Other by Ruby Hirsch

rmkbhirsch — 2024-02-20 12:54:26 UTC

rmkbhirsch — 2024-02-20 12:54:47 UTC

rmkbhirsch — 2024-02-20 12:55:15 UTC

rmkbhirsch — 2024-02-20 12:55:35 UTC

Fluxus Year Box II, 1968, George Maciunas

rmkbhirsch — 2024-02-23 12:38:12 UTC

Thinking about ephemera. Keeping things. Should I keep bits and bobs to document my own practice and research?? I quite like this

Fluxus inspiration

rmkbhirsch — 2024-02-23 12:38:51 UTC

I have lots of ideas that dont really come to fruition or are not able to because they are unrealistic. It might be nice to keep a note of these and they could form a work. (the record of the idea)

Thorsten Brinkmann - La Hutte Royal

rmkbhirsch — 2024-03-01 13:44:34 UTC

Pittsburg. Old residential property repurposed as public space.

Street Hawker in China

rmkbhirsch — 2024-03-01 14:03:36 UTC

Could I make something like this to wear??

street hawker, LA

rmkbhirsch — 2024-03-01 15:27:17 UTC

Tim Hunkin - Whack a Banker at the Under the Pier SHow

rmkbhirsch — 2024-03-01 16:06:24 UTC

selling box round neck

rmkbhirsch — 2024-03-01 16:48:30 UTC

Lawrence Abu Hamdan - Walled Unwalled

rmkbhirsch — 2024-04-17 20:16:03 UTC

How do artists respond to traumatic/ brutal realities in the world. Abu Hamdans work is fascinating to me because on the one hand he does practical work at the level of human rights/ international law on high profile cases using his expertise in sound. There is obviously a fluidity between his art and this other work. But in his art, he seems to tend towards an aesthetic fascination.. almost a childlike wonder at the mechanics of sound.. but particularly sound as part of horrific brutal events involving extreme human suffering. It is deeply uncomfortable to watch. Is there a problem with it? Is the effect of making you uncomfortable actually useful in forcing us to confront these realities in different ways?