Abstract
This essay examines Redress (2010-2012), a recent series of performances by Irish artist Áine Phillips that interrogate the legacy of abuse perpetrated in Irish residential institutions in the 20th century and the official efforts to compensate abuse survivors. These powerful performances are imbued with simple, yet compelling bodily gestures informed by spectatorship, memory and representation. Redress embodies the marginalised memories of abuse survivors, revealing the deliberate gaps and silences in Irish hegemonic narratives.
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