Volume 3, Issue 1 by The Bridge TCD

THE

BRIDGE Volume 3, Issue 1. December 2016 Art, Architecture + Design

IZZY WHEELS ARCHITECTURAL PROPAGANDA I <3 MASER WHATâ&#x20AC;&#x2122;S ON IN DUBLIN SASS SECTION + MORE

thebridgetcd.com Deirbhile Brennan Editor Marcous Nolan Business Manager Muireann Walsh PRO Peter Coyle Design Editor

Contributers Ciara Kummert, Chris Joyce, Anna Hardcastle, Reegan Altomare, Stacey Wrenn, Aidan Oâ&#x20AC;&#x2122;Leary, Emmanuel Okoye Thanks Trinity Publications, Grehan Printers

thebridgemagazinetcd@gmail.com Front Cover Aislinn Shanahan Daly

Contents

16 2 What’s On In Dublin 4 Izzy Wheels 9 The Masks of Venice 10 Street Art Selection 12 The Artistic Seoul of Korea 14 Focus On 15 Sass Section 16 Spotlighting Trinity Students 17 Architectural Propaganda 18 “A Muslim, A Christian, and A Jew” 19 NGI: Creating History 20 I <3 Maser 22 Anna Hardstaff

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What’s On In Dublin Listings for December + beyond Compiled by Ciara Kummert

Reegan Altomare

Kerlin Gallery

tion. Animations are shown from a documents Kerry. new perspective. These are shown in Siobhán Hapaska 17th December 2016 – 4th February the project spaces. Workshops for National Gallery of children and young adults will be Ireland 2017 Hapaska explores themes of re- provided to the public. Creating History: Stories of Ireland lationships, named ‘love’ ‘touch’ in Art and ‘us’. These abstract, unusual- Emily Jacir Europa 8 October 2016 – 15 January 2017 ly-shaped sculptures use a variety of 25 November 2016 - 26 February Over 50 paintings from the sevenmaterials such as fibreglass, acrylic 2017 teenth to the mid-twentieth centupaint, lacquer, concrete, cloth and Europa documents her experienc- ries are brought together. ‘Creating stainless steel. Shapes and simple es through photography, drawings, History’ shows significant historical colours are attributed to important videos, sculpture and installations moments from the arrival of St. Patof Italy and the Mediterranean. The rick to the establishment of the free human topics. Palestinian artist shows work from state. nearly two decades. IMMA Morph and Transform 29th October 2016 – 29th January 2017 Contemporary artists work with animated drawings and materials and look at themes such as transforma-

Duncan Campbell 25 November 2016 – 2 April 2017 The 2014 Turner prize winner visits rural Kerry and begins with Kerry in 1960. A combination of archive material and self-shot footage

Hennessy Portrait Prize 2016 26 November 2016 – 26 March 2017 Currently in its third year, this competition was created to allow the public to be more aware of the National Portrait Collection and to

develop the interest in contemporary portraiture. The winner is selected by a panel of five significant figures of art in Ireland. The winning work is chosen from almost 400 entries by Irish artists and artists who live in Ireland. Beyond Caravaggio 11 February 2017 – 14 May 2017 Over 40 years of Caravaggio’s works have been brought to Dublin, including ‘the taking of Christ’. The exhibition will be arriving from London and following the exhibition in Dublin will be going to the National Gallery in Edinburgh to be exhibited there.

The Hugh Lane

Michael Kane: … Modality of the Visible 20 October 2016 – 15 January 2017 Paintings and prints from the past five decades show abstract images of Dublin city. The title is taken from Ulysses by James Joyce. Sven Augustijnen 8 September 2016 – 22 January 2017 The Belgian artist has created a storyboard named ‘the Metronome Bursts of Automic Fire Seep through the Dawn Mist like muffled drums and we know it for what it is’. The installation portrays how weapons and journalism have been a significant element of our history. The Artist as Witness 5 January 2016 – 31 December 2016 Historical and current political and social issues are explored in a number of ways, from paintings to installation work, showing the role which an artist plays as a witness in

society.

Molesworth Gallery

Untitled by Michael Beirne December 2016 Vibrant small-scale works such as ‘in the Bindu Garden’ will be shown in the centrally located Gallery. Beirne works with traditional painting methods depicting unconventional scenes.

built around and from project’s members and the networked community of artists within the project arts centre.

The Doorway Gallery

Christmas Show 2016 3 December 2016 – 31 December 2016 Painted images of Winter landscapes and Christmas themed paintings will be shown in the month of December.

Untitled by Martin Redmond February 2017 The Irish artist who specialises in Gallery of Photografine art depicts ordinary objects phy such as brown paper bags in a way Prix Pictet – Disorder that can turn a seemingly mundane 24 November 2016 – 22 January object into something of interest. 2017 Environmental issues are explored Untitled by Helen Blake through images for the sixth cycle of March 2017 the Prix Pictet Prize. Blake uses geometry and colour to depict themes or objects. Her smallTemple Bar Gallery + scale oil on linen painting ‘wagon’ allows the viewer to decide for studios themselves what the various shapes Exquisite tempo sector, Barbara in the image are and how they relate Knezevic 24 November 2016 – 22 January to the title. 2017 This exhibition explores absence Chester Beatty and presence. The artist considers 21 October 2016 – 29 January 2017 the elements of artworks and mateHong Ling: A Retrospective rials. The Beijing born artist paints vibrant landscape paintings of China. Douglas Hyde In this exhibition paintings of nature The which is present in Ling’s homeland Gallery are shown in an array of colours, Kathy Prendergast, Black maps which portray the changing seasons. 18 November 2016 – 1 February 2017 Issues of settlement and migration Project Arts Centre are explored by the Dublin born The Wild 11 November 2016 – 28 January artist as she turns an everyday object – the AA road atlas of Europe – 2017 The Wild is a celebration of commu- into an important remark on topics nities and friends. The exhibition is which continue to affect many people in the present day.

Izzy Wheels

Ailbhe Keane, a former NCAD student, talks to Deirbhile Brennnan about her project.

First of all, how did the Izzy Wheels project originate? Where did the idea come from? The idea for Izzy Wheels came from a project which I worked on in my final year in NCAD. I worked on a brief which asked me to ‘empower the lives of people living with a long-term lifestyle related health condition’. My immediate thought was of my younger sister, Isabel, who was born with Spina Bifida and has been in a wheelchair her whole life. Growing up, the lack of options available to her to personalise her wheelchair was a constant source of frustration. Although the wheelchair was often the first thing that people noticed about her, it wasn’t a reflection of who she was as a person. Wheelchairs are ugly and medical looking. Isabel has a bright and bubbly personality and that’s what people should notice about her. I created a range of personalised spoke guards for the wheels of her chair. These came in a range of prints and patterns to match Isabel’s style and personality. They made her feel more confident about her chair and she felt hugely empowered. She has become like a local celebrity in the Galway community. People constantly stop her on the street to compliment her on her wheels!

What is the story behind the name? The brand was named ‘Izzy Wheels’ after my sister, Isa bel. The tagline is ‘If you can’t stand up, stand out!’ We apply this ethos of standing out for the right reasons across the board.

How has the project grown since its beginnings? I never anticipated Izzy Wheels to grow into what it is today. It started off as just a college project. In the beginning I really pushed the idea of a wheelchair

being a platform for artwork. I created all sorts of crazy wheels! I made 3D wheels that popped out and other ones that were like optical illusions. I would post short little videos of the wheels on Instagram just for fun and it got a brilliant response so I kept going. The collection that created the biggest response was the animated range. Inspired by an early animation device called a ‘Praxinoscope’, this range of designs gave an illusion of movement when spun. This technique had never been applied to the wheels of a wheelchair and its popularity was immediate. I finished college in June with a first class honours for Izzy Wheels and the collection was put on display to the public for the NCAD Graduate show. Soon after that I began working with Enterprise Ireland’s Entrepreneur development program. Izzy Wheels opened up its online store in September, is live, and already generating revenue. We were featured on RTE Nationwide for National Women’s Enterprise Day. We have also received press in The Irish Examiner, The Irish Times, Galway Independent, Ireland today and shona.ie. Izzy Wheels has been nominated for two awards by Institute of Designers Ireland.

How much do you contribute to each individual design, and how much is inspired by the person requesting it? It varies greatly! For the range of animated wheels, the

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designs take many hours and calculations. For the bespoke designs that people request it depends on the vision they have. Some people just want something very simple with their name on it. Others might want something very complicated. The sky’s the limit but I put great time and love into every single design I produce.

Absolutely, I never thought I’d be running a business right out of college! I have always loved art and drawing since I was a little girl so I knew I’d be doing something a little bit like this. I was always interested in animation and my initial plan was to follow that route after college. I am obsessed with prints and bright colours so I suppose when I stop to think about where I’ve ended up Izzy Wheels is a mix and match of all the things I love.

What have you learned along the way?

Is this something you will continue for the foreseeable future?

Initially I thought that customised wheels is something that mainly girls would want. Since launching the online store I realised I was totally wrong. I was blown away with the number of boys and men who wanted customised wheels too.

Does this project differ from what you saw yourself doing after college? 7

I plan to keep growing Izzy Wheels. It’s only the beginning for us! We are constantly adding more deigns to our collection. We want there to be a design available for every occasion and to suit everybody’s taste. As we expand I plan to take more designers on board. The wider selection of talented designers the stronger we’ll

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Seeing smiling faces wearing Izzy Wheels is the reason I do what I do

”

become as a brand. Spoke guards are just the beginning for us too, we have lots more ideas for cool wheelchair accessories for the near future.

you held a Wheel Design Workshop for children in Dublin’s Central remedial Clinic. What was the reaction to the project there? I think the Wheel Workshop has been my favourite part of the journey so far. We went to the CRC and offered the thirteen children in wheelchairs the opportunity to design their own wheels. The results were breathtaking. The children had such incredible imaginations and their designs were stunning. Seeing their reactions and the joy it brought them to be able to show off their artwork on their chairs was heart warming.

We are currently working towards a wheelchair fashion show with The Irish Wheelchair Association in January so that should be loads of fun too! izzywheels.com @izzy_wheels

”

Venice

The Masks of

We try to discover the Venice we know through old paintings. The charming, mysterious place, untainted by tourists like ourselves: holidaying around Europe, trying to get as many cities as possible packed into a short period of time. The Venice which is off the beaten track, or the much-paddled river. Venice: a city made up of one hundred and eighteen submerged islands. A city without cars: four hundred bridges and one hundred and seventy boat canals connect the city. Intrigued as to whether or not the legends are true, wondering whether there is more to Venice than selfie sticks and commercialised historical monuments, we are determined to avoid these stereotypes. Although the crowded city has much culture, it is often hard to decipher what is really still unique about the place and what parts have been turned into a tourist trap. We make it our aim to find out about the place from the perspective of the locals. Making our way from the pigeon-thronged St. Mark’s square down a cobbled street, dappled light from the sun umbrellas leads us to a striking mask shop on our right-hand side. The window is like Aladdin’s cave. Turquoise and amber jewels, golden glitter, elaborate fuschia feathers, long white elegant beaks and exotic animal masks are proudly displayed. The carefully laid out yet extravagant window display both intrigues and intimidates passers-by. The decision to enter the shop is contingent on our mutual refusal - common to many travellers - to give in to the potentially persuasive salesperson who is well aware of the effect a sequinned object can have on the weight of one’s purse. Three delicate gold bells tinkle gently against the glass door. The lighting is serene, a warm orange glow, evoking feelings of a cosy home. The possibilities of a new identity seem endless. The array of potential characters seems like a theatre lover’s dream. We are surprised when the salesman greets us with a smile along with loudly projected ‘ciao!’ which goes against our preconception of the arrogant, gruff Venetian salesperson. Wandering around the shop in

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awe, we are amazed at the range of bizarre and wonderful artistic designs and at the intricate workmanship involved. A mask depicting a pig is turned into something fascinating and beautiful. Layers of skin are shaped in realistic folds, creating various rough textures. A snout has been carefully moulded into the piece. We each try on a jewel-encrusted mask - surprisingly the least costly! Afraid of causing damage to these lovely creations, we are surprised when the salesman approaches us, encouraging further tryings-on. The flamboyant Venetian gives us both his own history and that of the masks. Though he works in the shop daily, he doesn’t seem worn out by the job. He describes the masks as though they are living: “and this one, you wear when you want to be a doctor,” explaining that the long, pointed nose is there to create the minimum distance needed between the patient and the doctor at the time of the masks’ inception. “You see, you wear this for a new identity. You can be a cat if you like! Grrrr!” he exclaims, making a claw shape with his hand. “Carnivale”, with a rolled ‘r’, “was 3 months in the day but now, it’s just a weekend. It’s all tourists, it’s not the same.” His tone falls as he confides in us. Perhaps we don’t come across as typical tourists after all. Although sometimes it seemed like the real culture and art of Venice was screened from view behind a mask of tourism, perhaps all we needed was a fresh perspective on different forms of local art. The city’s hidden glories retained their charm: the masks, touched now by both the city’s rich and intricate culture, and a personal story told just for us, remained a magical and favourite aspect of our trip. Ciara Kummert

STREET ART

SELECTION Muireann Walsh

Dublin’s street art has a deliberate focus on breathing life into a blank canvas and transforming that which was once dull and lacklustre. Colour is everywhere, reflecting the diversity and inclusivity of a city which encourages difference. However, it also serves as a reminder that it is something which deserves to be celebrated. Although edgy and new, the art consistently delves into Irish heritage to revive and renew old ideas from a past life. Artists do not shy away from difficult subjects, but simultaneously spatter the city with colour and daily reminders of the importance of art in everyday life, visible for people as they walk the streets of this city that so many call home.

Blooms Hotel One of the largest visual projects on display in Dublin today, James Earley’s graffiti masterpiece wraps around the entire facade of Blooms hotel. The mural depicts five of the central characters from James Joyce’s Ulysses: Leopold Bloom, Buck Mulligan, Stephen Dedalus, Molly Bloom, and Blazes Boylan. Lotus flowers adorn the figures, wrapped with ribbony swirls, and haloes of flowers encircle their heads. The palette contrasts warm tones with cold: brown and fiery orange thorns unfurl in the undergrowth, emerging to greet the deep blue sky on one side of the building while thick, luscious foliage like rolling hills meets a restless crimson

sky on the other. The dark outlines capture a cartoonish nature, but also recall the richly coloured stained glass of Evie Hone or Harry Clarke. Earley has succeeded in splashing colour onto every surface - even the undersides of the balconies are not neglected, reflecting the many layers and textures of the text upon which it is based. The mural is a landmark for both locals and tourists, evoking the vibrancy and dynamic energy of the surrounding area which is a haven for colourful and free spirited minds.

Anne Devlin, ‘Matriarch Patriot’ Curiously tucked down a laneway just off Meath Street in the Liberties, this artwork was created by famed graffiti artist Maser as part of his Post Stamp Series to remember Irish heroes. The subject of the portrait is Anne Devlin, a lesser known figure, but heroine nonetheless, involved in the Irish rebellions against British rule at the turn of the nineteenth century. She aided Robert Emmet, acting as his housekeeper while he planned his rebellion. As a confidante, she delivered many secret messages between rebels. She was subsequently arrested and suffered brutal treatment in Kilmainham Jail, as she consistently refused to divulge any information. Her release from prison led to her rapid fade into obscurity and her role in the 1798 Rebellion was not

acknowledged in 1842 by Dr Richard Madden. This beautiful yet humble portrait captures the image of an ordinary woman who lived an extraordinary life, leading us to understand her placement in the heart of one of Dublin’s most historic areas.

Pissheads The ‘Pissheads’ series are an artistic creation by Rob Crane. These hilarious caricatures can be found all over Dublin, hidden in the most unlikely nooks and crannies and passed daily by the populace in blissful ignorance. This particular piece - which has since disappeared - was originally tucked beside a door frame on Cope Street, Temple Bar, observing passersby from the safety of its perch. Crane collects materials such as empty beer cans and discarded plastic bottles from the streets and recycles them into art. Then they are distributed once again around Dublin, injecting humour and a much-needed pop of colour. Perhaps this is what makes his art so edgy and engaging to the public: it is a scramble to find one in the most unlikely places. They are an endearing addition to the streets of Dublin, as they are not intended to be gleaming and shiny, yet Crane breaths unique character and new life into each of his creations. The Pissheads were born and raised on the streets of Dublin which they continue to call home.

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love the lanes â&#x20AC;&#x2DC;Love the Lanesâ&#x20AC;&#x2122; is an initiative set up by Dublin City Council and the Temple Bar Company in an effort to relieve the area from anti-social behaviour. They commissioned artists to breathe a new sense of energy into the lanes that had fallen into destitution. A number of installations were included in the project. What is most striking about the transformation is the colour. The combination of natural light and bright paint has a distinctive impact on the space. Everything about the art is inviting, warm and loving, especially evocative in a place that was once dangerous to wander through. Inclusive of all mediums, including inspirational quotes, ceramic tiles, and bright, spray-painted walls, this project has a unique focus and impact.

The Artistic Seoul of

Korea

The intimidating prospect of embarking on a 5-month study abroad to Seoul, South Korea, is not lessened by its being one’s premier Asian venture.This is especially awe-inspiring when, as one of Ireland’s humble population numbering 4.6 million, one is besieged by the 25+ million inhabitants of the megalopolis. The surroundings are overwhelming: an overarching and unwavering line of sky-high buildings and glossy infrastructure. There are, however, a few spots among Seoul’s platter of modernity and futurism that assuage the effect of this megacity on its alien inhabitant. While the bustling hotspots of Seoul have an irrefutably electric feel with every corner pungent in neon vibrancy, they are unparalleled in the face of Korea’s artistic fronts. Located in walking proximity to Gyeongbokgung Palace in the north of the city, the Insadong area grounds and mellows its visitors. It is the nexus of raw cultural offerings and creative artistic antiquity. The area itself is based on a gorge-like terrain encircled by the forested, mountainous backdrop that weaves in and out of Seoul’s circumference. The quaint seclusion of narrow side streets between low-rise buildings of a rustic aesthetic makes the experience all the more comfortable. Abundant outlets selling cards, paintings, prints and ceramics, each with intricate designs and delicate Korean inscriptions of all materials, shapes and sizes, prove the most common attraction to both tourists and locals. Offerings from these booths include Hanbok, a traditional Korean piece of clothing.Tourists seemed to stop solely for the novelty value, whereas I was surprised at how the stall seemed more frequented by locals. Further enhancements of the homely, insulate feel of Insadong are the randomly plotted abstract art installations. These radiate the city’s fervency for daily visual design. Even more striking is the way in which they are sculpted. Many of the structures appeared to reflect the familial emanation of Confucianism: a religion founded on respectful relations between one another, contin-

gent on one’s stage in life and the position they bear in any given circumstance. This has shaped the Korean mentality by underpinning everyday interactions, and is definitely emulated in its art. Gyeongbokgung palace, built during the Josean era shadowing its stretch creates a raw, far-eastern aura that the likes of Gangnam cannot compete with. Some shops make for more niche, creative offerings of a food and drink orientation. Myeongdong, an area of Seoul renowned for innumerable high-street fashion outlets, includes a prominent tea museum. Exhibits include teas not only Korean, but also Japanese, Indian, Chinese and Sri Lankan. Among the many quintessential Korean dishes sampled, the Kkultarae reflects the idiosyncrasy and historical roots of Seoul’s food culture. A Korean dessert mirroring China’s Dragon Beard Candy, the honey and maltose mixture starts with one strand and is stretched multiple times until over 16,000

Feature microscopically thin strands remain, in which nuts or chocolate are wrapped to form a bite-size piece. Thirty bronze masks atop stone pillars line the walkway to the gate, each double-sided and of different animalThe candy was traditionally a Korean royal court deli- istic expressions, designed to welcome people to the cacy, served to cast longevity, health and good fortune park. The conviction that Seoul undertook in hosting on its recipient. the Olympics was to invoke happiness and gratitude between global citizens, regardless of ideology, race or reParts of the city that would not typically be known as ligion. The artistic fruits of this mindset certainly speak artistic hubs can even be rendered as such. The Olym- louder than words. pic Park in the southeast of the city, built for the 1988 Seoul Olympic Games, has in its confines many design What is impressive about Seoul’s hunger for art and features that embed the Confucian psyche of the Kore- visual design is not solely found in its multitude of muan people. seums nor in its ability to pioneer or exploit current trends. Seoul is a fresh city that has evolved in a mere sixty-three years from economic and cultural mundanity at the close of the Korean War to positioning as a key player at the forefront of modernity and technological change. While there are many merits in this achievement, the agility with which the city pronounces its ideals and roots via artistic and architectural platforms during a seemingly inexorable rate of developmental change is exceptional. Even as Samsung dominates international media coverage of Seoul, its artistic subtleties are sure to leave a longer lasting impression on its visitor.

The colourful ‘World Peace Gate’ at the park’s front establishes a tone of harmony between traditional and modern architecture. Maximum portrayal of the gate concept is displayed by incorporating the inviting curves of Korea’s traditional architecture, which symbolises not only rapid cultural ascent, but preservation of its origins.

Marcus Nolan

Dylan Kerr

Focus On

Dylan Kerr, a former History of Art & Architecture student at Trinity, is blazing a path for himself through Dublinâ&#x20AC;&#x2122;s creative scene. Currently enrolled at Grafton Academy and studying Fashion Design, he is part of the creative collective pussys that recently put together an exhibition of queer Irish club night fliers and responses by young artists. Intending to attend NCAD next year, Kerr is using his time to collaborate with other Irish creatives, and pursue new angles with his creative endeavours. Follow @dylan__kerr to get a glimpse into his creative and culinary creations.

Thomas Couture,

La Peinture Realiste

Sass Section

While the National Gallery isn’t renowned for its wicked sense of humour — the fatal flaw of all Irish state-funded institutions — the permanent collection has a few gems that might otherwise be overlooked by those only visiting to see the Top Ten.

that he did not use this time to develop his painting skills beyond a mashup of the Old Masters’. Although he ran a successful school throughout his lifetime with pupils coming from across Europe and North America to study under his gaze, to this day he remains significantly less known than the very man he is ridiculing One oil painting in particular sticks out amongst the rest here in this piece. for its sass factor, and that is Couture’s 1865 ‘La Peinture Stacey Wrenn Realiste’. Arguably his most controversial piece, it provides counter-attack against the Realist movement that was gaining traction with less avant garde artists such as Courbet and Corot at the time. The realists favoured subject matter from the contemporary world, ie. what was ‘real’ and ‘happening’. Therefore to them it seemed only logical to depict the working class and their struggles in a time where worker’s rights movements were beginning to develop, with the Industrial Revolution creating unrest and the first publication of Marx and Engel’s Communist Manifesto in 1845. As a classically trained painter deeply embedded in the culture that was the French institution, Couture must have found Courbet’s paintings of labourers and men napping in a public house to be in poor taste. In his eyes, a man in mud soaked overalls could hardly be considered a more beautiful subject than a glorious emperor. Painters such as Couture however seemed to ignore how hard it must have been for a socialist to find beauty in a group of people who made their living by oppressing others. The painting itself is a play on the stereotype that the realist painter was so left-wing, so delusional, that they would use a classical bust as a stool while lovingly sketching every detail of a pig’s snout — the pig being a universal symbol of stupidity and laziness. Hanging on the wall waiting for their spotlight moments are a head of cabbage, an old lantern, and a boot — the obvious decoration of choice for working class French people. With all the leisure time a bourgeois man like him could afford in an unequal society such as France, Couture developed a keen sense of wit. However, it is a shame

La Peinture Realiste is on display in the National Gallery.

Spotlighting Trinity Students

Emmanuel Okoye

Architectural Propaganda in Ancient Greece The use of art for means of propaganda is a concept which can be traced back to the ancient Greek and Roman empires. These empires are considered to be the foundations of modern western civilisation, with their art and architecture playing a large role in this influence. Their styles have been immortalised and recreated throughout western history. The motive behind the grandeur of their artistic styles may not be immediately apparent to us today, but they were both subtle and influential in their own context. To illustrate this, I’ve chosen one of the major instances of art and architecture being used as a means of propaganda: The Temple of Zeus at Olympia, 465-457 BC.

ther displayed with the depiction of Hippodamia in this narrative. She is shown playing with her dress, a symbol of feminine modesty. Through this subtle reinforcement of this value, the temple contributed to propaganda surrounding this issue. the West Pediment:

The west pediment focuses on action between Lapiths and Centaurs. Lapiths are a mythical race of ancient Grecians, while centaurs are symbolic of the wilderness. A contest of wrestling promotes, once more, the foundation of the games in sport. The pediment is filled with figures standing, falling and fallen. Furthermore, Located at Olympia which is a sanctuary of Zeus in the the ideals of physical appearance in the Hellenic world Grecian Peloponnese region, this temple is a Hexastyle are promoted in a more obvious manner. The idealised Doric order in design. In this case, one function of the form of a young Lapith man is contrasted with the wild temple was the promotion of sport. While the coarse appearance of the centaur. The centaur is an embodrock conglomerate was the local resource, this was not iment of wilderness with a thick and long beard. His deemed beautiful enough for a building promoting obscured face indicates that secrecy belongs to the wilthis activity, hallowed as it was in Grecian culture. To derness and is not a characteristic of civilised society. deal with this, the structure was covered in stucco - a Metopes: type of fine plaster - to improve the appearance. This demonstrates the importance of outer beauty in the imThe metopes – inlaid pieces of carving between the top plementation of propaganda. The east pediment of the panels and the pillars of the temple - depict the twelve temple is inlaid with precious gems to further impress labours of Herakles. While the labours are well known, the spectator. the Greeks would not have defined them as such. The the east pediment: ancient Greek refers to “Athlon” meaning contest. This alludes to the idea of his tasks as sporting contests, which The east pediment shows Pelops, Zeus and Oinoma- makes sense when combined with the site of Olympia. os. Pelops - alongside Heracles - is one of the mythic The depiction of the Nemean Lion and the Stymphalian founders of the Olympic Games. Similarly, Zeus is one birds show Herakles wearily following his tasks and givof the deities to whom the Olympic Games is attributed. ing the spoils to the goddess Athene. This is possibly Oinomaos, a mythical king, is heavily implicated in the the foundation of the idea of presenting a prize followtale of Pelops and Hippodamia. Pelops’ tale plays a role ing victory. Furthermore, the depiction of the cleaning in the popularity of chariot racing as a sport. Oinomaos, of the Augean stables promotes wit and places it on an who doesn’t wish for anyone to marry his daughter Hip- equal level of importance to physical prowess. podamia, forces suitors to race against him in return The Temple of Zeus at Olympia is but one example of for her hand. Pelops wins through trickery. While this how art and architecture is employed as means of propmay not reflect the ideals of modern sportsmanship, it aganda. It is an important one, not just because of the demonstrates the importance of the highly valued qualwealth of information that it provides us with, but also ities of wit and cunning to Greek culture. because it is a seemingly positive example of how propThe importance of the values of Hellenic society is fur- aganda can inform a nation’s culture. Chris Joyce 17

“A Muslim, A Christian, and A Jew”

guish ourselves from one another, we all have the same basic need: We all want to be happy.” The museum as a whole begs the question - if humans have repeatedly failed to learn from history and have again and again gone to war, inflicted damage on each other, made each other suffer, then what earthly right have we, as the next generation, to expect peace and freedom from turmoil in our lifetime? The exhibition answers this both eloquently and succinctly: We must work together, build friendships with people not like us, and ultimately realise that we are all striving for similar goals, looking for the same basic things in life and all deserve life equally. In the last section, visitors were asked to write a wish on a piece of paper shaped like a pomegranate, and then to hang it on a tree. My wish was that Mr Trump would come to Berlin and visit the art exhibition. It might serve as an eye opener in more ways than one. The exhibition is on display in the museum until March 5th 2017. Deirbhile Brennann 18

Rarely have I been as powerfully affected as I was upon visiting Berlin’s Jewish Museum. The sharp angles and non-symmetry of the architecture, designed by Daniel Libeskind; the small pieces of paraphernalia from individual lives of Polish or German Jewish families; the emptiness of the stark, pitch black, concrete Holocaust Memorial Room, all contributed to make it an incredibly thought-provoking and saddening experience. However despite the effectiveness of the museum as a whole, the aspect that astounded me most was a temporary art exhibition on the second floor. Artist Eran Shakine has created a series of roughly forty cartoon-style paintings, featuring three identical figures who are placed in a variety of life situations, both humorous and serious. The simplicity of the design made the message all the more effective: no matter what our background or individual beliefs may be, everyone is deserving of respect and human rights, and in the end we are all going through many of the same struggles. As Shakine himself put it, “Once you strip off everything we use in order to distin-

NGI: Creating History The National Gallery of Ireland’s current exhibition, Creating History: Stories of Ireland in Art, is an epic tale of Ireland. Taking its cue from Ireland’s past, the exhibition charts a tumultuous, affecting, turbulent tapestry of Ireland’s history interlaced with shards of ambition, aspiration, and optimism. Depicting events from the arrival of St. Patrick to the Civil War, the paintings date from the 17th Century to the early 20th Century and illustrate a tendency for politics, mythology, and drama. Each of the five rooms in the Beit Wing have been given a title representative of the works displayed, taking one on a clear, linear, though interestingly non-chronological journey through constructed contexts of our history – Testimony, Conflict, Assembly, Allegory and Lamentation. Beginning with Testimony we see a nation at unrest, eye-catchingly highlighted by Lady Elizabeth Butler’s Evicted. This foreshadows the allegorical section of the exhibition, with an evicted woman easy to view as an allegory for Éire. Framed by Jack B. Yeats’ Patriotic Airs and Sir John Lavery’s Viscount Morley Addressing the House of Lords, the trio brings together a story of political and social movement decades apart. There is the hint of a nation but also an overwhelming sense of defiance and strength. The second room, Conflict, narrates the turmoil and human cost of Ireland’s history. One finds themselves entranced by the arresting Sean Keating’s An IRA Column – moving and engaging, it strives for the ideals of the men depicted. A large, visual presence in this section of the exhibition is taken up by The Battle of Kinsale, by an unknown artist. It is a resonant, topographical, chronological study of the valley during the battle. In Conflict, we see On the Run (War of Independence), also by Keating, which depicts three men on the run from British soldiers. The emblematic environment in which they are situated is redolent of the political and social unrest and upheaval at the time. Conflict manages to embody a phase of disturbance lasting centuries.

Review

Ireland’s relationship with the church and it draws the other paintings in the room into its embrace. This embrace is at odds with the conflict between Leo Whelan’s GHQ Staff of the Pre-Treaty IRA and William Turner de Lond’s George IV King of England, entering Dublin, which shows a city flourishing under imperialism and at odds with the future of the state as seen in Whelan’s painting. The union in this room of events and times apart is laid out thoughtfully in contrast and compliment despite differences of era. Room four presents Ireland as Allegory and challenges preconceptions about Ireland’s relationship with piety and romanticising of the West in William Orpen’s The Holy Well as well as the spiritual, emotional and human cost of the Civil War and the emergence of a new Ireland in Sean Keating’s An Allegory. However, the space is most energetically and emotionally manifested in a Madonna and Child-esque painting of Kathleen Ní Houlihan seated with ‘Young Ireland’ in her lap reaching out to the viewer and to the future. It is Éire, by Lady Glenavy, that encompasses the normative allegory, as well as the physical results of such – Glenavy was told that painting had inspired an ex-pupil to die for Ireland. The exhibition crescendos to the moving Lamentation which is felt most clearly Lavery’s Michael Collins (Love of Ireland). An emotive work painted just days after Collins was killed, it is a provocative piece, and this is exacerbated even by the way it is hung – in the corner, almost by itself. A mournful room filled with the sea and images of leaving, and people being left behind, but also one of insurmountable hope which is reflected in a grieving, defiant people of Ireland; captured in Butler’s Listed for the Connaught Rangers: Recruiting in Ireland and comforted by Augustus Leopold Egg’s, Come Rest in this Bosom. Creating History is a wonderful exercise in storytelling and the intertwining narratives of Ireland’s past, and Ireland’s future.

Assembly sees Ireland unite in all its various forms, with the room made cavernous by Michael Angelo Hayes’ The Installation of the Prince of Wales as Knight of Saint Patrick. The painting is somewhat fitting given

Peter Coyle

I <3 Maser

Solo Presentation of new work Graphic Studio Gallery 11 Nov – 3 Dec

Sometimes, as in Translation VIII, big fields of colour and cut-off shapes make the frame seem a window into one of the artist’s huge installation pieces. Elsewhere, Maser works by subtraction, gutting simple shapes to create wobbly forms in the negative space. The almost entirely abstract forms drift across the wall and interact in surprising ways. Here, there’s a flicker of a landscape; For me, before he was an artist, he was a message: “Ma- there, a human body. Everywhere there is the jumble of ser loves you” was the simple and persistent line whis- the urban. The animated variations refuse to settle in pered for years by Dublin’s street furniture. As a teen- figuration until, finally, in the seventeenth Translation, ager I was startled to encounter the street artist’s name the shapes lock snugly together to make a human heart. inside an art gallery. “He’s widely respected in the art world,” my secondary school teacher explained to me at The works retain Maser’s distinctive style while adaptDublin Contemporary 2011. The piece later relocated to ing themselves well to the gallery’s more intimate viewoutside the Bernard Shaw pub – a definitive movement ing conditions. Without the need for loud colours or for a body of work that defies the distinction of street a slogan to grab the eyes of bus passengers, the work and fine art. achieves a more delicate level of detail. The quieter colour palette has a cool Mediterranean feel; this perhaps The artist is best known in Ireland today for his large amplifies the echoes of Matisse’s cut-out work. The scale murals and installations. His recent Repeal the 8th prints reveal their depth on closer inspection; the nine piece at the Project Arts Centre was short-lived but in main colours diversify into subtle combinations in the its afterlife it has become an icon – this campaign’s Joe between-spaces and micro-overlaps. Carlin mural. From the U ARE ALIVE* emblazoned off Camden Street to his DON’T BE AFRAID wall in Portobello, Maser’s punchy slogans in bold letters have lent Dublin’s old bricks a little Berlin cool. His vibrant colours temper our grey skies and grey outlooks and reflect the city at its life-loving’s best. Maser might be the outfit Dublin wears to raves. For many of us, growing up in Dublin has meant growing up with Maser. Since he started scribbling his names in alleys in 1995, his work has come to shape the city’s visual identity. The extent of this is surprising and looking back over his portfolio can be revelatory: “He did that too? That’s in my nights-out photos!”

Now, the Graphic Studio Gallery is hosting the artist’s first solo exhibition. It sees him swapping the spray can for the printing block, the concrete for the canvas, the outdoors for the in-. He transfers his vision into conventional confines and it thrives. The gallery is showing a series of seventeen new prints – the appropriately named Translations – as well as some of the ephemeral Maser’s blocks of colour are not just that, however. The offshoots of the printing process. Dark Art of printing’s whole span of nuance is here Street art always grows out of a dialogue with the possi- to be experienced in the close-up interaction. Carbobilities of its location; here, Maser’s compositions search rundrum and Photo Intaglio are among the intriguing out the infinite possibilities of a blank white canvas. names of the processes behind the series’ wide range of

Review

subtle textures. Woodcuts and other apparatuses of printing are gracefully hung in the midst of the prints. Aesthetically interesting in their own right, they interact with the finished pieces to make us appreciate the medium’s distinction from painting or collage. The Graphic Studio is the champion of fine art print in Dublin, and it makes a great location for Maser’s debut. Hidden in a lane off Cope Street in Temple Bar, the store-front is currently illuminated by Maser’s signature stripes. It’s as if the alleyway, though it contains a gallery full of his creations, was too appetizing for the artist whose sprit is rooted in graffiti. Looking out on a rough brick wall, the window makes a vulnerable contribution to Maser’s exhibition. It situates the work and highlights the urbanity at its heart. This is an endearingly informal space, with piped soul music and an administrative area spilling into the gallery. The volume of prints

and printing equipment remind the visitor that this is a living enterprise that’s deeply integrated with artists in production, and not a mere cultural marketplace. The exhibition provides a great opportunity to get intimate with this ever-rising Irish artist. It is one of those rare exhibitions that elevates its work to an event. Its situation in time – at this landmark in Maser’s career – and place – at the heart of Dublin – is inseparable from the experience. It’s an opportunity to see the greatness of talent exploring new territory to discover a luminescent new side of itself. Above all, it’s a chance to experience the fineness of fine art print and of big art gone small.

Aidan O’Leary

Deirbhile Brennan chats to Anna Hardstaff, up and coming artist whose work has been featured in TN2 magazine

Could you tell me a bit about your background in il- Gustav Kilmpt and Georgia O’Keefe lustration/how long you’ve been sketching for? are among my go I’ve been drawing and doodling for as long as I can to handful of faremember. I only started taking illustration seriously vourite painters. when I was doing art projects in school and experi- There are also menting with all sorts of styles. It’s a practice of art I love loads of great ilbecause you can incorporate inspiration from many dif- lustrators on Insferent artistic sources as well as different mediums into tagram that I folthe one illustration. It also allows me to be more comi- low and check up on daily: Frances cal with my art. Canon and Filthyratbag are probaWhat is usually your inspiration for art? bly my favourites. My biggest inspirations are everyday people and the fe- My sister Emma male body. I love artists who look at or play with the Hardstaff also ilhuman form. I’m very interested in artists like Lucian lustrates and I Freud and Egon Schiele, and illustrators like Frances think we both enCanon and Filthyratbag. To me, they all seem able to joy looking at each capture an honesty in people’s bodies, whether sadden- others’ work for inspiration. ing or comical. That’s why my lovely ladies have hairy legs, freaky feet and oddly shaped thighs. It’s not because How is your art affected by the issues or pressures I’m trying to present people with something shocking, that you see facing students or young people? really it should be the opposite. I’m drawing real people It’s affected massively. I get all of my inspiration for the that are experiencing real emotions. subject of my illustrations from seeing the pressures that are facing students like myself. Having experienced issues with anxiety myself, I often want my art to draw attention to the fact that young people are not alone in struggling with mental health or self esteem issues. Since going to university it’s become so obvious to me that the day to day pressures young people are facing today are more intense than they have ever been. I’ll admit I love Facebook and Instagram, maybe not so much tinder, but the effect social media is having on young people’s minds today is so scary. Whether it’s not getting enough sleep because you’re scrolling on the same old news feed at two in the morning or feeling inadequate because of unrealistic body images that bombard our phones on a daily basis, social media has infiltrated our minds and we all need to be more aware of it.

Reegan Altomare