Chana Dubinski

                              Chana Dubisnki, Something Told Me It Was Over. Foto: David Tolley

Chana Dubinski, Storbritannien
Konstnären och författaren Chana Dubinski föddes 1950 i Zambia. Dubinski har tills väldigt nyligen arbetat i det dolda och i en privat sfär men verkar numer i publika sammanhang. I sitt konstnärskap undersöker Dubinski teman som berör en människas identitet och persona. Hon är influerad av den poststrukturalistiske filosofen Michel Foucault som spenderade några år i Uppsala och utgår delvis från honom. I The Archaeology of Knowledge, (1969) skriver Foucault “Do not ask who I am and do not ask me to remain the same: leave it to our bureaucrats and our police to see that our papers are in order.  At least spare us their morality when we write”. Dubinski fascineras av identitetens godtycklighet och slumpmässighet och de existentiella gränserna mellan individen, konstnären och konsten. På Friktioner framför Dubinski verket Something told me it was over, som undersöker symbiosen mellan dekonstruktion och uppbyggnad av identitet.

Chana Dubinski, United Kingdom
The artist and writer, Chana Dubinski, was born 1950 in Zambia. She has deliberately been working privately without public exposure of her creative practice, but this year, 2012, she has started exploring a public presence. She was aware that the French poststructuralist philosopher Michel Foucault spent several years in Uppsala and many of his concerns are pertinent to her current explorations. The famous quote: “Do not ask who I am and do not ask me to remain the same: leave it to our bureaucrats and our police to see that our papers are in order. At least spare us their morality when we write” from The Archaeology of Knowledge, 1969, concurs with notions of living that she is presently submerging herself in: random and arbitrary tracts of selfhood and existence. She sees all creative actions as small searching’s within a large pursuit. This particular search of hers, entitled Something Told Me It Was Over for Friction Festival employs the awareness of the synthesis and symbiosis of eradication and inauguration, materially and ontologically, within any deed.

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