appearing on screen.” (Cuthbertson, 2021, p. 15) “Watching Prodger’s videos, the borders that separate these categories of quotation are not always immediately apparent and often reveal themselves to be subject to seepage and exchange, sometimes catching us off guard.” (Cuthbertson, 2021, p. 15) “As she navigates the voices and words that enter and shape her life, Prodger leads us repeatedly between public and private, self and other, male and female, related and unrelated, in ways that can be profoundly (and productively) disorienting.” (Cuthbertson, 2021, p. 15) “Messing with whereness” (Cuthbertson, 2021, p. 16) “And that isn’t static, it’s contingent, it’s a constant rolling process of enfolding as I move forward in my life.” (Cuthbertson, 2021, p. 16) “I look for them, for context and validation, and I need them to feel grounded in who I am.” (Cuthbertson, 2021, p. 16) “As a tool of self-determination, this matrix allows Prodger to understand how all the ‘stuff ’ she collects might fit together and how she might fit amongst it.” (Cuthbertson, 2021, p. 16) “her voice-overs often list earlier sites of her own autobiographical experience that we do not see on screen.” (Cuthbertson, 2021, p. 17) “show us the virtual spaces she consumes, capturing images on laptop screens with the dust, smudges and smears through which they are filtered.” (Cuthbertson, 2021, p. 17) “are slotted in Prodger’s videos into a continually evolving matrix of spaces that is enfolded into her.” (Cuthbertson, 2021, p. 17) “the everchanging matrix at the heart of her work grounds Prodger in who she is even as it constantly unsettles exactly where she is” (Cuthbertson, 2021, p. 17) “Glaswegian cityscapes – in Prodger’s real-life territories” (Cuthbertson, 2021, p. 17) “Krauss’s analysis situates such gridlines within an imperfect genealogy of anterior forms, other matrices of knowledge and information, that have attempted to mediate the relationship between reality and representation.” (Cuthbertson, 2021, p. 17) “Krauss explains how these painted grids lead us to acknowledge a given artwork as merely a small, arbitrarily cropped fragment from the infinitely larger fabric of the world beyond the frame” (Cuthbertson, 2021, p. 17) “I think about grids a lot, particularly in relation to coordinates. So grids are used to map things, but in the end, grids are always infinite. What we can’t see of them extends infinitely beyond the edges of the frame. And to me that feels very vast, like a lot of the empty landscapes I’m drawn to in my work.” (Cuthbertson, 2021, p. 19) “The proliferating spaces assembled and organized in Prodger’s work are moving points on an informational grid, a map, a matrix. They are kept in movement, expanded always outwards, brought into contact with an ever-growing list of others.” (Cuthbertson, 2021, p. 19) “As Elizabeth Grosz writes in an extended engagement with the philosophy of Deleuze and Guattari, the emergence of a frame – one that, importantly, ‘establishes territory out of the chaos that is the earth’ – represents the essential condition of all art (2008: 11).” (Cuthbertson, 2021, p. 19) “‘With no frame or boundary there can be no territory’” (Cuthbertson, 2021, p. 19) “her work is decidedly more dominated by depictions of non-urban spaces, mostly devoid of visible human presence.” (Cuthbertson, 2021, p. 21) > “Of course, as Jack Halberstam reminds us in his 2020 book Wild Things: The Disorder of Desire, ideas of wilderness have a far from neutral history. This is a history that has seen such ideas weaponized in the service of destructive and murderous ideology and that continues to shape cultural imaginaries.” (Cuthbertson, 2021, p. 21) > 물론, 잭 할버스탬이 2020년 저서 Wild Things: The Disorder of Desire에서 상기시키듯, **'야생'**이라는 개념은 결코 중립적인 역사를 지니지 않았다. 이러한 개념은 파괴적이고 살인적인 이데올로기를 위한 도구로 사용된 역사를 가지고 있으며, 여전히 문화적 상상력을 형성하는 데 영향을 미치고 있다. > “Halberstam fully acknowledges the seductive lure of a wildness that names simultaneously ‘a chaotic force of nature, the outside of categorization, unrestrained forms of embodiment, the refusal to submit to social regulation, loss of control, the unpredictable’ (2020: 3).” (Cuthbertson, 2021, p. 21) “‘the orders of being that colonial authority came to tame: the others to a disastrous discourse of civilization, the racialized orientation to order, the reifying operations of racial discourse (wild “things”)’ (2020: 3–4).” (Cuthbertson, 2021, p. 21) > 할버스탬은 _야생_ 이라는 개념이 동시에 “자연의 혼돈적 힘, 범주화의 외부, 억제되지 않은 몸의 형태, 사회적 규제에 굴복하지 않는 태도, 통제 상실, 예측 불가능성”을 지칭하는 매혹적인 매력을 지니고 있음을 완전히 인정한다 (2020: 3). 그러나 그는 이 용어가 “식민 권력이 길들이고자 했던 존재 질서들, 문명의 재앙적 담론의 타자들, 질서를 향한 인종화된 지향성, 인종 담론의 고착화 작용(‘야생적 _것들_’)”을 지칭하는 데 사용되어 왔다는 사실 또한 상기시킨다 (2020: 3–4). “In so doing, Prodger avoids the risks that Laura Guy rightly identifies in the media coverage of this ‘gender-fluid’ lioness – a use of animal characteristics in the service of a human politics of identity that spectacularizes non-normative bodies whilst merely reversing how regimes of heterosexual kinship and biological essentialism have historically been legitimized through recourse to the animal (Guy 2019: n.pag.).” (Cuthbertson, 2021, p. 25) 이와 같은 방식으로, 프로저는 라우라 가이가 정확히 지적한 바와 같이, 이 ‘젠더 유동적’ 암사자에 대한 미디어 보도에서 발생할 수 있는 위험을 피한다. 이는 동물의 특성을 인간의 정체성 정치에 활용하면서, 비규범적 신체를 과도하게 드러내는 동시에, 동물을 통해 이성애적 친족 체계와 생물학적 본질주의가 역사적으로 정당화되어 온 방식을 단순히 뒤집는 데 그치는 위험을 말한다 (Guy 2019: n.pag.). ### Related ```dataview LIST FROM [[@cuthbertson_behaviour_2021]] and -"Plans" and -"resources" ```