Monstrosity: the face of war

During 2018 the centenary of the end of WWI was widely commemorated, engaging with questions of art and politics that continue to haunt conceptions of ‘national memory’, as it transforms history into myth. How might the testimonies of art and activism resist this ‘glorifying’ process? What kind of performance research finds expression in the form of an anti-war manifesto? Addressing disfigurement, as presenting the real ‘face of war’, how might the memory of flesh – its mutilation rather than any ‘memorial’ – make appeal to conscience, distinct from the ‘patriotic’ performance aesthetics of the state?