"Le Non Travail" is a thought that emerged in its primary form at the end of my studies at Fine Arts Academy in Karlsruhe and which has then crystallized since my arrival 2010 at Cite des arts in Paris.
A polysemous project that encompasses various practices such as drawing, notation and photography.
An almost unlimited practice that can be carried out in transit, between the seats of a train (see TGV, 2019) or in a domestic context, during so-called "marginal" or denigrated occupations. "Le Non Travail" is the result of an analysis of my own situation as an artist/mother, artist/woman, artist/curator, is a permanent strike on the very meaning of work or "Arbeit" as it is used in the German language to indicate "the work of art"...the artistic work. Precisely these marginal occupations, documented, analyzed and explored, saw their first exhibition in 2016. Since then, a new consciousness has emerged within a vast production that is currently divided into four main sets with regard to digital photo series, seven classifications for notes and writings and also an undefined number of cardboard boxes, written containers, archives similar images, notes and notebooks. "Le Non Travail" is also deployed in connection and in echo with the artistic theories of the sixties, especially with the thought of George Maciunas, the main founder of the Fluxus movement:
"The Diagram of Historical Development of Fluxus... attempted to place the movement in the general context of avant-garde work, but Maciunas was in fact more attracted to the world outside art. His diagram takes into account the place of non-artistic forms: religious processions, medieval fairs, international exhibitions, circuses. Three tracks, games, puzzles and is interested in "insignificance" - an expression well suited to the first reaction of anyone who discovers Fluxus 1".
"Le Non Travail" is a practice that can be practiced everywhere, a future that does not necessarily require a workshop and that symbolically tries to escape the structural framework, completely dominated by pre-established and fixed work spaces.
Is the result of an analysis of my own situation as an artist/mother, artist/woman, artist/curator.
A radical feminist attitude that aims to reopen the already existing debate on the definition of work itself and on the question of domestic work, initiated by the feminism of the Italian radical movements in the 70s, and which continues to be the subject of analysis for many researchers, like Silvia Federici as one of the most influential (for me), but not the only.
1 L’esprit Fluxus, Walker art center Minneapolis Edition Française ©1995 Musées de Marseille p.16
Le Non Travail, (TGV9560)