System ID:
274
Title:
Ubiquity and Fluidity
Author:
Rob La Frenais
Author 2:
Author 3:
Degree:
Phd
Year:
2005
Pages:
200
University:
Brunel University, London UK
Supervisor:
Barry Edwards (Reader)
Semail:
Supervisor 2:
Language:
UK English
Dept:
School of Arts
Copyright:
Brunel University/Rob La Frenais
Lang_author:
UK English, French
Url:
http://roblafrenais.wordpress.com/
Email:
rob.lafrenais@gmail.com
Keywords:
science, technology, performance, fluidity, ubiquity, practice-based, contestable data, microgravity
Abstract:
In this practice-based supporting documentation, I utilise what I nominate as twin axes, or vectors, fluidity and ubiquity, to describe the art practice I have engaged with over 25 years. Ubiquity to describe the way that art spreads into the areas of science, technology and real-life situations including political issues; fluidity to describe the artist’s ability to adapt quickly to circumstances. To do this I use various case studies emerging from my professional trajectory – firstly as founder and editor of Performance Magazine from 1979 and secondly as a creative curator working internationally since 1987.
In the introduction I list the activities I have undertaken that inform this research, which, along with the list of materials, illustrates my practice-based research.
I have selected the projects here because of their resonance and ability to reflect the above axes and these are presented as active field notes emerging from critical and curatorial practice. I also reflect on the artist’s critical engagement with science and technology and the artist’s ability to manipulate contestable data, both from a subjective and objective point of view. I also provide an historical snapshot of artistic activity which is widely drawn, yet maps various strata of artistic practices that might accompany an archive of an era. In doing this I describe unusual environments such as microgravity and other areas where the artist’s frontiers are expanded in a fluid and ubiquitous manner, and list some strategies for artistic survival.
Last update:
May 18 2009
|
|
