Thesis Info

Thesis Title
Ubiquity and Fluidity
Rob La Frenais
2nd Author
3rd Author
Number of Pages
Brunel University, London UK
Thesis Supervisor
Barry Edwards (Reader)
Supervisor e-mail
Other Supervisor(s)
Language(s) of Thesis
UK English
Department / Discipline
School of Arts
Languages Familiar to Author
UK English, French
URL where full thesis can be found
science, technology, performance, fluidity, ubiquity, practice-based, contestable data, microgravity
Abstract: 200-500 words
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.