EVA International 2014 Guide by EVA International

2014 EDITION / AGITATIONISM CURATED BY BASSAM EL BARONI

12 APRIL — 6 JULY 2014 LIMERICK CITY / IRELAND

EVA INTERNATIONAL

IRELAND’S BIENNIAL

AGITATIONISM

2014 AGITATIONISM

INTRODUCTION BY BASSAM EL BARONI, CURATOR In the past few years we have witnessed protests unfolding into serious unrest across many parts of the world. After initial excitement at this new global wave of voicing political demands, seasons change, and what was a novelty becomes a norm that lures many of us into the trap of trying to determine and define this previously undetermined phenomenon. Such engagements with current political upheavals can be termed agitations, an old philosophical term which denotes the extreme tension of the brain in its attempt to determine something perceived as previously undetermined—such as a sublime experience of nature. These agitations usually recast the sense of the human self accompanying all thinking into a clearly distinguishable entity, treating it as if it were something we could claim to really understand. Agitationism, on the one hand, is the condition of living under a constant flow of agitations, including the ones that you inevitably sometimes produce yourself. However, it is also the process of ‘working through’ them with the aim of seeking adaptation to a logic situated somewhere else, surpassing the entrapment between past, present, and future— three tenses that overlap in the contemporary moment, creating a kind of palimpsest of half undone histories, half imagined futures, and a present of phantasms as a consequence. EVA 2014, AGITATIONISM attempts to grasp the sense of living under agitation while capturing how we are slowly adapting to a different perception of the world by working through our relationships with historical ideologies, post-colonial narratives, other forms of life (animals for example), and speculations about the not-so-distant future. AGITATIONISM, the 36th edition of EVA International, simulates the struggle between the tides that pull the present towards romanticisations, utopias, ideologies, and nostalgias; and the tides that attempt to push it beyond those limitations and towards an unknown, a desire and drive for something that remains too complex to determine today.

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AGITATIONISM VENUES 1 LIMERICK CITY GALLERY OF ART PERY SQUARE, LIMERICK Monday, Tuesday, Wednesday, Friday 10.00am—5.30pm Thursday 10.00am—8.30pm Saturday 10.00am—5pm Sunday 12.00—5.00pm Closed on Bank & Public Holidays

KERRY GROUP FORMER GOLDEN VALE MILK PLANT O’CALLAGHAN STRAND, LIMERICK Daily 12.00—5.00pm Closed on Bank & Public Holidays

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THE HUNT MUSEUM RUTLAND STREET, LIMERICK Monday to Saturday 10.00am—5.00pm Sunday and Bank Holidays 2.00—5.00pm Closed Good Friday (April 18) & Easter Sunday (April 20)

BOURN VINCENT GALLERY FOUNDATION BUILDING UNIVERSITY OF LIMERICK See www.eva.ie/venues for details

LIMERICK GREYHOUND STADIUM GREENPARK, DOCK ROAD, LIMERICK Saturday 12 April 6—11pm

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LIMERICK CITY GALLERY OF ART PERY SQUARE, LIMERICK

GROUNDFLOOR

FIRSTFLOOR

RAQS MEDIA COLLECTIVE + ISWANTO HARTONO

9 STEFANOS TSIVOPOULOS

MIRI SEGAL

MONA MARZOUK

10 EVA RICHARDSON MCCREA

ALON LEVIN

RAMON KASSAM

6 MICHAEL PATTERSON-CARVER 7

AMANDA BEECH

LUIS CAMNITZER

11 CÉCILE HARTMANN 12 SIOBHÁN HAPASKA 13 MALAK HELMY 14 LUIS JACOB 15 ASIER MENDIZABAL

2014 AGITATIONISM

VENUE LIMERICK CITY GALLERY OF ART

GROUNDFLOOR

7 FIRST FLOOR

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RAQS MEDIA COLLECTIVE + ISWANTO HARTONO

MIRI SEGAL

(Raqs Media Collective established 1992, live and work in New Delhi) 5 PRINCIPLE NO-S, FOR A NEW PANCASILA (2012-2013) Wall Installation. Courtesy of the Artists.

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Raqs Media Collective was recently paired with Iswanto Hartono, an artist with the Jakarta based collective Ruangrupa by the curator Agung Hujatnijennong to do a collaborative work for the Bandung Pavilion in the Cities section of the Shanghai Biennale. The work would be based on instructions sent by Raqs which were to be translated into a concrete material form by Iswanto Hartono. Raqs devised a set of instructions that went back to the idea of the Pancasila (Five Pillars). There were one, two, three ‘pancasilas’ in the air in the late 40s and 1950s – in Indonesia, India and China. Generally, these were pithy statements of a state’s philosophy (Indonesia, 1949), principles of relations between states (India and China, 1954), and a charter of principles for the conduct of newly decolonized states (Bandung Conference, 1955). These principles, especially as they came to be developed as frameworks for the relations between sovereign powers, were generally expressed through a set of negations - ‘mutual non interference’, ‘mutual non aggression’, ending in the most classic negation of all - ‘non-alignment’. Inspired by these multiplying negations, Raqs offered a modest proposal for a new set of Pancasila principles. These are not to be seen as drafts of the statements that states make to and between themselves. These are simply some desires that we as citizens, might have of states, and of the relations between them. “This is how we would like to be governed, if we have to be governed.” BIO The Raqs Media Collective, based in Delhi, enjoys playing a plurality of roles, often appearing as artists, occasionally as curators, sometimes as philosophical agent provocateurs. They make contemporary art, they have also made films, curated exhibitions, edited books, staged events, collaborated with architects, computer programmers, writers and theatre directors and have founded processes that have left deep impacts on contemporary culture in India. Raqs (pron. rux) follows its self-declared imperative of ‘kinetic contemplation’ to produce a trajectory that is restless in terms of the forms and methods that it deploys even as it achieves a consistency of speculative procedures.

(b. 1965, lives and works in Tel Aviv) WHATEVER YOU SAY? (2 PARROTS) (2008) Interactive media installation. Courtesy of Philippe Cohen Collection, Paris and Dvir Gallery, Tel Aviv.

The interactive installation Whatever you say? (2 Parrots) ironically alludes to the ‘impotence of art’ and connects it to some dumbing-down aspects that new technology has on our thinking and discourse. Two parrots wonder on two adjacent walls, from time to time they speak up, sometimes they curse, sometimes recite each other, and at times repeat each other, if the viewer addresses them they may decide to repeat the viewer or ‘answer’ him or her. Every half hour the two parrots perform an excerpt from Shakespeare’s “Midsummer Night’s Dream” in which the male parrot, a blue macaw, is “the donkey” and the female parrot is “Titania”. They play the scene of “Automated love” inflicted upon Titania as a punishment, in which she wakes up to find herself in love with the donkey. Supported by Artis Grant Program. BIO Miri Segal is an artist who mostly explores media and technologies. Her work has been shown in solo exhibitions at Moma PS1(New York), Lisson Gallery (London), Kamel Mennour Gallery (Paris), Tel Aviv Museum, Dvir Gallery (Tel Aviv), among other venues. Segal’s videos and installations explore perceptual modalities and the impact on the viewer of unexpected situations. Her works investigate being in the world today by disrupting the perspective of the viewer’s body in the space (actual or virtual) within a political and temporal context. She uses physical, optical and conceptual manipulations that invade the space of consciousness of the viewer. Ghosts and shadows without a material body and in a limbo between life and death - serve as basic figures in many of her works. She uses them to subtly speculate about the limits of our capacity to apprehend concrete reality, the future of humankind and our ability to integrate the sensation that images provoke.

2014 AGITATIONISM

VENUE LIMERICK CITY GALLERY OF ART

MONA MARZOUK

ALON LEVIN

(b.1968, Lives and works Alexandria, Egypt)

(b. 1975, lives Den Hague and Berlin)

MOBY (FOR TRAYVON) (2014) Wall Painting. Courtesy of the Artist.

END TO THE GRAND GESTURE (2011 – 2014) Installation. Courtesy of the Artist and AMBACH & RICE, Los Angeles.

Moby (for Trayvon), is a new mural painting that takes the courtroom as its starting point. The past few years of demonstrations and socio-political upheaval have been intense, and the courtroom as a space in these unfolding narratives has been featured extensively in the media, as a space for the implementation of justice. But, the rule of law and justice are in many cases at opposite ends of the spectrum, as author China Miéville has pointed out “The chaotic and bloody world around us is the rule of law.” The courtroom as a psychological space, as a space of argumentation, as a problematic construct leads to the research of cases in different parts of the world where there has been an evident miscarriage of justice or a wrongful conviction. Based on such cases in the present and in history, and speculations about possible cases in the future, the artist uses these cases to generate the material from which the mural is made, allowing her to think of justice as an abstract visual plasticity. Evidence, phrases, and uttered sentences become forms, shapes, and colours that direct us to an immaterial and unsituated courtroom. BIO Greek-Egyptian artist Mona Marzouk was one of the first contemporary artists practicing in Egypt to be recognized internationally. After finishing her studies at the Academy of Fine Arts in Düsseldorf, Germany, in 1996, Marzouk returned to her hometown of Alexandria, Egypt, to launch her career in painting and sculpture. Selected solo exhibitions include The Bride Stripped Bare of her Energy’s Evil, BALTIC Centre for Contemporary Art, Gateshead, UK (2008); The New World, Art in General, New York and Townhouse Gallery, Cairo; MUSAC, León, Spain (2006). Selected group exhibitions include Havana Biennial (2012); Second World: Where is Progress Progressing, Steirischer Herbst, Graz, curated by What, How & for Whom / WHW (2011); 8th Gwanju Biennale, curated by Okwui Enwezor (2008); 1st Canary Islands Biennale, Spain (2006). From 2005 to 2013, Marzouk co-founded and co-directed the artist-run space Alexandria Contemporary Arts Forum in Egypt.

Based on his ongoing-research on socio-political principles, artistic movements, and philosophical/ scientific concepts, data that the artist accumulates is transformed into large-scale installations. Levin invents storage and display systems that follow a self-invented logic of categorization. The structures he erects to house this assembled vocabulary of society’s ideology and order, resemble towers as well as archival shelving units. They represent models of thinking as physical manifestations of our cultural codes. The work monumentalizes the perilous doctrines of power, progress and growth. Symbols and attributes that represent our drive towards progress and change, instruments that animate our revolutionary efforts, artefacts left by our civilization’s ruins, evidence of Utopias unrealised and empires failed make up the lexicon of the installations. The installation End to The Grand Gesture stems from this idea that everything is bound to fail, but in fact it celebrates the success in failure. Central to the installation is the deconstructed work “Untitled, A Proposal for a Universe Under Control” as a re-presentation of one of his older works that has now been chopped into pieces, whitenedout, and is thereby transformed into many new parts. As with social rhetoric and political agenda, Levin’s installations are continually destroyed, rearranged or recycled. Through this process of endless re- and deconstruction, the work both celebrates and commemorates the triumphs and failings of political systems as well as his artistic practice. In doing so, there is the hopelessly hopeful effort to escape the inevitable, to invent the new, and to right the wrong. Supported by Artis Grant Program. BIO Alon Levin (born in Ramat Gan, Israel) is an artist based in Berlin and Den Hague. He studied at the Gerrit Rietveld Academy in Amsterdam from 1998- 2002, followed by a residency at the Jan van Eyck Academie in Maastricht in 2003 and a two-year postgraduate program at the Rijksakademie in Amsterdam from 20052006. In 2008 Levin was granted a residency in the International Studio and Curatorial Program (ISCP) in New York. Recent exhibitions have included Fútbol: The Beautiful Game, LACMA, Los Angeles, CA; Beautiful Things (solo), AMBACH & RICE Los Angeles, CA; Ten Years, Wallspace, New York, NY; Jew York, Zach Feuer Gallery & Untitled, New York, NY; Made In Germany Zwei, Kestnergesellschaft, Hannover, DE; TRACK, S.M.A.K, Ghent, BE; Material World, Groningen Museum, Groningen, NL; Remodelling Systems, CCS Bard, Annandale-on-Hudson, NY; and History of Art, the, David Roberts Art Foundation, London, UK.

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RAMON KASSAM

MICHAEL PATTERSON-CARVER

(b. 1981, lives and works in Ireland)

(b.1958, Chicago)

ALL WORKS Acrylic on linen, see wall label for details. Courtesy of the Artist.

Colour drawings all Ink, pencil and watercolour on paper, see wall labels for details. Courtesy of Galerie Susanne Zander, Cologne; The Museum of Everything; the Tania El Chiaty Collection; Timothy Taylor Gallery, London.

Ramon Kassam’s paintings incorporate various motifs in their quite often ruthless and laboured construction. The works in EVA, come from a place of deep personal engagement with life in the studio and reflect its relationship to the city. The repercussions of living in a city or town are central to Kassam’s thought process, and this informs his painterly gesture. Kassam likens urban surroundings and experiences to physically living within a painting, citing the combination of artificial colour, texture and narrative on any given streetscape as part of his concept. Out of this close proximity with one another these elements which are displayed by the inhabitants, vehicles, buildings, signs, markings and structures are frequently and randomly colliding and jostling for visual and psychological precedence. Kassam aims to simulate these situations concisely. Placing importance on arbitrary textures and colours in replication of an urban scenario, he pieces together the painterly gesture in much the same way as urban planners experiment with spatiality, splicing together opposite qualities endeavouring to create a new visual arrangement. Canvases are often cropped, stitched together or glued, and can incorporate various narratives and studio materials such as tape, paper, tacks etc. These working methods create an interruption within the flow of the subject matter, the surfaces deliberately tampered with to provide the viewer with as many alternatives and readings as possible within the work. BIO Ramon Kassam is a painter from Limerick City. He received a first class honours degree in Fine Art Painting from Limerick School of Art and Design in 2007. Solo exhibitions ‘Portrait Cuts Itself out on the Floor’ Pallas Projects, Dublin (2013) & ‘Paint-things’ Occupy Space, Limerick (2010). Recent group exhibitions include ‘Periodical Review’ Pallas Projects, Dublin (2013) ‘New Living Art’ Irish Museum of Contemporary Art, Dublin (2012) ‘Bricks and Mortar’, Boston, USA (2012) and ‘Transitive Relationships’, Limerick City Gallery of Art (2012). In 2013, Kassam participated on a four month studio residency at The Irish Museum of Modern Art and was also awarded the 12 month RHA Tony O’ Malley Residency Award. From 2009-2011 Kassam founded and was a director of both, Wickham Street Studios (an artist studio complex) and Occupy Space - a visual arts exhibition space in Limerick City.

Michael Patterson-Carver (b. 1958) is a self-taught artist born in Chicago who practices a personal form of political activism through his colour drawings. His works of picketing and political protests paint a small history of dissent that is simultaneously humorous and disturbing. The lack of doubt in his political position is equally both refreshing and seemingly alien to the type of critical engagement many artists practice today, imbuing his works with an air of mystery.

2014 AGITATIONISM

VENUE LIMERICK CITY GALLERY OF ART

AMANDA BEECH

LUIS CAMNITZER

(b. 1972, UK, lives and works in Los Angeles)

(b.1937 in Germany, lives and works in New York)

FINAL MACHINE (2013) 3 Channel Video Installation, 45 mins. Courtesy of the Artist.

INSULTS (2009) Vinyl wall text. Courtesy of the Artist and Alexander Gray Associates, New York.

Beech’s work takes up the dynamic of imageforce, through entangling narratives of power from philosophical theory, literature and real political events. Inspired by these discourses on power, her work proposes a new realist politics of the artwork and its possibilities in the context of contingency. FINAL MACHINE confronts the problem of how to predicate a politics (and an art) that is recalcitrant to its own ideological systems. This is a journey with no future; only a constant working upon a claustrophobic present. It navigates the wasteland of the Mojave Desert, trails cars through night-time Miami and is intersected by balletic graphic imagery and abrupt aggressive ‘bullet points’ that emphasize the groundless and mobile force of the negotiated image. The metronomic tempo of the imagery is pervaded by a persistent pragmatic voice that locks the work into a hallucinatory steroid reality. The narrative interlocks the sensations of thrilling rhetorics that draw from Louis Althusser’s lecture series ‘Philosophy and The Spontaneous Philosophy of the Scientists’ (1968), the prose of CIA recruitment lectures, tales of the high stakes games of undercover special agents, and our obsession with reality. Together these coalesce as an experience and an interrogation of force.

In Insults, conceptual artist Luis Camnitzer repeats the sentence ‘All those who can’t read English are stupid’ using different languages and replacing ‘English’ with the language used to write the sentence. Each culture, irrelevant of where it is situated in the world, and in varying degrees, assumes at certain moments that it is superior to other cultures, and at the core of this assumption is the trumpeting of its language. By repeating this gesture of cultural superiority via language in different translations the intention is to suggest surpassing the idea that any culture is inherently superior since no one has the capacity to learn every single language in the world; cultures and languages are not the total sum of who we are.

BIO Amanda Beech is an artist, writer and teacher. Beech has exhibited her artwork internationally; recent exhibitions include: Final Machine 2013, Lanchester Gallery Projects, Coventry, UK and Ha Gamle Prestagard, Norway, 2013; Asymmetrical Cinema, Beaconsfield Gallery, London; and, (Past Present) Future Tense, Center for Living Arts, Alabama, USA 2013. Recent publications include; Final Machine, Urbanomic, 2013; Sanity Assassin, Urbanomic, 2010 and new essays for the anthologies, Realism, Materialism, Art, Sternberg Press, 2014, Speculative Aesthetics, Urbanomic, 2014 and The Flood of Rights, Merve, will be published this year. Beech also regularly speaks at conferences and symposia including keynotes for “Generative Constraints”, London, 2103 and “Exhibiting Video”, London, 2012. Upcoming projects include Everything Has Led to this Moment, a solo exhibit at Zero, Kline, Coma, London, and the Fieldwork residency at Marfa Texas where she will be producing a major new video work. She is Dean of Critical Studies at CalArts.

BIO Luis Camnitzer is a German-born Uruguayan artist, educator, writer, and curator who moved to New York in 1964. He was at the vanguard of 1960s Conceptualism, working primarily in printmaking, sculpture, and installations. His humorous, biting, and often politically charged use of language as an art medium has distinguished his practice for over four decades. Though Camnitzer never left his adopted city New York, his practice remains intrinsically connected to Uruguay and the whole of Latin America. As well as many solo exhibitions his work has been featured in several international biennials, including the Bienal de la Havana, Cuba; Whitney Biennial, and Documenta 11. Camnitzer’s work is in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, and the Whitney Museum of American Art, New York, NY; the TATE, London, UK; and Museo de Arte Latino Americano de Buenos Aires, Argentina (MALBA), among others.

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STEFANOS TSIVOPOULOS

EVA RICHARDSON MCCREA

(b.1973, lives and works between Athens, Amsterdam and New York)

(b. 1990, lives and works in Dublin)

HISTORY ZERO (2013) HD Video and Archival Installation. Courtesy the Artist and Kalfayan Galleries, Athens – Thessaloniki.

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History Zero was first presented at the Greek Pavilion at 55th Venice Biennale. It takes as its starting point the multi-layered contemporary crisis in Greece, which Tsivopoulos sees as an opportunity to interpret an alternative visualisation of the future. It has two components, a film which can be seen in the small room, off the atrium and an archive which can be seen all-round the atrium. The film depicts three human experiences relating to notions of value systems and in so doing explores the role of money in the formation of human relationships and political and social elements relating to the ownership of money. The archive provides examples and evidence of alternative non-monetary exchange systems, focusing on the ability of such models to question the homogenising political power of common currencies, and the ways in which communities function in relation to the exchange of goods in difficult times. The combination of the archive and the film brings together the diverse culture surrounding economic exchange whilst challenging the social, political and performative aspects of alternative currency models. Supported by the Mondriaan Fund. BIO Tsivopoulos studied fine arts at the Fine Arts Academy of Athens, the Gerrit Rietveld Academie and the Rijksakademie van beeldende kunsten in Amsterdam. Recent solo exhibitions include: Greek Pavilion, 55th La Biennale di Venezia (2013); Art Basel Miami (2013); Stella Art Foundation, Moscow (2013); ISCP, New York (2011); Heidelberg Kunstverein (2010); Smart Project Space, Amsterdam (2010). Recent and upcoming group exhibitions include L’iselp, Brussels (2014); Lehmburg Museum, Duisburg (2014); CAFAM Biennial Beijing (2014); SALT, Istanbul (2012); Centre Pompidou, Paris (2011); Manifesta 8, Murcia (2010); Witte de With, Rotterdam (2010); BFI Southbank, London (2009); Friedericianum, Kassel (2008); Athens Biennale (2007); and Thessaloniki Biennale (2007).

FILM/ ACT/ EVENT (2013) Single Channel HD Video, 21 mins. Courtesy of the Artist.

Film/ Act/ Event is a film based on “The Incident at Antioch”, a play by French philosopher Alain Badiou, written between 1982 and 1989. Divided into three acts, the characters move between five allegorical locations as they discuss the nature of politics and search for a new political way forward. Badiou’s philosophy is rooted in mathematics and in particular set theory. In his major work “Being and Event”, Badiou proposes that being is pure infinite inconsistency. This allows for the possibility of something new occurring. This something new is truth. For Badiou a truth is brand new, finite and particular to the situation in which it occurs. Truth can occur in four domains: politics, science, love and art. Film/ Act /Event moves between the theatrical set where various characters muse abstractly over the state of things, to the concrete sites of other locations in the play – lit theatrically but absent of their original characters. Long passages of dialogue are intertwined with quick camera cuts and fast editing, locating the film between the genres of TV drama, soap opera and the filmed staged production. Film/ Act /Event explores, in concrete form, relations between cinema, theatre, philosophy and politics - between theory and praxis. Special thanks to Joseph Nelson, Conor Doyle and Ciara Smyth (acting), Brendan McKenna, Daragh Walsh, Eoghan McIntyre and Julia Kempermann. BIO Eva Richardson McCrea graduated from the National College of Art and Design in 2013 with a Joint B.A (Hons) in Fine Art (Sculpture) and History of Art. Working primarily in video, Richardson McCrea is drawn to the mechanics and processes of filmmaking, and how these elements can be revealed or concealed within the frame, and how this affects the work. From philosophy to theatre to Wikipedia her practice explores links between abstract idea and realised form, the relationship between semiotics and meaning, and information and understanding. Recent exhibitions have included NLA IV, Dublin (2013) NCAD Degree Show, Dublin (2013), iDeA, Rotterdam (2012), & Thanks for All the Fish, Rotterdam (2012). She is currently a studio resident at Basic Space, Marrowbone Lane, Dublin.

2014 AGITATIONISM

VENUE LIMERICK CITY GALLERY OF ART

CÉCILE HARTMANN

SIOBHÁN HAPASKA

(b. 1971, lives and works in Paris)

(b. 1963, Belfast, Northern Ireland, lives and works in London)

KESSOKU (COVENANT) (2006) Single Channel Video loop with original soundtrack, 9 mins. Courtesy of the Artist.

For EVA International – Ireland’s Biennial 2014, Hartmann a French artist, presents Kessoku (covenant) a film realized in 2006 in Japan. Kessoku (covenant) connects the strategic spaces of economic globalisation to the unstable zones of volcanic craters. In a swaying and reversible motion amplified by an electronic music sample and by atmospheric vibrations of colour and smog, business fluctuations connect with telluric tremors in search for an anchorage and a balance point. A paradoxical feeling of subdued restlessness arises from this intense encounter. Supported by the French Embassy in Ireland. BIO The work of Cécile Hartmann negotiates relations between documentary and fiction. Her works question the division between a constructed world and an organic (natural) world, pondering instability, materialistic experience, and the metaphysical. Extensively researched information drawn from the recent history of the global economy, architecture, or pre-modern forms of life is reformulated into elaborate photographic projects and film installations. After studies at The National Fine Arts Academy of Paris, Hartmann lived in Japan and in Berlin. Her films have been realized in places as far apart as New York, Tokyo, Hiroshima, Dubai and in the Azores Archipelago. In 2013 and 2012, her movie “Achrone” was shown at the Museum of Fine Arts, Boston, Beirut Art Centre, Lebanon; Museum Akarenga Soko in Yokohama. She has also recently exhibited at the Palau de la Virreina in Barcelona, Museum of Photography of Thessaloniki, and the Museum of Modern Art, Bogotà.

BOND (1999) Fiberglass, Irish basalt, reindeer moss, twopack lacquer and electrical components. Courtesy of IMMA | Irish Museum of Modern Art – The Collection.

Bond is an example of the artists earlier work in which she often played with the notion of nature versus machine. Both organic and artificial, Bond intrigues because of its contradictions and contrasts. For example, the contrast between the portrayal of dynamic movement and stillness and, between the aerodynamics associated with car design and the weighty appearance of a static sculpture. The lacquer finish can be compared to the metallic finish of a car and the addition of electric lights, a connotation to the speed of light, contrasts with the slow accumulation of basalt and moss nestling naturally within the forms of the sculpture. BIO Siobhán Hapaska’s work is charged with a number of cultural and socio-political issues. Often difficult to categorize, her work is a poetic play of imagery and ideas that forge discordant connections. It’s a complex interweaving of narrative that is articulated through a diverse vocabulary of materials incorporating extraordinary objects that range from olive trees to magnets, tumble weeds to selenite. She creates multisensory works that continually extend the definition of sculpture. Her recent solo exhibitions include Magasin 3 Stockholm Konsthall, Sweden (2013); the Barbican Centre, London (2010); Glasgow Sculpture Studios (2009); and Camden Arts Centre, London (2007). She is a recipient of the Paul Hamlyn Award (2003), represented Ireland at the Venice Biennale (2001) and participated in Documenta X (1997).

EVA INTERNATIONAL

IRELAND’S BIENNIAL

MALAK HELMY

LUIS JACOB

(b.1982, lives and works in Cairo)

(b. 1971, lives and works in Toronto)

CHAPTER 3: LOST REFERENTS OF SOME ATTRACTION FROM ‘RECORDS FROM THE EXCITED STATE’ (2012) Single Channel HD Video loop, 6 mins 54 secs. Courtesy of the Artist.

ALBUM XII (2013-2014) Image montage in plastic laminate panels, 148 panels. Courtesy of the Artist, Birch Contemporary, Toronto, and Galerie Max Mayer, Düsseldorf.

Chapter 3: Lost Referents of Some Attraction is a video composed of three scenes in landscape: a salt flat, a beach, and a future nuclear power plant. Five characters wander on the edge of a narrative, anticipating employment into function and meaning. Like the landscape, these characters are extras on the periphery of an event, charged with desire of awaiting time and resolve. Lost Referents of Some Attraction is a new chapter in a series of works titled Records from the Excited State– an ongoing project that conducts an analysis over time of biological and social rhythms of a site of leisure on the coastline of Egypt.

Realised in a wide array of media that includes painting, video, installation, and photography, Luis Jacob’s diverse work invites a collision of meaning systems, attempting to destabilize our conventions of viewing and to open possibilities for engagement and the creation of knowledge. Presented for the first time at EVA International 2014, Album XII (2013-14) consists of hundreds of photographic images excised from a variety of published sources. These images are mounted together in plastic-laminate panels displayed sequentially in a form reminiscent of family photo albums and communal bulletin boards. By means of visual rhymes and correspondences between images, Album XII creates extended narratives constellating around various themes: architectural space and the built environment; embodiment and the encapsulation of collective experience; alienation and social sculpture. These topics weave together into a kind of theory of subjectivity, understood in its dual aspects as individual experience and as the social processes of subjection. Album XII is an opportunity to form and de-form our frames of reference, by relying upon each viewer’s capacity for deep engagement in the play of correspondences.

BIO Malak Helmy works most often with video and writing. Her work explores moments and locations in time through an archaeology of ideas, desires, the city and the scientific possibilities around them. She also works with collective initiatives exploring areas between urbanism, architectural research and artistic production. She has exhibited at the 63rd + 64th Berlinale Film Festival Expanded Forum in (2014, 2013), the 9th Mercosul Biennial (2013), Frankendael Foundation (2013), Beirut in Cairo (2013), Camera Austria, Graz (2013), Moving Image Art Fair, NYC (2013), 9th Gwangju Biennial (2012), Documenta 13’s Cairo Seminar (2012), Bergen Kunsthalle (2012) amongst others. She received her MFA in Social Practice from the California College of Art in 2010, and her BA from the American University in Cairo in 2005.

BIO Luis Jacob was born in Lima, Peru, and now lives and works in Toronto, Canada. He studied semiotics and philosophy at the University of Toronto, graduating in 1994. Working as an artist and curator, his diverse practice addresses social interaction and the subjectivity of aesthetic experience. As an artist, he has achieved an international reputation – particularly since his participation in documenta12 in 2007 – with solo exhibitions at Kunsthalle Lingen (2012); Museum of Contemporary Canadian Art, Toronto (2011); Fonderie Darling, Montréal (2010); Städtisches Museum Abteiberg, Mönchengladbach (2009); and Kunstverein Hamburg, (2008). Jacob’s work was also featured in group exhibitions at the Taipei Biennial (2012); Witte de With, Rotterdam (2012); Generali Foundation, Vienna (2011); Solomon R. Guggenheim Museum, New York (2010); Contemporary Art Museum, Houston (2010); Institute of Contemporary Art (ICA), Philadelphia (2009); MuHKA, Antwerp (2008); and The Power Plant, Toronto (2008).

2014 AGITATIONISM

VENUE LIMERICK CITY GALLERY OF ART

15 ASIER MENDIZABAL (b.1973, lives and works in Bilbao) A MODEST IMPERATIVE AND OTHER NOTES ON LANDSCAPE (2012 – 2014) Configuration of four works. Courtesy of the Artist and Anthony Reynolds Gallery, London.

A Modest Imperative and Other Notes on Landscape is the title of a text based work which articulates the different works presented here by Mendizabal. The works all refer to the construction of images and all of them try to isolate a formal trait or a technical device on which a typology of the image becomes a cultural indicator. Rotation (Moiré, Rome) and Rotation (Moiré, Egin), both 2012, show how the inaccuracy of half tone printing technology used to produce press images could propose a sort of structural metaphor for the always problematic representation of the mass. The inability to simultaneously perceive the total form of the multitude as well as its individual parts echoes other formal problems such as the visually evocative pair ‘figure’ and ‘background’ and their relationship, but more intriguingly, the technical pair of ‘weft’ and ‘warp’ in the process of weaving. The rough concrete form cast out of a wicker basket also included here [Untitled (wicker)], (2014), repeats this pattern as a culturally readable form, as does the very base on which it is displayed. These references are crossed with improbable but fecund associations in the text presented in the brochure. The brochure which doubles as a poster and is free to take, is an integral part of Mendizabal’s presentation at Eva 2014 since it is where the the aforementioned formal problems are highlighted by evoking particular cases of their usage, such as the specific history of representation in landscape imagery produced during the Chinese Revolution. Supported by Acción Cultural Española, AC/E and Etxepare Basque Institute.

BIO Asier Mendizabal’s practice is fundamentally attached to sculpture, but is resolved through diverse media and procedures, often including the written word. He has exhibited individually, at among other venues: the Hordaland Kunstsenter, Bergen, Norway; Raven Row, London; Museo Nacional Centro de Arte Reina Sofía, Madrid;, DAE, San Sebastian; MACBA Barcelona and Culturgest in Lisbon. He has taken part in group shows such as, IllumiNATIONS, 54, Venice Bienale; Scenarios about Europe: Scenario 3. Galerie für Zeitgenössische Kunst, Leipzig; In the First Circle Fundació Tapies, Barcelona; Às Artes, Cidadãos, Museu Serralves, Porto; Chacun a son Gôut, at Guggenheim Bilbao Museoa; Després de la notícia, at CCCB Barcelona; Manifesta 5, the Taipei biennial; Insiders, at CAPC Bordeaux; Flüchtige Zeiten, at Westfälischer Kunstverein, “On Handlung”, 4th Bucharest Biennial. [AC/E and Etxepare logos]

EVA INTERNATIONAL

IRELAND’S BIENNIAL

KERRY GROUP FORMER GOLDEN VALE MILK PLANT, O’CALLAGHAN STRAND, LIMERICK

TOM FLANAGAN & MEGS MORLEY

JENNY BRADY

KJERSTI ANDVIG

4 CHIMURENGA

CARLA ZACCAGNINI

NILBAR GÜREŞ

JACQUELINE DOYEN

CATALINA NICULESCU

NEŠA PARIPOVIĆ

ELIZABETH PRICE

PER–OSKAR LEU

DAVID HORVITZ

ANN BÖTTCHER

JEFFREY CHARLES HENRY PEACOCK

ZACHARY FORMWALT

PRANEET SOI

RANA HAMADEH

27 GRRRR (INGO GIEZENDANNER)

HASSAN KHAN

PATRICK JOLLEY

29 METAHAVEN

SOFIE LOSCHER

PAULINE M’BAREK

BENJAMIN DE BÚRCA & BARBARA WAGNER

MARK O’KELLY

SEAMUS NOLAN

DOA ALY

23 NICOLINE VAN HARSKAMP 24

MARTÍ ANSON

HUMBERTO VÉLEZ

GARRETT PHELAN

WALID SADEK

2014 AGITATIONISM

VENUE KERRY GROUP – FORMER GOLDEN VALE MILK PLANT

EVA INTERNATIONAL

IRELAND’S BIENNIAL

1 TOM FLANAGAN & MEGS MORLEY (b. 1981 and 1979, live and work in Galway) THE QUESTION OF IRELAND (2013) 3 channel HD Digital film, 60 min. Courtesy of the Artists. Supported by the Arts Council of Ireland 2013.

This three screen video work attempts to provoke the relationship between the language of politics, performance and cinema. It takes Karl Marx’s overlooked political analysis of Ireland “Notes for anUndelivered Speech on Ireland” as its basis. Marx had prepared the text for a speech that he was due to deliver at the meeting of the International Working Men’s Association on November 26, 1867. Marx’s analysis of the ‘Irish Question’ became for the artists a broader question into its relevance and its relationship to the contemporary situation of Ireland today, with clear overlapping concerns of political corruption, Irish Independence, mass emigration and evictions. Wishing to extend this ‘question’ to other disciplines, the artists invited Kieran Allen (sociologist) Bernadette Devlin (civil rights and political activist) and Grace Dyas (playwright) to respond to and re-imagine Marx’s “Notes for an Undelivered Speech on Ireland” within the context of modern Ireland. The resulting speeches, each taking an individual approach, were then performed by actors, John Olohan, Bríd Ní Neachtain and Lauren Larkin in the historic National Theatre of Irish language, the Taibhearc. Employing devices borrowed from historic political cinema, the artists explore the language of film, performance and cinema across a synchronized three-screen format, attempting to tap into the political imagination and latent unfulfilled dream of this undelivered speech formerly described as a “revolutionary thunderbolt” by Marx himself, at a time when his ideas are being closely re-examined with renewed rigor in light of the current crisis of capitalism.

BIO Tom Flanagan & Megs Morley’s collaborative work is an ongoing investigation of the language of cinema and its relationship to political power and collective memory. Their works examine real and imagined politically complex sites and forgotten histories, attempting to intervene into collective understandings of the present, by exploring the space between images, memory, knowledge and power. Recent solo and group exhibitions include: Mermaid Arts Centre (2013), Cirrus Gallery Los Angeles (2013), Lucca Film Festival 2013, Labour and Lockout, Limerick City Gallery, (2013), Momentous Times, CCA Derry 2013, Rencontres Internationales: Paris: Centre du Pompidou November 2011 & Berlin July 2012, A Series of Navigations, The Model, Sligo, 2012, The Good Children Gallery, New Orleans, 2012 (Solo), Alchemy Film Festival, Scotland, 2012. Galway Arts Centre, June 2011(Solo) Public commissions include “Aughty” a feature length film commissioned by Aughty Public Art Projects and Galway County Council 2012. Upcoming: Station Independent Projects, NY.

2014 AGITATIONISM

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JENNY BRADY

KJERSTI ANDVIG

(b. 1983, lives and works in Dublin)

(b. 1978, lives and works in Norway and Brussels)

WOW AND FLUTTER (2013) HD video with sound, 13 min. 3 sec. Courtesy of the Artist.

MEDITATION EVIL (2014) Sound on continuous loop in designed room. Courtesy of the Artist.

Working primarily with the moving image, Jenny Brady makes experimental, narrative video works, which incorporate text, music and performance to explore the subjective character of experience and problems of representation. Her works are concerned with ideas of communication and the limitations of language, in which animals often feature as troubling figures of mistranslation. She is interested in the potential of the moving image to propose new forms of speech, incorporating gesture, text, sound and image to present speculative communicative systems. Her works feature a unique audio-visual grammar, which draws upon experimental music and utilize unexpected rhythms, interruption and commentary to complicate potential readings of the subjects she explores. Wow and Flutter presents the viewer with a fractured portrait of a bird, formed over the course of three acts. The artist employs strategies of translation, performance and rhetoric to ‘give voice’ to its central protagonist, only to reveal a troubling anthropocentric bind. Drawing on research into the thirty-year scientific collaboration between animal cognition scientist Irene Pepperberg and an African Grey Parrot she trained in elements of human language, this work considers the various forms of displacement at play in our depiction and understanding of animals. It features a score made in collaboration with musician Andrew Fogarty, employing a mixture of field recordings, electronics and found material to conjure a unique sound world.

The work is a sound installation composed of so-called non-sounds. These are the sounds of old refrigerators, fans inside old laptops, boilers, fluorescent lights, DVD players and the likes. Together these sounds make a composition, which is intensified and interrupted at regular intervals. What is special about these sounds are that most people quickly become used to them. They quickly become background noise, a continuous frequency of vibrating noise which is often less apparent than other sounds, such as music and voices. It is only when these sounds stop that one notices how tiresome and straining to our ears they really are. This feeling of relief that one feels when these ever-present noises stop for a moment is what Meditation Evil simulates. The work in this regard is as much about silence as it is about living with noise. Supported by Office for Contemporary Art Norway, OCA.

BIO Jenny Brady completed an M.A in Visual Arts Practices (2011). Her recent group exhibitions include Futures ‘13 curated by Patrick Murphy at RHA; TULCA Golden Mountain (2013), curated by Valerie Connor; and Make Shift (2013) Talbot Rice Gallery, Edinburgh curated by Alex Hetherington. She has had solo shows at Mermaid Arts Centre (2011) and the 126 Artist-run gallery (2010). Future projects include screenings at Images festival, Toronto (2014) and Atelier Public #2, Gallery of Modern Art, Glasgow as part of Glasgow International (2014). In 2013 she set up Critical Forum Dublin with LUX and Temple Bar Gallery + Studios and has undertaken commissions for Dublin City Council (2013) and Mayo County Council (2012). Recent awards include an Arts Council Project Award (2014), Travel and Training award (2013, 2012) and Visual Arts bursary (2011).

BIO Kjersti G. Andvig was born in Oslo and grew up on the Lofoten islands. She’s been based in Lofoten and Brussels since 2011. In 2003 she graduated from The National Academy of Fine Art in Oslo. Besides from working on the piece for EVA, she is currently working in collaboration with Lars Laumann for the 200 year anniversary jubilee of the Norwegian Constitution. In 2014 she will be an artist in residence for five months at Glasgow Sculpture Studios months as part of their residency project HIGH-NORTH. Andvig has presented her work in exhibitions in Norway, Sweden, Japan, France, and Germany, among other places.

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CHIMURENGA

PER-OSKAR LEU

(Collective founded in 2002, Cape Town, South Africa)

(b. 1980, lives and works in Oslo, Norway)

CHRONIC READING ROOM (2002 – 2014) Chimurenga Chronic Newspapers and Publicity Posters. Courtesy of the Artists.

CRISIS AND CRITIQUE (2012) Single-channel video with sound, 28 min. 07 sec. Courtesy of the Artist.

For EVA 2014 Chimuranga have set up a reading room for The Chimurenga Chronic. The Chronic is a quarterly pan African newspaper that gives voice to all aspects of life and celebrates our capacity to continually create something bold, beautiful and full of humour. It seeks to write Africa in the present and into the world at large, as the place in which we live, love and work. An intervention in both time and space, it embraces the newspaper as the medium best capable of inhabiting, reproducing and interpreting political, social and cultural life in places where uncertainty and turbulence are the forms taken, in many instances, by daily experience. The Chronic tells stories of a complicated ordinariness. It employs reportage, creative nonfiction, autobiography, satire and analysis to offer a vivid and richly textured engagement of everyday life. The reading room invites visitors to literally step inside the newspaper where they’ll encounter forays into interlaced subjects of power, resistance, protest, mobilisation, mobility and belonging; investigation into the rhetoric of land theft and loss; journeys through the business of moving corpses; and analysis on the philanthropic complex. Find out how Ghana’s controversial duo FOKN Bois mess with the puritanical mores in the world’s most religious country, and learn why Africa’s best footballers aren’t African!; and much, much more.

Per-Oskar Leu is concerned with questions surrounding art’s ability to respond in times of social upheaval. In his multidisciplinary practice, which includes sculpture, installation and video, Leu often makes use of archival material in order to re-stage historical events, and to reinterpret works of film and literature. His video essay Crisis and Critique is a humorous and often agonizingly ironic account of German poet and playwright Bertolt Brecht’s compelling testimony before the House of Un-American Activities Committee in 1947. Here, Leu highlights the absurdity of McCarthyism by weaving together audio recordings of the HUAC hearing with imagery drawn from films Brecht had a hand in writing or directly influenced, most strikingly, from the final underground kangaroo court scene of Fritz Lang’s film “M”. Crisis and Critique draws parallels between historical moments in Nazi Germany and McCarthy America, providing a cautionary tale of politics’ interference with art. Supported by Office for Contemporary Art Norway, OCA.

BIO Chimurenga (‘Struggle for Freedom’) is a pan African publication of culture, art and politics based in Cape Town. Founded by Editor Ntone Edjabe in 2002, it provides an innovative platform for free ideas and political reflection by Africans about Africa. Its titles include, amongst others, Music is The Weapon, Futbol, Politricks and Ostentatious Cripples, Black Gays and Mugabes, Dr. Satan’s Echo Chamber (a double issue on African science fiction) and, ‘The Chimurenga Chronic‘, a once-off edition of an imaginary newspaper. Since 2013, Chimurenga have published the Chronic as a quarterly gazette. Chimurenga magazine has featured work by emerging as well as established voices including Njabulo Ndebele, Lesego Rampolokeng, Santu Mofokeng, Keorapetse Kgositsile, Gael Reagon, Binyavanga Wainaina, Yvonne Adhiambo Owuor, Dominique Malaquais, Goddy Leye, Zwelethu Mthethwa, Mahmood Mamdani, Amiri Baraka, Akin Adesokan, Neo Muyanga, Johnny Dyani, Olufemi Terry, Koffi Kwahule, Parselelo Kantai, Billy Kahora and Greg Tate, among others.

BIO Per-Oskar Leu lives and works in Oslo. He has studied at the National Academy of Fine Art, Oslo, the Staatliche Hochschule für Bildende Künste – Städelschule, Frankfurt am Main, and the Whitney Museum Independent Study Program, New York. Recent exhibitions include: In These Great Times, Kunstnernes Hus, Oslo; We Are Living on a Star, Henie Onstad Art Centre, Høvikodden; The Suitcases of Mr. O.F., 1/9 unosunove, Rome; When it Stops Dripping from the Ceiling, Kadist Art Foundation, Paris.

2014 AGITATIONISM

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DAVID HORVITZ

ANN BÖTTCHER

born 1982 and lives in New York

(b. 1973, lives and works in Malmö, Sweden)

EVIDENCE OF TIME TRAVEL (2014) Slide projection, clock, and text documents. Courtesy of the Artist.

ST. JOSEPH’S (2014) pencil on paper drawings. Courtesy of the Artist and Galerie Nordenhake.

David Horvitz is presenting Evidence of Time Travel, a new work that was commissioned specially for EVA. The piece was made from March 24 to April 3 in Dublin on residency at IMMA | Irish Museum of Modern Art, and is a continuation of works by Horvitz that explore travel and place, time and its standardization. Upon arriving in Ireland, Horvitz has kept his watch set to the time of California’s time zone (the state he was born in) which is currently eight hours behind Ireland. Using this skewed clock, which is operating autonomously from his immediate surroundings, he schedules his daily routines. A breakfast coffee in the morning enjoyed while it’s the afternoon for everyone else, a lunch while people are having dinner, a dinner while everyone is fast asleep, and an after dinner walk while dawn is breaking and the only ones in the streets are foxes. As his body attempts to adjust to the light of the day and coordinate with his current locality, he consciously resists this temporal and spatial adaptation as he stays on his own time, the time of his birth place, using the clock as his sun. Presented at the exhibition will be photograph and text documents from his experience in Dublin. Horvitz currently lives in Brooklyn, but he is from and was born in Los Angeles.

While visiting Limerick earlier this year, Böttcher went in search of trees that silently spoke to her. Along Mulgrave St. and Ballysimon Rd., she came across Limerick Prison, St. Joseph’s Hospital and Mount Saint Lawrence Cemetery, one after the other (in itself an interesting narrative). The artist was drawn towards the buildings and parklands of St. Joseph’s, resulting in a series of pencil drawings. The drawings are portraits of Irish yew and cypress trees from the hospital grounds. Through research, the artist got to know parts of St. Joseph’s history as well as the rise and fall of mental institutions in Ireland and Europe. The hospital is closing down, following the same deinstitutionalisation reforms that started in Europe in the late 20th century. By looking at different reforms, one can follow society’s view on mental health as time passes. The 1821 ‘Lunacy Act’ and the 1838 ‘Criminal Lunatics Act’ were replaced by the ‘Mental Treatment Act’ in 1945 and later by the 2001 ‘Mental Health Act’. In attempts to get rid of the stigma attached to mental illness, reforms have dictated name changes. St. Joseph’s was founded in 1827 as Limerick District Lunatic Asylum, in 1923 it changed to Limerick District Mental Hospital and finally to St. Joseph’s Hospital in 1959. Today, its massive grey limestone buildings that once housed up to 1,000 patients are next to empty. The actual closing date is not yet decided.Supported by Iaspis, the Swedish Arts Grants Committee’s International Program.

BIO David Horvitz is a Brooklyn based artist whose work shifts seamlessly between the Internet, the printed page, and the exhibition. He works in a variety of media, including photography, video, watercolour, mail-art, and the web. His participatory practice, often involving close collaborations with other artists, as well as a web-based audience, considers strategies of information circulation and the impermanence of digital artefacts. His published work includes: Rarely Seen Bas Jan Ader Film (2009), Sad, Depressed, People (2012), and Watercolors with Natalie Häusler(2013) and he has exhibited at Kunsthal Charlottenborg, Tate Modern, MoMA, Art Basel Statements, the New Museum and LIAF 2013.

BIO Recent exhibitions include “The Drawing Room”, Magasin 3, Stockholm Konsthall and “Our Inner Nature” Marabouparken, Stockholm. Selected group exhibitions: “Art of Memory”, at Bonniers Konsthall, Stockholm 2013, LIAF, Norway (2013), X-border Biennal, Luleå (2013), “Meeting with Hill”, at Lunds Konsthall (2011), “More Light”, at Museum de Fundatie, Zwolle, NL (2011), “Thrice upon a time”, at Magasin 3 Stockholm Konsthall” (2010), “Time’s Arrow”, at Galerie Nordenhake, Stockholm (2010), “La Petite Histoire” at Kunstraum Niederoesterreich, Vienna (2008), “Vertrautes Terrain” ZKM, Karlsruhe (2008), “The Moderna Exhibition 2006” at Moderna Museet, Stockholm (2006), “Altered, Stitched and Gathered,” at P.S. 1 MOMA, New York (2006), Delayed on Time” at the Museum of Contemporary Art, Zagreb (2004), and “Le Songe d’une nuit d’été” at Magasin 3 Stockholm Konsthall and CCS, Paris (2003). Solo exhibitions: “Der Umgang mit Mutter Grün” at Galerie Nordenhake, Berlin (2008), “The Entrance to the Sanatorium”, INDEX, Stockholm (2007), and “The 1st at Moderna” at the Moderna Museet, Stockholm (2006).

EVA INTERNATIONAL

JEFFERY CHARLES HENRY PEACOCK

ZACHARY FORMWALT

(Dave Smith b.1972; Thom Winterburn b.1970, live and work in the UK) SCABS (2014) Pencil on Arches Aquarelle paper, frames, trestle-tables, MDF drawing boards, vinyl sheets, work lamps, printouts on 180gsm matt paper). Courtesy of the Artists.

IRELAND’S BIENNIAL

Scabs revolves around a reproduction of Courbet’s 1849 painting of the Stonebreakers. The reproduction consists of two figures, just under life-size, on a dirt road set against a dark hillside. A limestone crag (reminiscent of Malham Cove, Yorkshire) juts out from the forested hillside. The sun is bright and it appears hot. The older man is bent on one knee that is protected by a straw bundle and raises his hammer to break a rock. The younger man is carrying a wicker hod filled with the smaller finished broken rocks. We assume this stone aggregate is used as a filling and drainage material for the road. From the full-size reproduction we can see that the clothes of the figures have been worked with particular attention, more so than the flesh that they cover. The trousers of the older man appear stiff. It’s hard to know whether it is the quality and weight of the material, rather than the ground-in dirt and sweat like the unwashed denims of a Hells Angel. The clothing also has the appearance of a stone carved low relief. Both of the figures faces are obscured; one by the shade of his hat, the other by his turning to a lost profile. Clogs and shoes predominate the foreground. With this the artists ask “Is this a good enough description of our reproduction?” Exhibited alongside the Courbet reproduction investigation are a series of posters containing images and statements. Each declaration airs cynicisms and predicaments, and finally surrenders to the ritual of exhibiting in order to take it to task. BIO Jeffrey Charles Henry Peacock is the sole collective practice of Dave Smith (based in Holbrook, Derbyshire) and Thom Winterburn (based in London). JCHP Have exhibited at the Institute of Contemporary Art, London; Swiss Institute, New York USA; Free Museum of Dallas, Texas USA; Lanchester Gallery Projects, Coventry UK. Their book ‘Critical Décor: What Works…’ will be distributed through Lanchester Gallery Projects and Banner Repeater, London UK in May 2014.

(b. 1979, lives and works in Amsterdam) IN LIGHT OF THE ARC (2013) Double-channel video installation with sound, 30 min. looped. Courtesy of the Artist.

In Light of the Arc goes inside Shenzhen’s future stock exchange, once inside, a series of relations appear between the material infrastructure required by today’s financial system and the surface of exchange that results from this infrastructure. While today’s markets are touted as pure arenas for efficient price formation, the work suggests that these prices are but one side of the equation. The material underbelly cannot be made to disappear simply through the abstraction of an economics that has become obsessed with an efficiency measured through abstract notions such as liquidity and risk, terms which have themselves been reduced to a technical language that avoids any reference to the meaning which they have outside of this discipline. In Light of the Arc proceeds by way of other images, the construction of which is never entirely complete. These incomplete images attempt to capture a process of materialization in a place that will soon be driven by dematerialization. The film is split between two screens positioned opposite each other and projected from the same angle that the shots were originally taken from. The familiar tapering of the building facade as it stretches upward is here corrected by the angle of the projection, so that the building remains the same width at both the top and bottom. It is what would be seen from an ideal point where the facade would not be affected by perspectival space, an ideal view that is only achieved through a severe distortion of all that surrounds it. Supported by Mondriaan Fund. BIO Zachary Formwalt was born Albany, Georgia (USA) and has been living and working in Amsterdam since 2008. He has presented solo projects at VOX Centre de l’image contemporaine, Montreal (2013); KIOSK, Ghent (2013); AR/ GE Kunst, Bolzano (2011); Casco—Office for Art, Design and Theory,Utrecht (2010); Wexner Center for the Arts: The Box, Columbus, OH (2010); Kunsthalle Basel (2009). In 2013, his film, Unsupported Transit, was awarded a Tiger Award for Short Films at the IFFR and the Dialogpreis at EMAF.

2014 AGITATIONISM

VENUE KERRY GROUP - FORMER GOLDEN VALE MILK PLANT

10 PRANEET SOI

(b.1971, live and works in Kolkata, West Bengal and Amsterdam, the Netherlands) SRINAGAR (2014) mixed media installation, slide-projection, Papier Mache tiles 3m/3m, Papier Mache Disc 1.2 m, Chalkboard Texts and images. Courtesy of the Artist.

Supported by Outset England and Outset Netherlands as part of the International Production Fund. Important notice: Praneet Soi’s installation for EVA International 2014 is staged and unfolds over time and in layers, allowing for his immersions in Kashmir to articulate an emergent and experimental narrative. The artist first visited the Kashmir valley (Srinagar) in the Christmas of 2010, in the aftermath of what had been a particularly violent summer. Between May and September 2010 more than a hundred people lost their lives in the valley and innumerable others were injured by stone pelting and aggressive policing by civilians and the armed forces respectively. A staged encounter between armed forces and militants had been brought to light and sparked huge unrest. For Eva International 2014 Soi will be working with artisans that he had met over his first visit to create a 4/4m patterned tile and a patterned disc in papier mache, a technology that enters the country with the arrival of Sufism from Iran. The saint Bul Bul Shah is attributed to having converted the Buddhist ruler, Rinchen Shah, to Islam in the 1300’s and laid the foundation of a secular Sufi culture in Kashmir. On the surrounding wall Soi will be creating a series of texts that he will over time inscribe with images that he has accumulated within Srinagar, the Kashmir valley. The use of image distortions of anamorphosis will be explored as a means to articulate a parallel narrative. Finally, the slideshow explores the working of ancient patterns within the architecture of the city. It is an essay that articulates the acts of fragmentation and alienation that allow for the formation of motifs.

BIO Praneet Soi’s work spans a wide range of media including painting, drawing, collage, text, slide-shows and performancelectures. Literature and film have influenced his work and narratives. Soi’s exploration of media imagery led him to experiment with fragmentations and distortions of the human body and the environment around him. The fragmentation of the land through the enforcement of borders finds, to Soi, a parallel in the way motifs are constructed. He is currently working to create a body of work on the subject of labour using documentation of small one-man workshops in North Kolkata that he has collected over the past four years. Soi has participated in the 7th Gwangju Biennale in 2008, and in 2011the first curated Indian National Pavilion at the 54th International Art Exhibition - La Biennale di Venezia in 2011 amongst other venues. A monograph on his work was published by Distanz Verlag in 2011.

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11 RANA HAMADEH

(b. 1983, lives and works in Rotterdam) HUSSEIN MINNI WA ANA MIN HUSSEIN (HUSSEIN IS OF ME AND I AM OF HUSSEIN) (2014) Framed pencil on paper drawings. Courtesy of the Artist.

This is a new episode of Hamadeh’s ongoing umbrella project, ‘Alien Encounters’, which is a multi-faceted research project that thinks through the conjunctions of the legal and the spatial. It is the first stage of a series of works that attempt to deconstruct the theatrical components that constitute the phenomenon of ‘Ashura’, taking the political, military and legal actualization of this theatrical phenomenon within the Lebanese and Syrian contexts as a field for commentary and research. Although ‘Ashura’ is a particularly Shiite phenomenon during which tens of thousands of men, women and children take to the streets to re-enact the historical battle of Karbala in commemoration of the slaying of Imam Al Hussein (a highly regarded political/religious figure for Shiite Muslims and an allegorical reference to the promise of a coming justice), the artist sees this phenomenon as a structural dramaturgical framework that paradoxically underlies the entire politics of oppression in Syria, primarily based upon minoritarian resurrective ideologies. For EVA International 2014, Hamadeh presents a series of new drawings whose protagonist is a theatrical-auditory script. Departing from a claim that regards justice as the extent to which one can access the dramatic means of representation – the measure to which one can access theater – the drawings propose a detour: a side-entrance to the notion of justice and its workings through the suspension of the theatrical on one side and through its intensification on the other. How is it possible, then, through such a detour, to script justice? To rehearse it, orate it, narrate it, prop it, choreograph it, scenograph it or even spectate justice? Supported by Mondriaan Fund.

BIO Rana Hamadeh is a performance and visual artist from Beirut, Lebanon currently based in the Netherlands. Interested in a curatorial approach within her artistic practice, she works on long term discursive research-based projects that function as umbrellas to series of performance, choreographic, cartographic and writing projects. Her works constantly question the boundaries, mechanisms, thresholds and authority of meaning production, and are concerned with processes of shifting and queering the conditions of spectatorship. Selected exhibitions include presentations at KIOSK (solo, 2014), Riga Art Space (2014), Lyon Biennale, The Lisson Gallery and Beirut in Cairo (2013), Van Abbemuseum (2011/2008), Beirut Art Center (2010), and The New Museum (2009). She graduated in 2009 with an MFA from the Dutch Art Institute/ ArtEZ Instiute of the Arts, and is currently auditing within the Curatorial Knowledge PhD programme at Goldsmiths University, London.

2014 AGITATIONISM

VENUE KERRY GROUP - FORMER GOLDEN VALE MILK PLANT

HASSAN KHAN

PATRICK JOLLEY

THE DEAD DOG SPEAKS (2010) Colour animation, 4 min. 2 sec. looped. STUFFEDPIGFOLLIES (2007) Six inkjet prints on paper. Courtesy of the Artist and Galerie Chantal Crousel.

THIS MONKEY (2009) Digital video transferred from 16mm film original, 7 min. Courtesy of The Patrick Jolley Estate.

(b. 1975, lives and works in Cairo, Egypt)

In the dubbed digital animation “the dead dog speaks” three figures; based upon the artist’s mother, Tokyo the dead family dog of his childhood, and the face of Youssef Shaaban an Egyptian Film and TV actor who in the 80s and 90s epitomized Egyptian machismo (whether playing the roles of evil or good characters), are engaged in an absurd conversation that revolves around their relation to each other. Each sentence is uttered in a different voice, thus further enhancing the operation in which a character is emptied out and word flows automated, gaining and losing meaning in relation to the context it is put in. “stuffedpigfollies” are six 20x25 inkjet prints on Canson paper, they are digital drawings of cartoon like pigs in different paranoid states. Each drawing is accompanied by a sentence written in a font designed by the artist. The piece takes a generic anthropomorphic figure that of the pig, and makes it speak of the very conditions of the construction of a persona. Both works find forms to engage with what might lie at the heart of human self identification- a moment of possession and loss. BIO Hassan Khan is an artist, musician, and writer. Recent exhibitions include: The Unrest of Forms, Secession, Vienna, 2013; Hassan Khan, SALT, Istanbul, 2012; Documenta 13, Kassel, 2012; Intense Proximity, Paris Triennial, 2012; and The Ungovernables, New Museum Triennial, New Museum, New York, 2012. Most recently for the Nuit Blanche Festival Khan premiered Composition for a Public Park a large-scale multichannel music and lights installation at the Parc du Belleville in Paris. His publications include The Agreement (2011) and Nine Lessons Learned from Sherif El Azma (2009).

(1964 – 2012, born in N. Ireland)

This Monkey, filmed over a number of months in the Delhi area, confronts the spectator with a disturbing image of man’s close relative, the rhesus monkey. Through long tradition, these semi-wild animals have co-existed with their handlers, providing delight to spectators. Jolley exploits the sense of biological kinship that these simian creatures elicit in us, and his film owes much of its evocative power to the revulsion we feel at being suddenly confronted by unexpected and unpredictable violence. This power is compounded by the absence of language, which might offer mitigation or a means of placing the event into a context. Patrick Jolley’s work spanned film, photography and installation. He was profoundly interested in the ordinary and its proximity to the horrific and in how little can be done to stop the one turning into the other. Like Beckett, he saw acceptance and humour as tools to be used to survive life—even to enjoy it. He did not believe in the possibility of escape, or rather he saw all attempts at escape as doomed to failure and therefore not worth the candle. Neither explanation nor comfort formed any part of his repertoire. The influence of Eastern European and Russian literature are clear; also the tragic and bloody history of the twentieth century. Jolley passed away in India in early 2012. BIO Patrick Jolley was born in Co. Down and had lived in Ireland, London, New York and Berlin. He had been living in Co. Meath until his sudden death on January 15, 2012. Recent exhibitions include a solo show at Limerick City Gallery, and group exhibitions at ‘EXPO 1: New York’, PS1 MOMA, New York, ‘Unsafe Spaces in Contemporary Art’, Kunstmuseum Bonn, ‘Prelude Speaker: Contemporary Castletown’, Co. Kildare and ‘9 + 1 Ways of Being Political’, MOMA, New York. Institutions and that exhibited his work include the TATE, London, the Pompidou Centre, Paris, the Reina Sofia Museum, Madrid, the Irish Museum of Modern Art and PS1 MOMA, New York. His work has been included in the São Paulo Biennial, Brazil, the Gwangzhou Triennial, the Berlin Biennial and Dublin Contemporary. His work is in the permanent collection of the MOMA, New York, NBK, Berlin, and IMMA, Dublin. His work has had extensive screening at international film festivals, including the Sundance Film Festival, Rotterdam Film Festival and Kassel Documentary Festival.

EVA INTERNATIONAL

IRELAND’S BIENNIAL

SOFIE LOSCHER

(b.1987, lives and works in Dublin)

BENJAMIN DE BURCA & BÁRBARA WAGNER

WAITING IN THE WINGS (2013) Glass, lights, brackets. Courtesy of the Artist.

(de Búrca b.1975, Wagner b.1980, live between Berlin, Galway and Recife)

Sofie Loscher is an installation artist and sculptor working at an intersection between art and physics. She is interested in the physical properties of the natural world and in human perception.Her work explores perception as a sensory experience. She creates illusionary constructs as a tool for exploring visibility, redirecting the viewer’s attention away from the object and towards the process of perception. The work shown here for EVA 2014 is titled Waiting in the Wings and like some of the artists other works is a conceptual manifestation derived from an eighteenth century theatrical technique called Pepper’s Ghost which was used to create ghosts on stage. In Waiting in the wings, the illusion sees unwired bulbs become illuminated by reflection. Loscher uses the glass to replicate light from one bulb to another creating a double reality, obscuring the line between the existing and the unreal. BIO Sofie Loscher holds an MFA in Sculpture from the National College of Art and Design, Dublin and a BA in Visual Arts Practice from Dún Laoghaire Institute of Art, Design and Technology. Recent projects include a site-specific commission in Killruddery House, Wicklow; solo exhibitions in Tactic Gallery, Cork and Monster Truck Gallery, Dublin, and a one-year studio residency in UCD School of Physics. She is currently undertaking a public art commission for the Lyric Theatre, Belfast.

EDIFICE RECIFE (2013) Inkjet print on Hahnemuhle paper, 120 framed images and texts. Courtesy of the Artists. Edifice Recife identifies the relationship between social status and taste embodied in the architecture and urban planning of the city of Recife, in the Northeast of Brazil. There, an ideal of modernity was materialised by law in 1961 making mandatory the placement of three-dimensional artworks at the front of residential edifices to be constructed over 1,000 square meters, for which only local artists should be commissioned. From the 60s to the 80s, these works - mostly sculptures - were made by recognised artists of a modernist tradition. Since the 90s - as private investments gradually influenced changes in this law in order to speed up the completion of real estate projects – the construction companies began producing these artworks themselves. Usually positioned near to the security cabins of the condominiums, these pieces are subjected to continuous observation and conservation by the porters who guard these sites. Edifice Recife consists of 60 colour photographs of these sculptures paired with 60 texts by the porters describing their relationship to the artworks they share their space with. While the photographs give an account of the eclecticism adopted by modernist art and architecture in the Northeast of Brazil until the recent real-estate boom years, the porters’ text depict the position of individuals from an emerging class on an art form traditionally made for consumption of an ‘educated’ elite. Edifice Recife overviews a new aesthetic prescribed by a developing economy, uncovering contradictions of a social fabric where elements of colonial servility remain evident. BIO In their collaborative practice, Benjamin de Búrca and Bárbara Wagner work in the space between the documentary and art, making use of familiar narrative forms such as: interviews, surveys, collection and display of accepted forms of visual production. They aim to bring diverse and contradictory elements of reality to an equal level of presentation, destabilising embedded hierarchies of knowledge. Working together since 2011, they have participated in exhibitions at the Grimmuseum (Berlin), Museu de Arte Moderna MAM-SP (São Paulo) and 4th Biennale des Arts Actuéls (La Réunion). In 2014 they will show at Centro Cultural Helio Oiticica (Rio de Janeiro) and produce their first documentary based short film, which addresses tradition, pop culture and consumerism in the Northeast of Brazil.

2014 AGITATIONISM

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CARLA ZACCAGNINI

(b. 1973, lives and works in Sao Paulo)

NILBAR GÜREŞ

(b. 1977, lives and works in Istanbul and Vienna) EVIDÊNCIAS DE UMA FARSA / EVIDENCES OF A FARCE (2011) Framed magazines and video montage, 2 min. 34 sec. Courtesy of the Artist and Galeria Vermelho

OPEN PHONE BOOTH / IDENTITY (2011) Framed colour photographs and video, please see wall text for individual titles. Courtesy of the Artist, Rampa, Istanbul and Martin Janda, Vienna.

The Video: FIRST MINUTES FROM “SALUDOS AMIGOS!” (DISNEY STUDIOS, 1942) AND EXCERPT FROM “RIO” (20TH CENTURY FOX / BLUE SKY STUDIOS, 2011)

The Two Magazines: ‘Tbc defgc hi hjbk dglmn c g13.02.1956 AND ‘THE ECONOMIST’ MAGAZINE FROM 14.11.2009

Evidências de uma farsa / Evidences of a Farce is a project initiated in 2011 and still under development. It intends to bring together a collection of diptychs, which pair elements from two different time frames, both dealing with the international image of Brazil. Each of these diptychs is composed of two elements: one element from the last two decades, and another one from the so called período desenvolvimentista (development era), which coincides with the post war decades. These objects, photographs, films and other memorabilia are the symptoms of a geopolitical position and apprehension of Brazil that can be found inhabiting our daily contexts and popular standards of representation. The project started as the result of research the artist had to undertake to write a text in 2011, she began noticing many similarities between the image of Brazil that circulated back in the 50s and 60s and the one that is being produced and publicized in recent years. In the chapter of the project exhibited here, Zaccagnini has brought together two magazine covers and two animation films, from the past and present. The artist is currently researching the past and present image of Brazil in relation to the World Cup, Miss Universe and modern art museums. BIO Carla Zaccagnini is an Argentinean artist, living and working in Sao Paulo, Brazil. Her work is often concerned with the fallibility of perception and she has created many works which are deliberately disconcerting and require the viewer to decode what may be happening. Zaccagnini often works on site-specific installations or in projects carried out as part of residencies in which she reflects on the place, language, ways of relating and the editing formats of the work itself. Recent works have found the artist making private and intimate use of language, concerning herself with notions of displacement of meaning. Her recent exhibitions include the Lisbon Architecture Triennial (2013), Fotografisk Center, Copenhagen (2013), 9th Shanghai Biennale, China (2012), and the 28th São Paulo Biennial (2008).

Nilbar Güreş works with her family and friends; people whose stories she knows well. Her work focuses on the gap between the image that a state popularizes of itself and the surge of global changes that render state apparatuses at odds with the realities of daily life. In her project Open Phone Booth produced while on visits to her father’s birthplace, a Kurdish and Alevi (an ethnoreligious minority in Turkey) village in the East Anatolia region of Turkey, she investigates how questions around infrastructure can be translated into forms of visual narration that can hold critical potential. One of the most drastic changes in the lives of the village’s inhabitants has been the advent of communication technologies. A telephone network was introduced during the 70s but villagers had to go to the village’s chief to make phone calls through his office line. Although a phone network was promised and the villagers paid the required fees, the village still remains without a telephone network. Fast-forward into the digital age, and, while the mobile phone means increased connectivity and mobility, in this village it means climbing up hills in order to catch very weak signals and make necessary calls. The very short video Identity is an extension to the Open Phone Booth series capturing the burden of the term and a desire to surpass it while being grounded in its consequences. BIO Nilbar Güreş received a BA degree in Painting from the Faculty of Fine Arts, Marmara University, İstanbul, then a MA degree in Painting & Graphics from the Academy of Fine Arts, Vienna. Recent exhibitions include; “An Inspiration of History”, Palais De Tokyo, Paris (2013); “Signs Taken in Wonder”, MAK, Vienna (2013); “Rosa Arbeit auf Goldener Strasse”, Akademie des Bildener Kunste Wien (2012); “What is Waiting Out There”, 6th Berlin Biennial (2010); “Where Do We Go From Here?”, Secession Vienna (2010), “What Keeps Human Kind Alive?”, 11th International İstanbul Biennial, (2009) and the travelling exhibition “Tactics of Invisibility”. Selected solo shows are; “Self-Defloration”, Künstlerhaus Stuttgart (2011); “Nilbar Güreş”, Rampa, Istanbul (2011), “Nilbar Güreş”, Iniva, London (2010-11); “Unknown Sports; Indoor Exercises”, Salzburger Kunstverein (2009). In 2012, she completed a residency at the International Studio & Curatorial Program in NYC supported by the Austrian Government.

EVA INTERNATIONAL

IRELAND’S BIENNIAL

SEAMUS NOLAN

JACQUELINE DOYEN

TARZAN TRAINING CAMP (2014) Slideshow projection based on the actual training camp. Courtesy of the Artist.

MODEL 3107 (2013) Installation with staged performance. Courtesy of the Artist.

The inaugural Tarzan Training Camp took place in April at Pery Square (the people’s park) Limerick City, as part of EVA 2014. This one day training camp devised by artist Seamus Nolan offered the opportunity to explore a unique and personal perspective in experiencing, managing and negotiating local landscape and environment. Taking place in Pery Square and the education room of the Limerick City Gallery of Art, the workshops addressed the topics of landscape (permacultural orientation within our environment), food (locating foraging and preparing food in the wild), movement (bird, animal, and human patterns of movement in the landscape), and voice, marking the boundaries of landscape and territory through vocalisations. They were all devised as a set of instructions towards locating the participants inner Tarzan, a series of exercises to orientate ourselves within our environment, to recognize what our resources are and how to use them, explore movement in relation to the natural world and digging deep to release our primitive cries out over the landscape of the city. This slideshow documents and reflects on the first training campwhile the well known Tarzan yell is activated on the hour through the exhibition space. With support from ACA, Askeaton Contemporary Arts.

Jacqueline Doyen is a French artist currently based in Berlin. Her work focuses on the connection between the body and image-making. Her industrially manufactured objects uncannily recall medical appliances, theatrical props, or sport apparatuses. They exist as sculptural installations as well as usable appliances for staged performances. In both their extreme uncomfortableness and beauty, they extend the imagination, bringing it to the relationship we have with our bodies in a wider socio-political framework. These works investigate the potential to physically re-enact, or mentally explore the sculptural dimension of the human body. Each of her works necessitates a specific pose to be performed and sustained. The poses each indicate particular relationships with the body that are linked to history, culture, the environment, and sometimes history. For EVA 2014 Doyen is showing her work Model 3107. It references the famous posture of the British model Christine Keeler in Lewis Morley’s 1963 photograph, which although not visible in the exhibition, is made apparent through the work’s materiality, the performance on opening night, and the staged photograph taken of the performance. In Morley’s original photo Keeler was portrayed sitting on a copy of Arne Jacobsen’s Serie 7, Model 3107, the chair inspired the title of this work by Doyen. Supported by the French Embassy in Ireland.

(b.1978, lives and works in Dublin)

BIO Seamus Nolan adopts a methodology of ‘formal repositioning’ to reflect the nature of the institutions under which he operates. Recent work includes “10th President” at Templebar Gallery and Studios Dublin, a project which proposed the President of Ireland temporarily hand over office, “Newtopia, the state of human rights” Mechelen, Belgium, “The Trades Club Revival” which saw the revival of the traditional working man’s club in Sligo. Another project attempted to hijack a Ryan air flight (Flight NM7104) for “Terminal Convention Cork”, and another was the refusal to participate Ireland’s recent international art event Dublin Contemporary 2011. Other works include ‘every action will be judged on the particular circumstances’ a collaboration with the 5 peace activists acquitted for disarming a military aircraft in Shannon Airport, as well as “Hotel Ballymun” which saw the transformation of a residential tower block on the outskirts of the city into a boutique hotel.

(b. 1978, lives and works in Berlin)

BIO Jacqueline Doyen graduated from the Villa Arson in Nice (FR) and the ‘Hochschule für Bildende Künste’ in Braunschweig (DE). Selected exhibitions include, ‘Show Time’(group show) at GI Holtegaard Kunsthall (DK), ‘Eclipse’(solo) at Kunstverein Wolfsburg (DE) and at Kunsthalle Lingen (DE), ‘So near the garden but still miles away’(group show) at Galleria 1/9, Rome (IT) and ‘Jacqueline Doyen and Claudia Kapp’(two artist exhibition) at the Kunstverein Hannover (DE).

2014 AGITATIONISM

VENUE KERRY GROUP - FORMER GOLDEN VALE MILK PLANT

CATALINA NICULESCU

NEŠA PARIPOVIĆ

GUEST (2008) HD video, looped, 4 min. 10 sec. Courtesy of the Artist.

N.P. 1977 (1977) Film transferred to DVD. 22 min. Colour, no sound. Courtesy of Kontakt, the Art Collection of Erste Group and ERSTE Foundation.

(b.1978, lives and works in London)

The video Guest captures the repeated, inexhaustible climbing of a variety of urban barriers. These civic obstacles vary significantly in scale and purpose from the elaborate and yet exclusory ornamentation of the palace gates to temporary metal crowd control barriers. Although the video is looped it is the internal loop located in the editing of live episodes that structures the work. The performed action is obstinately repeated over and over again as Niculescu hurriedly enters the frame and begins to climb the obstacles in front of her, some are loaded with notions of exclusivity and authority while others are blatantly self-imposed barriers. Significantly the artist is always prevented from a successful assent by her own editing that refuses to allow what would seem to be the successful conclusion of the task. This suggests that we have missed something of importance. What that something is, or what it means, opens the work up to a variety of possible readings from the comic to the disturbing; from the political to the deeply personal while it simultaneously manages to frustrate a definite interpretation. BIO Catalina Niculescu is a Romanian born German artist based in London, who works with moving image, performance, collage and photography. She studied at the Academy of Art and Design in Offenbach, Germany, and the Slade School of Art, University College London. Niculescu’s work has been exhibited in various galleries and institutions across Europe and the USA, her films were screened at the BFI London Film Festival, Stuttgarter Film Winter, South London Gallery and Milton Keynes Gallery. She uses architectural structures as instruments for exploring human activities, the current transformation of our natural environment and the evolution of urban habitats. Her more recent works draw upon architecture’s relationship to its natural environment, its integration into urban systems and juxtapositions with the local vernacular. Projects include Along the Lines (Romania/UK 2011), Second in Space (USA/UK 2012) and Present Perfect (JP/UK 2013).

(b.1942, in Belgrade, Serbia, lives and works there)

N.P. 1977 is a film about a summer walk through Belgrade. In a way it´s a self-portrait of the artist who plays the main protagonist in the film. The film’s title refers to the artist’s initials and the year in which it was made. The artist/protagonist is dressed for the occasion. He moves through town like someone with a purpose who knows his way, who´s on his way to something exciting, who´s in a bit of a hurry, like someone who has the urgency of taking a short cut. But this short cut is slightly absurd and probably not a short cut at all, as we see him jump over fences, stroll over playgrounds and streets and climb over walls and roofs. N.P. 1977 draws a line through the city, from the outskirts and through the centre, as the protagonist passes by suburbs, backyards and well off neighbourhoods in what is also a portrait of Belgrade at the time. But this line through Belgrade is only in the mind of the viewer. In fact the film has no clear logic or narrative besides the constant movement of its protagonist. He disappears around a corner only to reappear through a hole in a wall in a different part of town. We follow him while he moves in what is actually not a line at all, but a labyrinth, where there is no beginning and no end. BIO Neša Paripović is one of the most influential artists within conceptual art in Serbia. He was part of a group of young artists that emerged around the Student Culture Centre, founded in Belgrade in 1971. Together with, among others, Marina Abramović and Raša Todosijević, he was one the advocates for the”new artistic practice”, a critical and political movement which in the wake of the student protests of 1968 opposed the old modernism dominating the scene in Yugoslavia at the time. He works in a variety of media such as photography, film, objects and painting. His performances are done for the camera, not in front of an audience, and he features himself as the actor.

EVA INTERNATIONAL

ELIZABETH PRICE

NICOLINE VAN HARSKAMP

THE TENT (2012) HD video installation, 15 min. Courtesy of the Artist and MOT INTERNATIONAL London and Brussels.

YOURS IN SOLIDARITY (2013) HD video projection and archival documents, 53 min. 22 sec. Courtesy of the Artist and D+T Projects, Brussels.

The Tent is derived from a single book, “Systems” (1972–3). The book is the video’s primary visual subject and its text is the source for the narration. Indeed most aspects of the video, including the melodic soundtrack, have been derived from the properties of this book. The only elements not generated in this way disclose the production of the video itself. The copy-stand on which the book is filmed is occasionally visible, as are Price’s hands turning the pages; and the live-sound of the studio in which the video was recorded is audible: the radio can be heard, passing traffic, planes overhead. Published by the Arts Council, Systems surveys the work of artists associated with the 1970s British Systems Group: reductive, predominantly abstract art generated using system theories. It features drawings, documentation and essays by each of the artists. The proposition of the video is to formulate the book as a kind of space, an ideological and imaginative enclosure expressed as a futuristic tent – and the book’s content is employed to narrate a fiction regarding the erection and attempted inhabitation of that tent. Drawing on spacefiction genres the narrative responds to the recurrent themes of the book: apocalyptic anxiety and futurological urgency, idealised relations between social and aesthetic economies, and artistic production as intense, hermetic refuge. The ideograph of the tent - the video’s central motif - is derived from James Moyes’ Vibration Tent (1972), proposed in “Systems” as an environment intended for the intense, reductive experience of extreme white light and white noise. Price’s work responds to Moyes’ proposal: the sculptural and audiovisual elements of the installation combine to create an enclosure for this sensual andpsychological experience.

In Yours in Solidarity, Nicoline van Harskamp addresses the recent history of anarchism through the correspondence archive of Karl Max Kreuger. From 1988 until 1999, the late Dutch anarchist corresponded by post with hundreds of like-minded people worldwide. As one of these letter writers herself, van Harskamp studied the archive for more than a year and tried to imagine the many proponents’ life stories since the last date of writing. She chose especially captivating correspondents, gave them a pseudonym, collected notes on them and produced their personality reports through an online handwriting analysis program. She then cast professional actors for each writer, with the relevant nationality and estimated current age, to work with her, one at the time, on creating a character with a biography and set of views detailed enough to conduct an interview. The first half of the project is a comprehensive archive of van Harskamp’s notes, as well as audio- and video documentation of the working sessions with the actors. From transcribed conversations with the new ‘characters’, van Harskamp compiled the script for a fictional work which forms the second half in which she lets a number of anarchists elaborate on the history and future of the movement in a fully scripted anarchist gathering. The resulting video installation, named after a much-used anarchist sign-off, suggests what might happen if the international correspondents were to meet today. Supported by Mondriaan Fund.

(b.1966, lives and works in London)

IRELAND’S BIENNIAL

BIO Elizabeth Price is an artist who uses digital and reprographic media to explore existing art and design objects, collections and archives. In 2012 Price was awarded the Turner Prize for her solo exhibition ‘HERE’ at the Baltic Centre for Contemporary Art, Gateshead. She was featured in the British Art Show 7: In the Days of the Comet (touring 2010 - 2011), and has recently had work presented at Bloomberg International and Chisenhale Gallery, London; The Stedelijk, Amsterdam, and the Musée d’art Contemporain de Montréal. Price lives and works in London.

(b. 1975, lives and works in Amsterdam)

BIO Van Harskamp’s project ‘Yours in Solidarity’ (2010-2013), addressing the very recent history of anarchism, was presented in different stages of completion at the Gothenburg Biennial 2013, MUAC in Mexico City, the Frankfurter Kunstverein, Manifesta 9 in Genk, the Shanghai Biennial 2012, and elsewhere. Her performance series in progress, ‘English Forecast’ (2012-ongoing), about the nature of the English language used among non-native speakers has so far been presented at Tate Modern in London, IASPIS in Stockholm and Stroom in Den Haag. Other works were presented at Performa 11 in New York, the Bucharest Biennial 2010, and the Van Abbemuseum in Eindhoven. Van Harskamp has staged her live pieces at Witte de With in Rotterdam, the New Museum in New York, the Stedelijk Museum in Amsterdam, and the Serralves Foundation in Porto. In 2009 she won the Dutch national prize for contemporary art, Prix de Rome. Van Harskamp is a head lecturer at the Sandberg Fine Arts Institute, Amsterdam.

2014 AGITATIONISM

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24 MARTÍ ANSON

(b. 1967, lives and works in Mataró, Cataluña) MATARÓ: LABORATORY OF SPAIN (2014) Wooden structure with billboard, framed postcards and other details). Courtesy of the Artist.

Mataró: Laboratory of Spain started when a large neon sign for the artist’s hometown bank, Caixa Laietana, was suddenly removed. The Caixa Laietana billboard had stood atop the highest building in Mataró for decades and for as long as the artist could remember. It lit up the city’s skyline at night and was ever-present from almost all angles of this small city. In the words of the artist “It should be mentioned that Mataró was never perceived without that big neon sign, it became part of how we related to our town, it presided over our streets, our beaches, etc. it also had a built-in thermometer telling us the temperature!” Mataró: Laboratory of Spain is a project about how signifiers of capitalism become part of our identity, leaving us unsettled if they ever disappear. Mataró’s bank Caixa Laietana was on verge of bankruptcy and was purchased by the powerful bank ‘Bankia’, the billboard was taken down in 2013. Anson managed to obtain a collection of original Mataró tourist postcards from the 70s to 2013. Through this collection we see how the neon billboard was always visible and an integral part of the city’s landscape and finally we witness its disappearance in 2013. The collection is housed inside an outdoor construction that represents the partial framework of the Caixa Laietana billboard, with its signage and thermometer. The Limerick Caixa Laietana billboard is set against Limerick’s cityscape as a background, making it a perfect postcard image, a displaced billboard for an ever changing world. Supported by Acción Cultural Española, AC/E.

BIO Since receiving his degree in Fine Arts, Martí Anson has been an architect (Bon dia, Sala Montcada, “La Caixa” Foundation, 1999/2000, and L’Apartament, Galeria Toni Tapies, 2002); a footballer (L’angoixa del porter al penalt, Iconoscope, Montpellier, 2001); a film director (Walt & Travis, 2003, produced at the Wexner Center in Columbus, Ohio, USA); a boat builder (Fitzcarraldo, 55 dies treballant en la construcció d’un veler Stela 34 al Centre d’Art Santa Mònica, 2004/2005); an art thief (Mataró/Montreal, Circa Gallerie de Montreal, 2006); a house builder in a project he devised to make a replica of a building in the United States to help conserve local heritage (Martí and the flour Factory, Lucky number 7, SITE Santa Fe Biennale,2008); he is also involved in a project to rescue the furniture designs that his father developed in the 60s (‘Exposition Internationale des Arts Décoratifs et Industriels Modernes & des Arts et Techniques dans la Vie Moderne’, Meessen de Clerq Gallery, Brussels 2011). In June 2013 he worked as an architect claiming some architecture from the 60s which remained anonymous and building a precise replica of a house 1/1 at the Palais de Tokyo, Paris. (Catalan Pavilion, Anonymous architect, Palais de Tokyo, 2013).

EVA INTERNATIONAL

HUMBERTO VÉLEZ

GARRETT PHELAN

THE UNDERDOG (EVA INTERNATIONAL CUP 2014) (2014) Short video loop with sound.

… THAT TENSE EXPECTATION … (2014) Ink drawings, animation, zine, and various branding manifestations. Courtesy of the Artist.

(b. 1965, lives and works in Manchester and Panama City)

Please see works under Limerick Greyhound Stadium for further details, p.41. This is a video work in relation to the collaborative performance project at the Limerick Greyhound Stadium on 12 April it will be filmed live and installed by 14 April. The video captures the intensity and speed of a greyhound race, but it is not your usual greyhound race, it’s the EVA International Cup race, and its commentary is extraordinary! Supported by Limerick City of Culture 2014.

IRELAND’S BIENNIAL

(b.1965, lives and works in Dublin)

… THAT TENSE EXPECTATION … is a commissioned work by EVA International 2014. The project is the integration of the artist’s practice into the identity output for EVA International 2014 – the Biennial brand. From advertisements publicizing the Biennial to drawings presented in exhibition form, it constitutes a whole. The work aims to reflect confusion and disjuncture within systems of conviction and principles – unknown spaces or entities. It represents both certainty and true irrationality or perhaps ultimately the energy used when trying to rationalise the impossible. The intention throughout the project is a highlighting of capitulation to the absolute present tense. Exhibited are various drawings from the project, a zine, a short animation. Visitors walking or driving by can also see Phelan’s slogans on the outside of the former Golden Vale Milk Plant. BIO Garrett Phelan has developed a distinctive art practice that directly engages the audience with immersive ambitious sitespecific drawing projects, independent FM radio broadcasts, sculptural installations, photography and animation. He has exhibited widely in Ireland and internationally, most recently at the Irish Museum of Modern Art; Proa Fundacion, Buenos Aires, Argentina; the 11th Lyon Biennial, France; 4th Auckland Triennial, New Zealand; SMART Project Space, Amsterdam; ICA, London; Fruit market, Edinburgh; Kunstverein, Hannover; Art Statements, Basel 39; and Manifesta 5.

2014 AGITATIONISM

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GRRRR (INGO GIEZENDANNER)

WALID SADEK

GRR58 (2014) Drawings, mural, short digital animations. Courtesy of the Artist.

THE RUIN TO COME (2013) Plexiglas labels, printed text on paper, photographs. Courtesy of the Artist.

GRRRR (alias Ingo Giezendanner) seeks inspiration from urban space, obsessively documenting his location in detailed drawings, animations, and public murals. For EVA 2014 GRRRR spent a month in Ireland, he documented his journey from Zurich to Limerick and his journeys around the country with drawings in black ink pen, his signature style. Roaming around the city of Limerick, he also made many drawings, and out of these experiences he developed a new multilayered mural including drawings and screen-based animations. GRRRR constitutes the idea of artist as traveller, a figure both on the inside and the outside of a different place, capturing fleeting material observations about them. His works are contemporary handmade travelogues that convey the time it takes to be attentive to detail and the time of traditional skilled labour, factors that seem to be incompatible with how space and place are usually recognized today. He often revisits the sites of previous travels and allows his work to develop over time in relation to the different locations. Supported by the Swiss Arts Council Pro

The exhibited works which constitute the installation titled The Ruin to Come are For when Aeneas bears Anchises (2010), Would that a survivor (2013) and A belly of pardons (2013). This installation proposes a rethinking of the figure of survivor outside the temporality of the posthumous. When framed as a posthumous figure, or that which lives on in spite of its death, the survivor is an impediment to the reconstruction of society along normative guidelines. But the persistent conditions of protracted war call for a re-conceptualization of the figure of the survivor along another temporal axis. No longer posthumous, the survivor is not an over-liver but rather a witness who knows too much carrying an unwelcome but necessary knowledge. Out of their forced retreat, the nonposthumous survivors search for where their next may lie; where the continuance of the past in the present can still find byways to elude the gates of interdiction and thus begin to build the necessary ruin that only survivors know how to gather and make. Yet the difficult question remains as to whether the next of survivors can amount to a liveable future and not just a mere time to come during which they are forcibly reintegrated within social institutions, having been analyzed and given a place in chronology as a past event.

(b. 1975, lives in Zurich, works while travelling)

BIO Ingo Giezendanner (aka GRRRR) is based in Zurich Switzerland. He travels the world and documents his surroundings at place with pen on paper. These drawings lead to picture books, murals and animations. He has produced videos for Swiss television SRF and published artist books with Nieves (CH) and Ediciones De A Poco (DR). His work has been exhibited in museums like Kunsthaus Z端rich (CH), Kunst Halle Sankt Gallen (CH), CAB de Burgos (ES), Fondation Van Gogh Arles (FR), Alexandria Contemporary Arts Forum (EG) and Swiss Instiutute (USA). Most of his artistic production (GRR1-GRR57) is accessible via his webpage: www.GRRRR.net

(b. 1966, lives and works in Beirut, Lebanon)

BIO Walid Sadek is an artist and writer whose early work investigates the familial legacies of the Lebanese civil war. He later began to posit, mostly in theoretical texts, ways of understanding the complexity of lingering civil strife in times of relative social and economic stability. His recent written work endeavors to structure a theory for a post-war society disinclined to resume normative living. Concomitantly, a number of artworks propose a poetics for a sociality governed by the logic of a protracted civil war and search for a critical temporality to challenge that same protractedness. He is associate professor at the Department of Architecture and Design at the American University of Beirut.

EVA INTERNATIONAL

METAHAVEN

PAULINE M’BAREK

BLACK TRANSPARENCY (2013–2014) Various materials, objects, and video. Courtesy of the Artists.

SHOWCASE (2012) Installation, 200 x 60 x 1.5 cm. TROPHY STANDS (2011) Sculptures, 43 x 92 x 14 cm. Courtesy of the Artist and Thomas Rehbein Gallery.

Founded by Vinca Kruk (b. Leiden 1980) and Daniel van der Velden (b. Rotterdam 1971)

IRELAND’S BIENNIAL

Metahaven’s recent project Black Transparency is thematically focused on the internet. The project explores the political mentality of a densely interconnected population whose principle instrument of freedom—the internet—defines at the same time its ubiquitous subjugation to abstract power. The video seen here is a manifesto for the current generation of digital nomads combining footage from austerity riots in Athens with imagery from popular culture and images of deserts; spaces which Metahaven view, metaphorically and literally, as blank canvases for a more distributed and decentralized network. ‘Black Transparency’ further comprises a set of proposals for data hosting in the form of a set of Bedouin tents. Using the ungoverned territories of “failed states” like Yemen, these nomadic data centres address possibilities for a distributed infrastructure, circumventing most international regulations. Using satellite connections and solar power, they may appear as quickly as they disappear. Metahaven have also teamed up with the fashion designer Conny Groenewegen. Together, they are creating a series of garments under the title / label ‘Data Stitch’, elements of which you can view in this installation. The designs process the keffiyeh, or the “Palestinian scarf” into a new kind of wearable object. In ‘Data Stitch’, USB flash drives and other data storage devices are connected to garments making them physical and personal data centres.

(b. 1979, lives and works in Cologne and Brussels)

Showcase: Especially in ethnological museums, the showcase functions as the central element of presentation, in which mainly exotic artefacts are presented. By means of vitrification and theatrical illumination, the foreign object is enhanced. At the same time, the object is deprived of any physical contact, while the optical framing of the display case is constructing and disciplining the viewers gaze. The work ´showcase´ consists of a door-like object with embedded mirror and glass parts, situated in a corner lit from both sides. Standing right in front of the object, at the right distance, a three-dimensional object made of reflections and shadows unfolds itself forming a museum showcase. However, the showcase´s inside is empty - it´s fetish emerges only in the gaze of the viewer. If the spectator is standing right in the middle of the light source, his own shadow is projected into the showcase - just like an ethnological object, one find´s oneself trapped in the raster. Trophy Stands: A variation of six different mask stands, which usually can be found in ethnological museums. Without the presented masks - whose forms we can imagine - the pointed metal forks protrude into empty space. If the viewer is standing directly in front of them, his/her own face fixed on those metal forks becomes imaginable. If one looks at the metal forks from the side, the combination of their shadows on the wall and the forks themselves resembles a classic chase trophy: a deer antler.

BIO Metahaven, founded by Vinca Kruk and Daniel van der Velden, is a research and design studio based in Amsterdam. Metahaven’s work—both commissioned and self-directed—reflects political and social issues in collaboratively conceived graphic design projects, objects, and media. In addition to international presentation of design and research projects, Metahaven have published numerous essays such as the three-part “Captives of the Cloud” series on e-flux journal, “Uncorporate Identity”, a design anthology for our dystopian age, co-edited with Marina Vishhmidt (2010) and the e-book “Can Jokes Bring down Governments?” (2013). The studio was awarded the CoBRA Art Prize 2013 and the Icon Design Studio of the Year Award 2013 by Icon magazine, London. Select exhibitions include Islands in the Cloud, MoMA PS1, New York; Gwangju Design Biennale 2011, Gwangju, Korea; Graphic Design: Now in Production, Walker Art Center, Minneapolis, and Manifesta 8, Murcia, Spain.

BIO Pauline M’barek, studied Fine Art in Hamburg and Marseille and studied new media at the Academy of Media Arts in Cologne. Her work has been presented in several solo exhibitions such as “Trophies” at Sfeir-Semler Gallery (2011), “Semiophores” at Thomas Rehbein Gallery (2014) and “the tangible border” at the Quadriennale 2014. She participated in group exhibitions such as “The mask needs to have danced” at Marres in Maastricht (2013), “The Memories Are Present” at Stedelijk Museum Bureau Amsterdam (2012) and “Chkoun Ahna” in the National Museum of Carthage, Tunisia (2012).An upcoming project will be a solo exhibition at the Kunstverein Frankfurt in October 2014.

2014 AGITATIONISM

VENUE KERRY GROUP - FORMER GOLDEN VALE MILK PLANT

MARK O’KELLY

DOA ALY

A SOLAR SYSTEM (2014) Installation of 10 oil on linen paintings. Courtesy of the Artist.

H.C.F (2014) video projection, approx. 5 min. looped. Courtesy of the Artist.

This installation of paintings presents a way of thinking about late Argentinean artist Xul Solar’s painting Rua Ruini. Rua Ruini features the hammer and sickle, the Star of David, the swastika, the crescent moon, the orthodox cross, among other loaded signifiers. Painted in 1949, the watercolor measures 35 by 50 centimeters and contains a complicated mise-en-scene. In it, four dead bodies are lying in the street, in a destroyed city. The city walls bear our improvised lynching gallows and bear the aforementioned markings of various cultures. A strange spectral figure witnesses the scene while a zombie figure looms in the foreground. Etched on one of the city walls are the figures ‘1939-1945’. O’Kelly painted as though he was painting over Solar’s painting, replacing its imagery with images that advance and conflagrate the desperate vision and prophetic phantasms inherent in the original work. Conflicting narrative images, cast from these dystopian themes are applied: demonstration, deposition and trial, all painted over and sometimes replaced completely. O’Kelly took all of the original painting’s component elements apart to re-imagine its multiple moments frame by frame. In particular the walls supporting each of the individual ideological signs in Solar’s work are re-imagined and mapped on the stretched canvases; the specificity of each individual sign is reconfigured as an evolving diagonally structured matrix. This network, which harnesses, marks, explodes and vanishes, is a visual metaphor for the combined universality and arbitrary affect of the political/religious symbol, as if all the signs were written upon one another.

On the 25th of January 2014, hundreds of thousands of people gathered in Tahrir square to celebrate the 3rd anniversary of the Egyptian revolution. While the square only admitted those who were supporters of the army, state police and hired affiliates were crushing nearby opposition protests with tear gas and ammunition. The proximity of the celebrations and the killings led many writers to call it the day of “death and dance”. Most writing attributed this frenzy to fear. The notion of fear functioned as an apology, but also promised a brighter future, once “fear” subsides. Those who spoke, albeit with passionate disgust, were still hesitant to address the implications of a huge crowd acting as one bigoted individual. I started revisiting Bataille and De Sade’s writings on the 26th. That day, a journalist started his daily column in AlTahrir newspaper with the words, “Jihadi madness versus the hysterical choir of the frightened”. Using words like madness and hysteria, he denied this “mass”, frightened and hysterical, all responsibility afforded by self-governance. I’m recreating the Hysterical Choir of the Frightened’s alter ego - H.C.F. It is unafraid, unapologetic and accountable. H.C.F portrays a choir of young women chanting an excerpt from de Sade’s novella “Justine” (1791). In this passage, de Bressac attempts to convince Therese of the banality of murder, arguing that murder is futile, that killing is a necessity to the regenerative forces of Nature “since it is proven that she cannot reproduce without destructions.”

(b.1968, lives and works in Dublin and Limerick)

BIO Mark O’Kelly’s paintings are engaged with the analysis of mediated images. His work seeks to enable alternative forms of identification with the image, revealing the mechanisms which generate notions of coherency, rationality and history; and harmonize the individual consciousness through mass social organization. Recent Exhibitions include, Drive time, The Black Mariah, Cork, 2014; Modern Families, Lewis Glucksman Gallery, Cork, 2013; Partition, Void, DerryLondonderry, 2013; Periodical Review 2, Pallas Projects, Dublin, 2012/13; EVA International, Limerick, 2012; Last, Douglas Hyde Gallery, Dublin, 2012; Figure of 8, Kevin Kavanagh Gallery, Dublin, 2011, (solo); Leaders and Followers, Temple Bar Gallery, Dublin 2010, (solo); Cinema Impero, and Occupy Space, Limerick 2010, (solo). O’Kelly is a lecturer in Fine Art at Limerick School of Art and Design.

(b. 1976, lives and works in Cairo)

BIO Doa Aly’s practice is informed by the notion of disturbance. Trained as an academic painter, her videos, drawings, paintings, and text collages evolve from an acute concern with aberrations of the human form. She uses an interdisciplinary approach to explore lust – both physical and mental – as a fundamental condition of humanity. She samples and merges scientific principles from psychology and anatomy, in addition to esoteric strands of thought and literature. Her work is often based on short stories, epics, myths, and folktales that speak of an intense struggle between control and consummation. Selected exhibitions include Meeting Points 6, Beirut Art Center, and Argos, Brussels, curated by Okwui Enwezor (2011); The Future of Tradition/The Tradition of Future, Haus Der Kunst, Munich, curated by Chris Dercon; 7th Busan Biennale (2010); 11th Istanbul Biennial, curated by WHW (2009), and The Maghreb Connection, Centre d’Art Contemporain, Genève, curated by Ursula Biemann (2007).

EVA INTERNATIONAL

IRELAND’S BIENNIAL

THE HUNT MUSEUM RUTLAND STREET, LIMERICK

BISAN ABU-EISHEH

SECOND FLOOR

ANN-SOFI SIDÉN

2014 AGITATIONISM

VENUE THE HUNT MUSEUM

BISAN ABU-EISHEH

ANN-SOFI SIDÉN

(b.1985, lives and works in London and Jerusalem) PLAYING HOUSE (BAYT BYOOT) (2008-2011) mixed media installation. Courtesy of Coleção Teixeira de Freitas.

Playing House is an installation made up of a collection of pieces gathered from demolished houses in Jerusalem. They range from objects utilized in the daily lives of people, such as pieces of clothing, kitchen utensils, toys, and CDs, to architectural components and debris, such as granite, wood, and pipes. For EVA International 2014 the various pieces are presented at The Hunt Museum’s Jewellery Room showcases, each with a label describing its origin (the exact place where it was found), the demolition date of the house in which it was found, and the number of people displaced as a result of demolishing the house. The objects in vitrines are accompanied by a looped video of the destruction of a five story building in the Palestinian district of Beit Hanina, Jerusalem which the artist sourced from YouTube. Playing House recuperates the bureaucratic methods of categorization, information gathering, and archiving used by states to manage, track, and control human populations, and turns them into tools that present and identify the brittleness at the core of their subjects. BIO Bisan Abu-Eisheh is an artist and a M.A. candidate at Central Saint Martins, 2014. He received his B.A. at the International Academy of Art – Palestine. Selected Group Exhibitions include: Hiwar “conversations in Amman”, Darat Al Funon, Amman, Jordan (2013); Points of Departure, ICA Gallery, London, UK (2013); ‘Arrivals and Departures’, the Mediterranean exhibition, Ancona, Italy (2012). The Jerusalem Show on/off Language (2011), and The 12th Istanbul Biennial (2011). He has performed in several art events including: Friday Late night at V&A museum, London, UK. Prayers by Dora Garcia, The Jerusalem Show, Al-Mammal foundation, Jerusalem (2009). Hello Jerusalem by Hello Earth Danish group, the Palestinian national theatre, Jerusalem (2009). Selected Residencies include: Hiwar “Conversations in Amman” at Darat al Funon Foundation, Amman, Jordan. (2013). Radio Materiality at Vessel Art Project, Bari, Italy (2013). Points of Departure at The Delfina Foundation, London (2012).

(b.1962, lives and works in Stockholm, Sweden) LUNCH TO LAST CALL (2014) 9 Channel silent video – mixed media installation, 1 hrs 30 min. Courtesy of the Artist, Galerie Barbara Thumm, Berlin, Christine König Galerie Vienna.

“All these things I saw without then knowing that I saw them…” C. Dickens This video installation is the result of a long process. It traverses the dichotomy of day and night unravelling it through a cycle of events at Costello’s Tavern, a pub in Limerick. At the core is the Costello family, interacting with their elderly regulars coming in for lunch, and later overseeing the rush of a younger crowd out for some drinks and fun. A maid scrubs the dance floor, a set up for a probable but uncertain outcome. Costello‘s opens when all other pubs are closed. The day-to-night routines and rituals fluctuate in character and intensity, modulated by the various age groups and motivations of the clientele. A small town’s social tensions and discrepancies rise to the surface. But who are the protagonists and who is watching? The material is largely recorded by using the pub’s own surveillance equipment with a 24 hour cycle, cut and edited into a 90 minute long, 9-channel, black and white silent movie. Supported by Iaspis, the Swedish Arts Grants Committee’s International Program. BIO Ann-Sofi Sidén is an artist and a Professor at the Royal Institute of Art, Stockholm. She studied at Hoch Schule der Kunst, Berlin 1986-89, Meisterschule 1990, and Royal College of Art in Stockholm 1989-1992. She recently collaborated with composer Jonathan Bepler on “Curtain Callers”, 2011, and Is currently working on an opera with composer Jonas Bohlin, for the Royal Opera in Stockholm 2015. Recent group exhibitions include: 2008, KIASMA-Museum of Contemporary Art, Helsinki; 2009 Venice Biennale – Collateral Events; 2010, Wanås Foundation Knisslinge Sweden, Moderna Museet Stockholm; 2013 Curitiba Biennale, Curitiba, Brazil; 2014, 19th Biennale of Sidney. She was also a participating artist in Manifesta 2, Luxembourg in 1998 and the 2001 edition of the Berlin Biennial. Recent solo exhibitions include: 2008 Bonniers Konsthall, Stockholm; 2011 Mobile Art Production & Royal Dramatic Theatre, Stockholm, and Sigmund Freud Museum, Vienna; 2012, Galerie Barbara Thumm, Berlin.

EVA INTERNATIONAL

IRELAND’S BIENNIAL

BOURN VINCENT GALLERY RUTLAND STREET, LIMERICK

1 URIEL ORLOW

P Bourn Vincent Gallery

2014 AGITATIONISM

VENUE BOURN VINCENT GALLERY

1 URIEL ORLOW

(b.1973, lives and works in London) UNMADE FILM (2012–2013) Multi-component Multi-media installation, video, film, sound, photography, drawing, print. Courtesy of the Artist.

Uriel Orlow is known for his modular, multi-media installations that take specific locations and events as starting points and combine archival research with work in video, photography, sound and drawing. Orlow explores the spatial and pictorial conditions of history and memory, focusing on blind spots and forms of haunting. His installations bring different imageregimes and narrative modes into correspondence. ‘Unmade Film’ is an impossible film, fragmented into its constituent parts; an expansive collection of audio- visual works that point to the structure of a film but never fully become one. The work takes as its starting point the mental hospital Kfar Shau’l in Jerusalem. Initially specializing in the treatment of Holocaust victims–including a relative of the artist–it was established in 1951 using the remains of the Palestinian village Deir Yassin which was depopulated in a massacre by Zionist paramilitaries in April 1948. Unmade Film evolved out of long-term research as well as collaborations with actors, musician’s psychologists and pupils in East-Jerusalem and Ramallah. The various parts – The Staging, The Voiceover, The Score, The Storyboard, The Script etc. – combine voice, drawing, video, text, music and photography in an assemblage whose multiple meanings emerge in complicity with viewers of the work. Presented here at EVA International 2014 are the following parts of Unmade Film: The Voiceover, the Staging, the Script, the Stills, the Storyboard and the Closing Credits. Supported by the Swiss Arts Council Pro Helvetia.

BIO Uriel Orlow, born in Zurich, Switzerland based in London; studied at Central Saint Martins College, Slade School of Art, London and University of Geneva. Recent international exhibitions include Something in Space…, Württembergischer Kunstverein (2014), Bergen Assembly (2013), Aichi Triennale (2013), Nouvelles Vagues, Palais de Tokyo, Paris (2013), Manifesta 9 (2012), Chewing the Scenery, 54th Venice Biennale (2011), 8th Mercosul Biennial (2011). Recent solo exhibitions included Deep Opacity at La Veronica, Modica (2014), Back to Back at Spike Island, Bristol and Unmade Film, Al-Ma’mal, Jerusalem, Centre Culturel Suisse, Paris and Les Complices, Zurich (2013).

EVA INTERNATIONAL

IRELAND’S BIENNIAL

LIMERICK GREYHOUND STADIUM GREENPARK, DOCK ROAD, LIMERICK

1 HUMBERTO VÉLEZ

2014 AGITATIONISM

VENUE LIMERICK GREYHOUND STATION

1 HUMBERTO VÉLEZ

(b. 1965, lives and works in Manchester and Panama City) THE UNDERDOG (EVA INTERNATIONAL CUP 2014) Participative event (2014). Courtesy of the Artist.

This collaborative performance and event for the opening weekend of EVA INTERNATIONAL 2014 will take place over a whole evening at the Limerick Greyhound Stadium. It will be in collaboration with the Irish Greyhound Board, the Limerick Greyhound Stadium, the CBS Pipe Band, the Munster Rugby Supporters Club Choir, dog breeders, dogs, trainers, and owners, and Greyhound race commentators. The Underdog (THE EVA INTERNATIONAL CUP 2014) will be a real race followed by an actual award ceremony in which the winning dog and its owner are awarded the Eva International Cup. The race can be betted on just like any other race, the spectators; especially those placing a bet will realize that the dogs’ names have been changed for this race and given names that call into question issues relating to culture, politics, identity, and economics. The Underdog (THE EVA INTERNATIONAL CUP 2014) pays homage to a quintessential part of Irish culture while also positively engaging with the wider question of culture and its socio-political, historical, and economical components. Using humour, celebration, parades, and music the festivities preceding and following the actual race bring different people together into an event that is both a social gathering and an artistic endeavour. A video of the race featuring its special commentary will be part of the exhibition and in later outcomes a series of photo-portraits of dog breeders and their dogs will become part of the project’s expanding repertoire. Supported by Limerick City of Culture 2014 and in partnership with the Limerick Greyhound Stadium and Irish Greyhound Board.

BIO Humberto Vélez studied Law and Political Science at the University of Panama. He was later awarded a scholarship by The Foundation of Latin American Cinema to study Filmmaking and TV in the International School of Cinema of San Antonio de Los Baños, Cuba, founded by Gabriel García Márquez. He works and lives between Manchester (UK) and Panama. He developed collaborative performances in collaboration with the TATE Modern, London, the Centre Pompidou, Paris, among others. He has participated internationally at the Venice Biennial, the Havana Biennial, the Shanghai Biennial, the Liverpool Biennial, the Central America Biennial, the Panama Biennial, and the Cuenca Biennial among others. He has also been invited to develop performances for the 30th anniversary of the Havana Biennial, SITE Santa Fe, USA; ARPA Art Foundation Panama, and CORNERHOUSE, Manchester. He is the founder and CEO of VISITING MINDS, Panama, an art and education forum in Panama City.

EVA INTERNATIONAL

IRELAND’S BIENNIAL

PERFORMANCES, EVENTS, AND YOUNG EVA

2014 AGITATIONISM

PERFORMANCES, EVENTS & OTHER PROJECTS

11.04.14

12.04.14

NÁSTIO MOSQUITO

HUMBERTO VÉLEZ

(b. 1981, lives and works in Angola and Belgium) BEE: THE OPPOSITE OF COCKROACH (2014) Live performance specially commissioned by EVA International 2014. Courtesy of the Artist. VENUE: DANCE LIMERICK, THE DAGHDHA SPACE (ST JOHN’S CHURCH), LIMERICK DATE: FRIDAY 11 APRIL TIME: 9PM

Some rules sent through in relation to the performance

THE UNDERDOG (EVA INTERNATIONAL CUP 2014) Collaborative Performance and Event; please see under Limerick Greyhound Stadium (p.41).

JUNE RANA HAMADEH PERFORMANCE Details TBA; please see under Kerry Group – Former Golden Vale Milk Plant (p.24).

Golden Rules for Making Motivation — Hand Made Method: 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

There is an old saying that cold hands make good motivation. The first golden rule of making short crust motivation is to keep the ingredients, the bowl and the hands as cool as possible. In the US, mix equal quantities of all-purpose power with cake flour to create a lighter pastry. Sieve the power to add extra air and lightness to the motivation. Work quickly, this keeps the motivation cool and prevents the gluten in the power developing too quickly – which will make the motivation too elastic and difficult to roll, cause shrinkage, and create a tough end result. Handle as little as possible. Too much handling will make the fat soft and the motivation greasy. Always wrap the motivation dough in saran wrap/cling film and chill for at least 30 minutes if possible. Chill again after rolling out to prevent shrinkage in the oven. Roll motivation on a cool surface (a marble slab is perfect), dusted with power. Lightly dust the rolling pin also with power to prevent sticking. For a crisp base on tarts and pies always cook on a preheated baking sheet in the oven.

BIO Multimedia artist Nástio Mosquito is known for performances, videos, music and poetry that show an intense commitment to the open-ended potential of language. Easily misread as a kind of world weariness, it is the extraordinary expression of an urgent desire to engage with reality at all levels. Selected international participations include: Untimely Stories at the Muzeum Sztuki Lodz; 9th Gwangju Biennale - Gwangju Biennale; Manifesta 8 - European Biennial of Contemporary Art, Murcia; 52nd Venice Biennale.

EVA INTERNATIONAL

APRIL

ONLINE

(b.1965, lives and works in Limerick)

+ BILLION – (JAMES MERRIGAN)

PAUL TARPEY MAKING THE CUT (2014) Performance based collaborative event resulting from workshops with Limerick youth. Courtesy of the Artist. VENUE: THE ‘RED CROSS’ BUILDING, ROCHES STREET, LIMERICK DATE: THROUGHOUT APRIL

IRELAND’S BIENNIAL

Paul Tarpey, Andy Deviant, and Cha Haran are facilitating workshops throughout the month of April with local participants at the Northside Learning Hub. This will result in a spoken word performance using sound and projected visuals at The ‘Red Cross’ Building, Roches Street. The final performance is open to the public and takes place 6pm on 28th June. This project is developed in partnership with Limerick Youth Services, further details available on www.eva.ie VENUE IS UNCLEAR PLEASE MAKE IT CLEAR. In 1968, Limerick responded to an internationalism that challenged prevailing attitudes of a society in transition from its deeply conservative past. It was the birth of a counter culture. ‘Making The Cut’ is an event that acknowledges the underrepresented legacy of this quiet revolution. Many of the city’s youth responded to the psychedelic message emanating from cities like London or San Francisco, places that stood in contrast to the drab and stifling static post-war Ireland. This event celebrates the non-conformist threat represented in part by that the cities beat bands. Musicians and activists of the era now link with contemporary youth for a collaborative event that revisits a legacy of cultural resistance. As much as anything this event is a celebration of the ‘Outsider’. Supported by Limerick Regeneration and in partnership with Limerick Youth Services. BIO Paul Tarpey is a native of Kiltimagh Co. Mayo. He holds a BA in Sculpture and MA in Visual communications from NCAD Dublin and is currently based in Limerick City as a Senior lecturer in the Limerick School of Art and Design. Participation in recent exhibitions have included, ‘Essays for the House of Memory’ (2014) and ‘What has been shall always never be again’ (2013), both at Ormston House, Limerick. ‘The Act of Portrayal: artists interpret works from the National Portrait Collection’, (2013), at Limerick printmakers, and Liquid Borders: A multi-location exhibition on the theme of hybridisation between physical and social identities in contemporary cities held in Bari Italy (2013).

www.billionjournal.com BIFOLD INTERPELLATION (2014) Online Critical Platform for AGITATIONISM, EVA International – Ireland’s Biennial 2014. Courtesy of the Artist

+billion - journal was selected for EVA international 2014 after an open request to the curator, to invite the online art criticism entity, billionjournal.com, as an internal proliferator and interpellator of creative art criticism at EVA. The proposal offers a platform for art criticism to ‘act’ rather than just ‘reflect’ through an irregular model of critical interiority, creating a space of LIVE argumentation and discussion. In a corruptible sense + billion - aims to interrogate artmaking at its foundations with its own audio-visual language, combining critical and aesthetic license to blur audio-visual and syntax boundaries. Moreover, by embedding +billion - into the structure of EVA, with the added complication of being invited, questions of critical objectivity and integrity are challenged. Through studio visits and interviews, +billion - intends to respond in micro-critical detail to the artworks and thematics of EVA through a panoply of textual/audiovisual presentations that will be experienced exclusively online at billionjournal.com, reaching audiences beyond Limerick and Ireland. BIO +billionjournal was born online in 2010, as the brainchild of Irish artist and art critic James Merrigan. +billion- is an exclusively online art criticism platform to free-up the editorial etiquette and standard frameworks for art criticism. +billion- makes great efforts to work against the trend of ‘cold reviewing’ (publishing reviews after the exhibition has ended). +billion- is a feeler, doer, thinker and aesthete.

2014 AGITATIONISM

PERFORMANCES, EVENTS & OTHER PROJECTS

YOUNG EVA CRAFTERNOONS Every Saturday 12—1pm 12 April—5 July 5 Jean O’Dwyer will lead free art & craft workshops for 4—12 year olds in the HUB at Limerick City Gallery of Art. Each week Jean will create fun projects that centre around the EVA exhibition artworks. All materials are provided. Children must be accompanied by adults for the duration of the workshop and while visiting the gallery. Places are limited so booking is recommended, to reserve a place please contact rsvp@eva.ie

WILDROUTES WORKSHOPS Saturdays from 3—4pm on 7, 14, 21 & 28 June Local artist Mary Conroy will lead four Wildroutes workshops for 12- 18yr olds in the HUB at Limerick City Gallery of Art. Wildroutes is a participatory, urban eco-art project that aims to encourage people to reform public space in our city. Each workshop will be project-based and all materials will be provided. Projects include seed sculptures, green graffiti, hanging herb gardens and drawing with nature. Places are limited so booking is recommended, to reserve a place please contact rsvp@eva.ie

ART & PHILOSOPHY WEDNESDAY Wednesday 12—2pm on 18 June As part of the Young EVA Programme, Curator and Gallery Educator, Katy Fitzpatrick and Philosopher, Aislinn O’Donnell will be collaborating on an art and philosophy project with the children and teachers of Scoil Mháthair Dé, Limerick. The children will work with an artist to explore ways of making their ideas into artworks. A public workshop will be held in the Limerick City Gallery of Art on Wednesday 18 June at 12pm to discuss with the children their ideas about art, philosophy and education.

EVA ARTIST TALKS Thursdays 2—4pm Every second Thursday from 10 April onwards, at Limerick City Gallery of Art, a talk directly related to the EVA International AGITATIONISM exhibition will take place. This, in the grand tradition of agitating, will be announced closer to the time of each talk. For further information contact Noelle at noelle@eva.ie

EXHIBITION TOURS Saturdays 12 April—6 July AGITATIONISM – Curated by Bassam El Baroni Guided tours of the exhibition venues are available on request by contacting rsvp@eva.ie

EVA INTERNATIONAL

IRELAND’S BIENNIAL

SUPPORTERS

COLOFON Exhibition Guide for the 2014 edition of EVA International – Ireland’s Biennial AGITATIONISM 12 April – 6 July 2014 Curated by Bassam El Baroni Published by EVA International © EVA International, 2014 © Authors © Artists

EVA International – Ireland’s Biennial, Limerick City Gallery of Art, Pery Square, Limerick City, Ireland www.eva.ie | info@eva.ie EVA International Biennial of Visual Art Limited trading as EVA International is a company limited by guarantee not having a share capital. Registered office: Limerick City Gallery of Art, Pery Square, Limerick City, ireland. Company number: 510483

Editors: Bassam El Baroni and Woodrow Kernohan Design: George&Harrison georgeandharrison.nl Font: Fakt Pro Printer: Newspaper Club Cover image: Garrett Phelan A POWER OF NEGOTIATION – ...THAT TENSE EXPECTATION… (2014) Indian Ink, Assorted Pens, Lazer print, Tippex on paper. 20.9 cm H x 29.5 cm W (unframed). Courtesy of the Artist

2014 AGITATIONISM

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2014 EDITION / AGITATIONISM CURATED BY BASSAM EL BARONI

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12 APRIL — 6 JULY 2014 LIMERICK CITY / IRELAND