Barbis Ruder

performance, body, sculpture, orthesis, prothesis, sports, medicine, interdisciplinary
Austria (residence), Germany (citizenship) °1984
research interests: performance, body, sculpture, orthesis, prothesis, sports, medicine, interdisciplinary, art, body art, body of work, body of the performer, physiology, physicality, artistic research, Medical Humanities, medicine technic, interdisciplinarity, conjunction
affiliation: Univeristy of Applied Arts
en
Barbis Ruder

DOWN DOG IN LIMBO

 

 

*1984 in Heidelberg, Germany, is a Viennese Media and Performance Artist

 

2015 Mag.art. in transmedia art/Brigitte Kowanz at the University of Applied Arts, Vienna (Austria)

Barbis Ruder grew up in Heidelberg (D), Erlangen (D), Garmisch-Partenkirchen (D), Kerava (FIN) and Hinterzarten (D). After living, studying and working in Freiburg (D), Helsinki (FIN), and Breda (NL), she went to Vienna (A) to start working as an artist.

 

Barbis Ruder uses her body and her artificial corporate bodies to mix topics like economy, work, intimacy and convention into complex, but also minimalistic and reduced compositions that take shape in performance, installation, video and sculpture. As fine artist she is both creating work for exhibition spaces as well as for the stage. Her performances are always staged and related to the variety of media and form: from the body to the moving image, sound, sculpture and installation in space.

Her work was awarded with the H13 price for performance of Kunstraum Niederoesterreich (2014), the art price of the archidiozese Freiburg (2015) and the honorary price of the Federal Ministery of Science, Research and Economy (2015). In 2017 she was scholarship holder of the Art Foundation Baden-Württemberg and received the START fellowship in media art. Moreover, she was nominated for hte Kardinal König Kunstpreis.

 

She lives and works in Vienna.

 

www.barbisruder.com

research

research expositions

  • Body-Object Intersections: Touch Model (last edited: 2021) author(s): Barbis Ruder This exposition is in progress and its share status is: visible to all.
    The touch model is a first attempt at describing the space between the body and the object as a new form: their intersection. The touch is the intersection, and it builds a shape with various specifications.
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  • TOWARDS AN AESTHETICS FOR PROSTHETICS 2022 (last edited: 2022) author(s): Barbis Ruder, Lona Gaikis This exposition is in progress and its share status is: visible to all.
    This research project integrates artistic and philosophical practices with design strategies as a novel paradigm for the development of medical products—in particular arm prostheses. We propose a framework for medical engineering that considers performance art practices as a means to get a better understanding of the needs of traumatized and damaged bodies. We raise attention to marginalized bodies in medical design processes and question the foundations upon which aesthetics itself, as a theory of feeling, is based on. Not only do we envision its idealist limits by asking how much further the damaged body can feel, and whether the medically imposed task to un-feel one’s body in prosthetics wearers can be a commonly shared experience, but we recognize parallels in the promises of the industrialized fabrication of objects that virtually touch the body (as they are worn directly on the skin and are incorporated in body movement), and today’s commercial production of evocative art objects. In both, we see a need to exorcize an aesthetics that has lost touch with the ‘pathological’.
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