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DRAF Studio – Stuart Brisley, DRAWN (2–5 Mar 2016)

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Weds 2 – Sat 5 Mar, 12–6pm

Free, no booking required

Photography strictly forbidden; you will be asked to leave phones with an invigilator

Influential artist Stuart Brisley presents DRAWN (2016), a new live work for DRAF Studio presented alongside a selected film programme. Over four days, the octogenarian artist will perform solo in the space as his recurrent persona R Y Sirb (Curator of the Museum of Ordure) for a total of 24 hours, a feat of endurance during which he enters a trance-like state. Sirb responds to the environment, viewers and a selection of domestic furniture props, chairs, tables, a mirror and wrapping materials are subjected to improvised precarious balancing acts and destruction, referencing the violent myth of Procrustes. As in his legendary performances since the 1960s, Brisley engages the audience and establishes a dialogue of action and reaction that induces a release from conventions of social behaviour.

DRAWN as in hanged drawn and quartered and as in drawing. Drawing as to draw out, to make a drawing, to describe, to express through drawing. Hanged drawn and quartered: to hang, cut down while still alive, disembowel and cut in pieces for exposure in different places.

Stuart Brisley, 2016.

Often hailed as the “godfather of British performance art”, Brisley’s radical practice has since the 1960 played a fundamental role in the development of installation and performance art as well as layering mediums. As the Head of Media Fine Art at Slade School his diverse students included Mona Hatoum, Douglas Gordon, Hayley Newman, Zarina Bhimji, Catherine Yass and Marcia Farquhar; Richard Gott wrote in the catalogue introduction for Brisley’s 1996 exhibition Black at the South London Gallery “homage to Brisley’s performances and installations and references to his work, can be found in many unexpected places and in the work of other artists”. He is included in the current historical survey exhibition at Tate Modern, Performing for the Camera (2016).

His seminal practice extends to painting, sculpture, community projects, pseudo-curatorial installations, sound, video, films and teaching. At the centre of this diverse work lies his exploration of the essential qualities of what it means to be human. He has challenged the human body in physical, psychological and emotional ways.

Film Programme

Arbeit Macht Frei (1972-3) is a film evolved from Brisley’s iconic performance And For Today Nothing at Gallery House, London, in 1972. The words ‘Arbeit Macht Frei’ (“work makes one free”) were wrought in iron above the entrance gates to Nazi Concentration Camps. The film is conceived as a representation of the objection to genocide, and begins with a long sequence of vomiting shot in a formal frontal manner, as a bodily rejection of the idea.

In Being and Doing (1984), Brisley collaborated with filmmaker Ken McMullen to search out the origins of performance art, connecting it not to modernism but to ancient folk rituals in England and Europe. In these rituals, the division between performer and audience has not been institutionalised, and they testify to powerful behavioural traditions which have survived the transition from an agricultural to an industrial society. The recordings of the performances have been extensively manipulated: the images slowed down, fragmented, details isolated to construct a filmic memory of the events.

Stuart Brisley, DRAWN, 2016 is curated by DRAF in collaboration with João Laia. Thanks to Maya Brisley and Hales Gallery, London. DRAF Studio is supported by Arts Council England and DRAF Galleries Circle.

The exhibitions Study #13. Every Word Unmade, Fiona Banner and Study #14. Oh Mystery Girl 3, Rosemarie Trockel will be concurrently on display in the galleries.

Stuart Brisley’s (b.1933, UK) pioneering practice spans over six decades and encompasses painting, sculpture, site-specific installation, sound, photography, film and performance. Brisley studied at Guildford School of Art (1949–54) and the Royal College of Art in London (1956–9), as well as at the Akademie der Bildenden Künste in Munich (1959–60) and Florida State University in Tallahassee (1960–62). Influenced by Marxist counter-cultural politics in the 1960s, he adopted performance as the democratic basis for a new relationship between artist and audience. Working solely within public spaces in the 1970s, Brisley developed a series of solo and collaborative works that pushed the body through various extended tasks or rituals. He lives and works in London.

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  • DAY 1 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
    1/5DAY 1 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
  • DAY 1 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
    2/5DAY 1 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
  • DAY 3 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
    3/5DAY 3 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
  • DAY 3 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
    4/5DAY 3 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
  • DAY 4 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.
    5/5DAY 4 – Stuart Brisley, DRAWN, 2016. Photo: Maya Balcioglu. Courtesy the artist and Hales Gallery, London and New York.