Disneyland can wait: Performance between the real and the imaginery
What makes one life important and another unimportant? I shy away from the question immediately and reduce it. What marks or selects a life as being important or unimportant? Integral to this idea of how life is marked or selected as being important or unimportant is the idea of ‘life and non-life’. My secondary research question, a discourse on which is in the latter part of this text, thus becomes ‘At what point can life be denoted as ‘non-life’?.
Lyn Hagan is an artist based in Newcastle who has developed projects specifically connected to space exploration and survival instinct, using animals on board a zero gravity aeroplane with the Russian Space Agency (Cat in Zero Gravity, 2008), and people that have limited control and freedom such as a Death Row prisoner in San Quentin (The Mexican Mafia and Me, 2014). She has exhibited work both in the UK and Europe at galleries and internationally at video art festivals and on television. She has been commissioned by Channel 4, Tyne and Wear Museums, the Late Shows and completed artist residencies at Digital City. She was shortlisted by ArtAngel and nominated for Jarmin Selected and has been the recipient of numerous scholarships for her research including the Jean François Lyotard Award, and is currently funded by the Arts and Humanities Research Council.