Arca

ARCA — MUTATION, TECHNOLOGY & THE UNFINISHED PERSONA

Arca extends the performance-persona problem: Bowie moves among discrete constructed identities, whereas Arca can maintain transformation itself as a condition. The persona remains BECOMING, not simply A → B.

MUTANT;FAITH — 2019

At The Shed in New York, MUTANT;FAITH was a four-part experimental performance cycle. The principal acts — GESTATION, AFTERCARE and RIPPLES — lasted approximately 90 minutes each; the epilogue BOUNDARY lasted approximately five hours. ([at.theshed.org][21])

In Boundary, audiences observe Arca performing, preparing, appearing in and out of character and being filmed live. The Shed describes access to Arca both “in and out of character.” ([at.theshed.org][21])

The spectator witnesses transitions among person, persona, character and camera image. Preparation, mutation, transition and media production become visible: THE BORDER BETWEEN PERFORMANCE AND NON-PERFORMANCE BECOMES THE PERFORMANCE.

Do not describe Arca's transgender identity as aesthetic mutation. The relevant instability concerns costume, voice, technology, bodily image, character, sonic identity and staging.