#rhubaba

[micawarren-blog]

poster colab with my bro

[gianttankeh]

A “singing” workshop with Usurper at Rhubaba, Edinburgh: 22/9/19.

You can find out more about this event and how to get involved and enjoy a free lunch here.

[camerawhore-aimeemccallum]

Rhubaba Slide Performance Night

http://www.rhubaba.org/slide-night-4/

“Siân Robinson Davies | My Pet Lad | Thomas Whittle | Jessica Yu

7:30pm, Thursday 29 September 2016

Rhubaba was proud to host Slide Night #4, a slide projector performance evening.Slide Night #4 took the formal shape of a traditional slide talk, this one structure acting as a gimcrack portmanteau, within which functioned a series of diverse and disconnected narratives, tangents and dead ends. The participants utilised their own compositions as well as appropriated texts to illustrate projected images, both random and considered.Slide Night is an ongoing project by Thomas Whittle.

Thomas Whittle is an artist based in Edinburgh, working in painting and photography as well as facilitating ongoing curatorial projects.

Siân Robinson Davies is an artist and comedian whose work encompasses performance, writing and video. She is also a studio holder and ex-committee member at Rhubaba.

Jessica Yu is a ROSL ARTS Visual Art Scholar, working on a long-term project with Rhubaba for 2017. She is currently on residency at Hospitalfield until the end of October.

My Pet Lad is Timothea Armour and Kieran Curran. They are working on a chart-topper.”

[theintermedialist]

Royal Wedding (1951)

Catherine Payton referenced this scene in her talk at ECA today. She explained how simple camera tricks she uses have a certain honesty about them, you can work out how the trick is done despite an initial 'cognitive dissonance', which often adds to the humour of a video work. 

I also thought what she said about the difference between performing to a camera vs. a live audience was quite accurate when performing visual trickery - the camera has a containing function, you can't see beyond the frame, so the illusion stays intact. 

Here she is being a disco ball

[freeromying]

Well Done: Tom Varley at Rhubaba

Rhubaba, Leith-based gallery and studios are hosting three artist-led dinners over the winter period. The most recent one was organized by Tom Varley, whose practice explores the arbitrary nature of language. Previously impressed by Varley's "Violins. Violence Silence" shown as part of the New Work Scotland at the Collective last year, I decided to commit 2 Thursday evening hours to a dining experience well off the beaten track. Me and my date arrived just on time to take the last remaining places in a white-washed garage with a high ceiling. A group of altogether around 20 people who most likely did not all know each other were seated at the table adorned with water jugs, plates and cutlery, finger bowls, artisan bread and herb butter. The room also comprised a well sized aquarium containing four twitching lobsters. Right next to it were three different pans resting on hot plates. A chair, a note stand, and a framed display of Yves Klein Blue on the wall completed the picture.

The place had the impeccable air of being designed especially for the occasion. All was ready and in perfect order. Nonetheless, after about twenty minutes wait it seemed that nothing was going to happen. The lobsters kept shifting slightly with their claws banded. We chatted uneasily with a group of young women sat opposite to us. The photographer grinned widely. Finally, the artist sat down by the note stand and commenced a highly abstract talk on the neuroscientific definition of pain.

Meanwhile, two black-clad individuals who seemed to be the assistants of the artist put on full length aprons and proceeded to fish the lobsters out of the aquarium to chop them into pieces. My date had certain doubts as to their level of skill and safety considerations of the whole procedures. My impression was that their actions were rehearsed and rather vigorous, if not outright enthusiastic. They seemed to have a decent idea of what they were doing. One of the lobsters was cooked alive.

Shells cracked, olive oil hissed, and white wine exuded a musky perfume that soon enveloped the whole room. The artist made a key distinction between pain reception on the cellular level and the conscious awareness of it. In philosophy, pain belongs to the domain of sensations known as qualia. Qualia are ineffable and unknowable - it is as impossible to convey one's headache, as it is for anyone to know another person's sensation of the colour blue.

Qualia are a conscious phenomenon, and are processed in the wonderful machinery of our centralized brain. Apparently nobody has a clear idea where exactly consciousness lies in the brain. Somehow it is everywhere all at once, like a resident demon. Now, lobsters do not have a centralized brain, or, by that matter, the part of it that translate pain impulses into nerve sensations. Instead they have bundles of nerves scattered around their whole body. The Shellfish Network say, 'It is possible that a lobster feels pain at any one of these points.'

At this point the artist becomes distinctly uncomfortable. He shuffles in his chair, frowns and name drops animal cruelty. He admits that maybe he is not doing all that well at adopting the persona of a distinguished neuroscience expert. He has troubles finding parts of his script and eventually skips some of it. Meanwhile, steaming platters of lobsters arrive at tables. The audience, seemingly undisturbed, proceeds to tuck in. In attempt to balance curiosity with pescatarian guilt, I eat a mouthful. The springy flesh has a strong bitterness to it. Perhaps this is what fear tastes like.

[linemagazine-blog]

Lucy Pawlak at Rhubaba Gallery

A solo exhibition by Lucy Pawlak Lovely Sky (participatory imagineering) opens Thursday 1st August at Rhubaba

"As publicly owned and publicly produced public space steadily erodes, Lovely Sky intends to shed light upon attempts to choreograph our movements and script our experience within the landscape. Lovely Sky will act as a focus group for critical engagement with the privatisation and simulation of social space by corporations (both on- and off-line). The project aims to create space for a practical critique of the potential for improvisation and autonomy within an architectural structure. Technological advances in the programming of immaterial, virtual realms increasingly inform the construction of actual space; using coloured tape, cardboard, chalk, post-it notes, a specially designed interactive table and so much more, we will begin to re-appropriate strategies for augmenting reality.

Miming and co-opting corporate models for producing space will act as the starting point for exploring processes of historical-geographical transformation that might lead to the design of alternative spatiotemporal dynamics."

More Information 

[gianttankeh]

Edinburgh 7/7/13 part 2.

[gianttankeh]

Edinburgh 7/7/13 part 1.