Friday, 1 July 2016

The French Artist at Bath Fringe; at Pre Fab La

PREFAB-Lab (Practice, Research, Exhibition) is an exploratory trial and interim analysis exhibition offering a view of artistic research through the lens of a Scientific Laboratory.  Using the familiar language and visual references of the lab we want to ask 'What does artistic research look like?' 'How and where does it function?' 'What are the results?'
PREFAB-Lab aims to explore the potential 'lack of fit' between artistic research and its publication at exhibition.  How does the site of the exhibition define an artist's work? What is the relationship between studio practice and exhibited work?  What possibilities does the exhibition offer to research interests?
We are asking for artists to participate in the lab (minimum requirement of 3 days) during the FAB16 festival (Fringe Arts Bath Festival 2016) with two in-takesstarting on either Saturday 28th May or Wednesday 1st June and culminating in an interim analysis exhibition which will end on Sunday 12th June.  
Research concerns need not be tied to the site of the Lab, however, participants must undertake some Lab-work each day of their trial.  We will be asking you to share and debate your research with your peers and undertake routine lab protocols aimed at offering the viewing public an opportunity to consider the work behind an artist's work.


My intervention: "The French Artist"exploring"My Unborn Child"
Exploring thinking and reflecting through collaboration; Researching artistic Research;

Provoking thoughts at the start;


Artist on Strike over unpaid proposal writing;

    No Pay for Junior or senior Artists



The Multiples of Artists positions





Giving shape to emotions












The Artist is present 


My Little shop of Art Practice




Thursday, 28 April 2016

Artist Statement

Laurence Dube-Rushby
Installation Art







Laurence uses her art process as a map; her work is rooted in a fascination for transformative processes.

She creates installations/performances which reflects the energy of physical, emotional and social displacements.
She uses the surrounding natural elements, traditional skills and historical or current narratives as reflective materials, to draw pathways to inner and outer change.
In her recent work, she is specifically interested to explore how preconceived ‘Cultural identities’, can be used to negotiate a socially engaged practice and be developed as ‘stratagems’ to negotiate new places and situations.

Treading on the footsteps of French philosopher Gaston Bachelard, Beuys’ concept of “social sculpture” and ‘psychogeographs’ Rebecca Solnit and Phil Smith, she uses a phenomenological approach to exploring the land and people.

She likes to undertake challenges, often pushing the limits of feasibility, made possible through the learning and sharing of new skills and collaboration with local communities.


Lifelines



LIFELINES 
Curated by Judy Adam
February 2010
“Lifelines is the second of three visual arts commissioning projects, celebrating and making visible the work of the Kingfisher Project, a major writing in health-care project supported by Arts Council England. 
Laurence Rushby has created a site-specific installation at Salisbury Arts Centre in response to the brief, using a lifeline of red ribbon to link a multitude of personal stories to the architecture of the building. 
Lifeline is a striking and thought-provoking new commission celebrating the importance of art for health and wellbeing”. 
Judy Adam
I invited 4 professional dancers to experiment and create movements around the line; Dr Olu Taiwo, Rebecca Seymour, Debbie Lee Anthony and Michael Mitchell responded beautifully over an afternoon of research which could lead to further performance project.
Photos by Laurence Rushby with additional Photos by Tim Kidner.



'Domesticating Conflicts'- a look back at September 2015-

Domesticating Conflicts (one work as a week long series of interventions in the gallery in a artist collaborative context)

On starting the laboratory of dissent, I was mostly interested to explore the question of responsibility, of citizenship and of audience focus.
Who are we making art for?
What is the true value of what we do?
What is it that we do, exactly?

I looked into my past work and pulled out some materials that would help the enquiry; 800m of knotted red ribbon, a ball of hand spun, hand dyed, red wool, black cards and white pens, words and questions.

Week 2 group, which I was part of, had decided to act as agitators for the full duration of the project in order to provoke/create/invite connections to be made with the full spectrum of artists and art practices engaged (including the visitors, students, Uni staff…).

I responded with a series of interventions aimed at testing the edges of collaborative practice in the context of Dissent, bringing in the burning subject of the migrant crisis and making it impossible for others to ignore.

Agitation 1; Gallery Occupation









Installation 2; "The Ship of Fools"

Sharing time; "Luncheon"


Film; "I see You"

Friday, 16 October 2015

Laurence Dube-Rushby at Venice Biennale

Venice Loves Me Back


 

Following a tester project in Andover, UK, Laurence took the "Love Me Back' project to the Venice Biennale in August 2015.



Drawing from the history of the woollen industry, Laurence set out to walk the heart shaped route of different towns and cities which were associated to the woollen trade. 
Fowling the success of the Andover Town project, Laurence took the performance to the Venice Biennale, creating her own Collateral event; the streets, lanes and canals of Venice became her pavilion. The romantic and artistic setting of Venice was a perfect platform to experiment the international potential of the project.



On her way, she hand spun local wool, carrying a spindle on a belt to replicate a tradition from Eastern European countries. The women would mix their wool work with other daily chores; the tradition is for their husband to decorate the belt they carry as an expression of love towards their partner. While walking Laurence engaged with Venice's visitors and collected love, connection and serendipity stories from all over the world.
The belt is a story in progress which will be transformed at each venue with symbols representing the stories collected on the journey.




The thinking process


'It is interesting that while offering to observe and attempt to quantify the experience of the project, the tools I chose set out to be unmeasurable ; How long is a piece of string? I asked myself while undertaking the work.
“Scientists can no longer measure a given length at a fundamental level. The particles in the end can be said to exist in more than one place at the same time, making it impossible to find the finality of an object at an atomic level.”



The project has turned out to become the beginning of a new research which will explore interconnectedness and relationships through crafts, materials and cultures, highlighting the importance of telling a story as a way to relate to one another.
A piece of string doesn’t have a length until it is measured; a story, does not exist until it is told, and for this it needs someone to tell it and someone to tell it to.

I started with preparing the wool, dyes and equipment. The preparation soon became a ritual .The ritual then turned into a performance.




The project has allowed me to explore the performative space within life and within my art practice.
The rituals carefully unfolded towards the next move, questions raised by and through the work found answers within conversations.

The belt will be decorated slowly with elements from each part of my journey.











Tuesday, 6 October 2015

French Dissenter

New film coming soon!




Following the research time in the Laboratory of Dissent, I have decided to further explore the current migrant crisis. I am interested to explore how Art can impact on such major conflicts, operating within the realm of uncertainties, questions and emotional responses. The film will invite to reflect on personal involvement, empathy, citizenship and responsibility.

I am currently looking for sponsorship and support to create the piece.
Keep watching for updates

Monday, 5 October 2015

Domesticating Conflicts

My Agitations; The French Dissenter

by Laurence Dube-Rushby
Reflecting on Domesticating Conflicts








On starting the laboratory of dissent, I was mostly interested to explore the question of responsibility, of citizenship and of audience focus.
Who are we making art for?
What is the true value of what we do?
What is it that we do, exactly?

I looked into my past work and pulled out some materials that would help the enquiry; 800m of knotted red ribbon, a ball of hand spun, hand dyed, red wool, black cards and white pens, words and questions.

Week 2 group, which I was part of, had decided to act as agitators for the full duration of the project in order to provoke/create/invite connections to be made with the full spectrum of artists and art practices engaged (including the visitors, students, Uni staff…).

My intervention started on week 1, when invading the space of the gallery allocated to group 1 with a pop up tent and a ‘chock question’; ‘What can art do for the migrants drowning at sea?’ The ‘Agitation’ aimed to stimulate reflection on the social impact of Art, and on social activism as an Art form inside and outside the gallery.

As the occupation of the gallery with the tent continued, other underlying questions surfaced; I placed myself within the tent, reading Gaston Bachelard’s
“ Poetics of Space”(the very book I was ‘accused’ not to have read by a WSA tutor while applying for an MA place, 10 years ago. I was then refused entry to the course). It is no wonder that I entered the exhibition space of the Winchester Gallery, adjacent to WSA, showing a will to fit in the academic frame but under my own terms.

A further layer of enquiry came to me when acting in the space and discovering that I had created a ‘poetic private space’ within the public space of the gallery; a ‘safe’ haven to hide in, if necessary, during the collaboration.
The inside of the tent became a parallel imaginary world within which I could plot, listen to others, hide and change character. By week 2, the tent had become a changing room for a set of experimental characters to emerge from.

The tent intended to make us all reflect on our own practice, brought in as a performance, I left it in the space as an installation to invite interaction. Unexpected interaction happened while I was away in Paris. Lydia Heath invaded the space, and slipped into my costume; the notion of public and private space was again challenged. The threat of being disowned of my work by others triggered a new enquiry; a pure mirror of my own previous invasive act.


Simon Sheikh qualifies art as “a locus of possibilities, of exchange and comparative analysis…a field of alternatives, proposals and models” in his essay “ Pedagogy of the not known”. (mentioned by Elizabeth Fisher in her book On Not knowing How Artists Think, p.12)








“The Ship of Fools”
On entering the space left by group 1, I discovered Isaac Withcoombes words; “Port, Starboard, Bow… analogy to his reference of us as embarking on the “Ship of Fools”, on a voyage of discovery motivated by the “not-Knowing” as referred by Elizabeth Fisher in her introduction of her book

“ Art draws us into a space of not knowing, a space of thinking in the widest possible sense, in which to test what it means to be in the world”.

I embarked on the ship only knowing that social engagement was an intrinsect part of my work, but willing to test and re-learn my own practice. I used the microcosm of our group to observe and test the effects one’s practice and actions can have on the OTHER, offering to echo the observation onto the current migrants crisis as an evident model of a wider conflict.(which I felt very deeply, increasingly, affected by over the past 6 months to the point of questioning the validity of my art practice)

The ship of fools followed the tent in an organic way. The red knot I hung in the space on day one was brought in as an invitation for the impossible task of untying the knots of complex relationships developing in the gallery space and within CAS. When looking at it in the space it became something else, something bigger and wider than the sum of the small possible conflicts that may arise within the limited space and the group.

I was also interested to use another artist’s words as a way to create a conversation between two practices; the words were offered in the space, I invited them in my work to create new meanings. (No reaction as yet come from Isaac who did not claim ownership over the words or the statement.)
I am interested to open the  question of artistic ownership and integrity within collaborative practice to be discussed at the symposium.
I did not mark the work as my own either when presented in the gallery or the blog.




The Hunger Strike;

On facing “Dissent” as a way of working, I was eager to act in ways that I was not expected to act. Exploring acts of social activism in the world, I decided to start a hunger strike on day one of my week at the gallery, asking artists the impossible task to Define (and not question) the ‘True Value of Art’.
This extreme act aimed to force artists into shared self reflection and for me to measure their will to engage with the rest of the group.

As an artist experimenting with  the language of performance, this allowed me to explore the edges between truth, and make-believe, the level of trust needed to be created between the artist and the audience and the limits between the private and the public body.

As the project developed, characters emerged from the tent, into the space, in turns the French, the artist and the mother, sometimes dissenting all at once in the space or online.

We used the gallery as a studio where the work evolved organically over the week. The conversations we had everyday became part of the work. The all week became a performance which we all ‘acted’ in our personalised ‘Lab Coats’, as we opened the process to the audience. Each visitor had an input mostly in the shape of a conversation, transforming our thinking and opening new enquiries.
The relationship with all artists involved and with August Davis,our curator became a series of problems or questions raised and solved rather than ‘conflicts’. We domesticated them, discussing and negotiating every possibilities and acknowledging them as part of the artistic process.




The Concerto
While the conversations we had in the space during the week brought us and our work closer, as Mothers, as Artists and as Foreigners, a great sense of play grew. I had previously compared the CAS group as an 18 pieces orchestra needing to tune our instruments to each other’s. I invited my fellow week 2 artists to unveil their hidden musical instruments, part of an unaccomplished dream or simply part of our motherhood process (children learning to play)
In our final performance, we related to each other creating ‘musical’ vibrations in the gallery space, offering a link between the various works presented in the gallery. The sound of arising conflicts, some discussed, some felt and experienced during the week.

‘Luncheon’



Our ‘Finale’, the lunch with no food, invited artists from CAS to join our enquiries while empathising with people suffering from hunger and deprivation in wider conflicts.
Artists were fed a grain of rice asking to feed them, dust collected from their own home by artist Yonat Nitzan Green and questions shaped during the week by the group.
The lunch ended with home made cakes, to regain friendship and trust; playing once more with another instrument of manipulation and control so inherent to motherhood.

A further peaceful cryptic agitation;
The Dissenters’ Challenge;




“Are we tough enough”? ,asked the Dissenter Character in her work dungarees, wearing her race number 20001(reference to the number of migrants allowed in the UK+1)
I visited week 4 challenging game space of the gallery, echoing once more the possible links between our doing in the gallery with a wider conflict. Will our work rise up to the challenge of responding to wider conflicts in the world but also will we be strong enough together to maintain our relationship and will this further our impact in the art world and in the society?


I will finish with a quote;

“ Not knowing contains within it the possibility of the ‘Not Yet’ and ‘Still to Be’. It holds an ‘ethical promise’ that in recent years has been taken up in the epistemological analysis of what might be termed ‘constitutive ignorance’ alongside the practice of knowledge production. The same ethical promise underpins artists’ engagement with the world, and shapes a space in which to encounter the other”… “the shifting status of the art object and the re-contextualisation of artistic practice within expanded fields of research, politics and the social, open new ways of approaching an ethical position in relation to how we know as well as what we know and do not know-…”

…” Art draws us into a space of not knowing, a space of thinking in the widest sense possible sense, in which to test what it means to be in the world”.

Elizabeth Fisher
On Not Knowing How artists Think
By Elizabeth Fisher  and Rebecca Fortnum, Black Dog Publishing, 2013