Make It Fit
Performing in the Form of a Thesis
Performance/Publication
2024
This performance is writing a thesis. It is a Situation-Specific Performance where the mandatory graduation requirement is turned into performance art that blends academic research and artistic practice together. By performing ‘what should be performed’ in the context of ‘writing a thesis’, the artist unpacks her personal relationship with language, text, writing, accent, and speech to explore the performances and performativity of both individuals and authorities within the context of social norms, and how these normalised social actions and artistic performances interact with one another.
The performance consists of two parts: Writing Process and Written Essay. Writing process takes the form of an online living document and includes activities such as reading, thinking, discussing, researching and note-taking, all of which are documented (performing) in real-time through text on a publicly accessible Google Share document, allowing everyone to witness the performance through a provided link. In order to comply with the faculty’s requirements, the writing process also includes the submission of periodic manuscripts, which the artist views as a series of performances. This process lasts seven months, until the final deadline for thesis submission. Written essay takes the form of a printed book meticulously crafted with attention to editing, typography, graphic design, paper choice, print method, and binding. This printed thesis will be archived in Royal Academy of Art, The Hague. Additionally, a limited edition will be available for purchase during the graduation show.
The performance begins with a ‘score,’ that is a combination of the institution’s requirements and the artist’s artistic choices. By following this score, the artist fits herself into both the ‘thesis writing situation’ and the performance art piece. In this position of ‘fitting’, the artist explores different layers of this notion: textual, conceptual and the state of ‘fit’. ‘Fit’ is situational, relational, personal and general; it is performative, it is in the language, in the system, in our daily lives. When we devote our attention to the concept of 'fit,' understanding its complexities, dissecting its layers, and harnessing its potential, it evolves from a state of unconscious conformity and passive acquiescence into a strategic tool for acquiring the power of voicing.
The performance consists of two parts: Writing Process and Written Essay. Writing process takes the form of an online living document and includes activities such as reading, thinking, discussing, researching and note-taking, all of which are documented (performing) in real-time through text on a publicly accessible Google Share document, allowing everyone to witness the performance through a provided link. In order to comply with the faculty’s requirements, the writing process also includes the submission of periodic manuscripts, which the artist views as a series of performances. This process lasts seven months, until the final deadline for thesis submission. Written essay takes the form of a printed book meticulously crafted with attention to editing, typography, graphic design, paper choice, print method, and binding. This printed thesis will be archived in Royal Academy of Art, The Hague. Additionally, a limited edition will be available for purchase during the graduation show.
The performance begins with a ‘score,’ that is a combination of the institution’s requirements and the artist’s artistic choices. By following this score, the artist fits herself into both the ‘thesis writing situation’ and the performance art piece. In this position of ‘fitting’, the artist explores different layers of this notion: textual, conceptual and the state of ‘fit’. ‘Fit’ is situational, relational, personal and general; it is performative, it is in the language, in the system, in our daily lives. When we devote our attention to the concept of 'fit,' understanding its complexities, dissecting its layers, and harnessing its potential, it evolves from a state of unconscious conformity and passive acquiescence into a strategic tool for acquiring the power of voicing.
Thank you to:
Maya Rasker, for helping me rebuild my relationship with writing, and guide me through this wonderful journey.
Cecilie Fang, for sharing beautiful writings and thoughts.
Katla Taylor, for designing and creating the book.
Looi van Kessel, for providing me with valuable theoretical input.
Taconis Stolk and Genevieve Murphy, for offering insightful feedback.
Anna Møller and Grzegorz Gebski, for reading through each words, editing, and proofreading.
My grandmother, uncle, cousin, aunt, my president, my friend L, for performing in this thesis with me Friends and peers who read, listened and shared considerations: Inga, Inge, Dima, Rachwill, Olivier, Gin, Lou, Letizia, Gemma, Chris.
And, of course, my mom and dad, for always supporting me in every way, even when they are far away.