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The Visual Artists’ News Sheet
issue 3 July – August 2012
Published byVisual Artists Ireland Ealaíontóirí Radharcacha Éire
A VERY NORMAL PLACE ADAM PATTERSON
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DIG WHERE YOU STAND
SUSAN HILLER (UK) BRIDGET O’GORMAN (IE) URIEL ORLOW (CH) PHILIPPA SUTHERLAND (IE) South Tipperary County Council Arts Service presents Dig where you stand stand, a project and exhibition curated by Eilís Lavelle, Sarah Lincoln and Rosie Lynch. Dig where you stand explores the idea that unique viewpoints may arrive through the twinning of a locale, its archaeological remnants and the visual arts.
Dig where you stand opens at South Tipperary County Museum on 5 July, and includes Susan Hiller (uk), Bridget O’Gorman (ie), Uriel Orlow (ch), and Philippa Sutherland (ie).
It continues until 28 September. This year, Dig where you stand has included a series of reading groups held in towns throughout South Tipperary. There will be a 48-page publication released during the exhibition’s run, and a curators’ talk in the Museum at 6pm on 11 July. Dig where you stand has developed through a curatorial residency, initiated by South Tipperary County Council Arts Service.
www.digwhereyoustand.com
Exhibition RDS Concert Hall, Ballsbridge, Dublin 4 August 10 Free admission (10am – 5pm) August 15 – 19 Admission fee applies (times vary)
Travelling Exhibitions RDS National Crafts Competition PrizeWinners Exhibition Cruachan Aí Heritage Centre, Tulsk, Co Roscommon. www.rathcroghan.ie
For further information RDS Arts Department T: 01 240 7255 E: arts@rds.ie
www.rds.ie/arts Contact: Sally O’Leary, Arts Officer South Tipperary County Council (052) 613 4565 sally.oleary@southtippcoco.ie www.southtipparts.ie
RDS Student Art Awards Riverbank Arts Centre, Newbridge, Co. Kildare. www.riverbank.ie
NEW FAITH LOVE SONG GARRETT PHELAN
IRISH MUSEUM OF MODERN ART
NEW GALLERIES 22 JUNE – 23 SEPTEMBER 2012
MILITARY ROAD, KILMAINHAM, DUBLIN 8, IRELAND T + 353 1 612 9900 INFO@IMMA.IE WWW.IMMA.IE
eva International
www.eva.ie #eva12
1 12 9 M 20 A ay 12 ug — us t
*G C rac Th ura el e ted an M d ilk by s M Va ar a ke ri t: Cl Th aff u ey 2 Au g
C A ura nn te ie d b Fl y et ch er
* F Ke ran yn co ot “B e le ifo ct ” ur B e: er Sa ar t 2 di 8 Ju
ly
Biennial of Visual Art
4
The Visual Artists’News Sheet
Introduction
July – August 2012
Contents 1. Cover Image. Doireann Ni Ghrioghair, Ruins, 2012, image courtesy of eva International
Welcome to the July / August issue of the Visual Artists’ News Sheet
5. Roundup. Recent exhibitions and projects of note. The latest developments in the arts sector.
In this issue, we begin by taking a look at visual arts endeavours in Co Fermanagh, including: Outland Arts,
5. Column. Jonathan Carroll.
Visual Arts Fermanagh, Higher Bridges Gallery, Fermanagh Arts Office and a 'How I Made' piece from local
6. Column. Mark Fisher.
artist Tara Moran-Woods.
8. News. The latest developments in the arts sector.
Of our regular columnists, Mark Fisher examines how contemporary political systems, especially in a time
9. Regional Profile. Visual arts resources and activity in Fermanagh.
of finanacial austerity, impact on our our relationship to work, and quash creative impulses. Jonathan Carroll
12. Interview. New Directions. Kerry McCall talks to Orlaith McBride, Director of the Arts Council.
profiles IMMA's current exhibition at its new, temporary home in Earlsfort Terrace.
13. Issue. Art and the Law. Monica Flynn and Viv Meacham report on a recent seminar.
The July / August VAN includes several articles on issues relevant to artists': Licensing and copyright, art and
14. Profile. Monster Truck. Padraic E Moore looks at the development of Monster Truck Gallery and Studios
the law, and the HEA's plan's for a review of creative arts and media programming. In addition, this issue
15. Profile. Pallas Projects. Mark Cullen talks about Pallas Projects / Studios' new space and programe.
includes: interviews with Director of the Arts Council, Orlaith McBride and Director of Bluecoat Gallery,
16. Collaboration. Featherweight Portable Museum. Alissa Kleist profiles a project initiated by Catalyst Arts.
Liverpool, Mary Cloake; profiles on the Block T Link Culturefest, a recent collaboration initiated by Catalyst
17. Festival. Around the Block. Grace McEvoy reports on Link Culturefest, a Block T initiative.
Arts and Pallas Projects' new space; reports from the Berlin Biennal and Frieze, New York; a seminar analysis from NIVAl and a feature on National Drawing Day across Ireland.
18. How I Made. Factory Direct. Jeannette Doyle discusses her recent work at the Andy Warhol Museum.
19. Critique. Our 4 page Critique supplement features six reviews of exhibitions, events, publications On 15 June 2012, Visual Artists Ireland hosted the Get Together 2012, in Limerick School of Art and Design. The day included a wide range of talks and workshops alongside a Common Room Cafe, for information and continued discussion. An overview of the event is included in this edition of the VAN. Alongside this event, Static Liverpool held their 'Exit Limerick' review, which is discussed by Emma Mahoney in the issue.
and projects – that are either current or have recently taken place in Ireland. 23. Critique Special. Static. Emma Mahoney critiques the critics at the 'Exit Limerick' graduate review. 24. Event. Get Together. Lily Power gives an overview of the VAI Get Together 2012. 25. Issue. Bite-Size Licensing. Alex Davis discusses licensing and copyright for artists. 26. Seminar. Document! Sabina McMahon reports on a recent seminar that took place at nival. 27. Profile. Model Youth. Marianne O'Kane Boal profiles a recent exhibition put together by young curators
at The Model, Sligo.
28. Opportunities. All the lastest grants, awards, exhibition calls and commissions.
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30. Profile. Fair Game. Kathleen Madden reports from the first Frieze, New York.
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32. Education. Drawing Conclusions. Baibre-Ann Harkin looks at 2012 National Drawing Day events.
31. Interview. Dublin to Liverpool. David Jacques talks to Mary Cloake, Director of Bluecoat, Liverpool.
33. Art in Public. Public art commissions; site-specific works; socially-engaged practices and other forms of art outside the gallery, with a special focus on Mayo Co Council's 'Landmark' project.
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34. Issue. Noel Kelly discusses the HEA's Creative Arts and Media Programme Review announcement. 35. Profile. Forget Fear. Jonathan Carroll reports from the 2012 Berlin Biennale.
Production Publications Manager: Jason Oakley; Assistant Editor, layout: Lily Power; News: Niamh Looney; Roundup: Siobhan Mooney; Opportunities: Niamh Looney / Siobhan Mooney; Proofing: Anne Henrichson; Invoicing: Bernadette Beecher. Contributors Mark Fisher, Jonathan Carroll, Kerry McCall, Monica Flynn, Viv Meacham, Padraic E Moore, Mark Cullen, Diane Henshaw, Helen Sharp, Susan Hughes, Tara Moran-Woods, Alissa Kleist, Jeannette Doyle, Grace McEvoy, Emma Mahoney, Alex Davis, Sabina McMahon, Marianne O'Kane Boal, Kathleen Madden, David Jacques, Baibre-Ann Harkin, Noel Kelly, Lily Power, Feargal O'Malley.
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Professinoal Development Assistant: Lisa Reburn Advocacy Assistant: Siobhan Nic Chumhaill Get Together Project Manager: Fionnuala Doherty Northern Ireland Manager: Feargal O'Malley The views expressed in this publication, unless otherwise indicated, do not necessarily reflect those of the editor, editorial panel or Visual Artists Irelands’ Board of Directors. Visual Artists Ireland is the registered trading name of The Sculptors’ Society of Ireland. Registered Company No. 126424.
The Visual Artists’News sheet
July – August 2012
COlUMN
Jonathan Carroll Musical Chairs
5
Roundup
the autobiographical difficulties and
COVERED
philosophical challenges posed by repreenergy is eternal delight
senting a community in which Wallis came to live as a child. Hanly is interested in people’s capacity to support and negotiate the highly complex and mindboggling array of multi-sensual experiences they encounter continuously each day.” www.thedock.ie
A cultural institution should reflect its mission from the moment you enter it and in all areas. I thought of this as I made a quick pit-stop in the National Concert Hall before heading into IMMA’s new temporary home beside it. I was pleasantly surprised to hear someone in the adjoining bathroom practising their vocal scales. In fact, the majority of times I have entered the NCH I have heard musical warbling and even full blown practice sessions of the National Concert Orchestra. It is like the wafts of coffee that escape from Bewleys across Grafton Street to entice you to enter. Similarly, when approaching IMMA’s home in Kilmainham, they have signposted their presence by installing various sculptures as you make your way into the
Mark Joyce, Shutter Shutter, 2012
building. Starting with the main gate (replacing the original military sculptures) they
‘Energy is eternal delight’ by Mark Joyce was recently held in Green on Red Gallery, Dublin (19 April – 26 May). The press release notes “The recurring leitmotif of Mark Joyce's new paintings is in the form of an aperture. Converging and diverging colours radiate from the edge of the picture to an unreachable space beyond. These paintings have developed from a recent period spent in Reykjavik.”
installed some barrels called Steel by Fergus Martin in 2008. A few steps further and you see a Joan Miro to your left, (its Iberian heritage now reminding you of the previous director of IMMA) to your right the old reliable Michael Warren and just in the distance a work by Cerith Wyn Evans. As you pass under one of the arches to enter the main building you notice one of the military woodcarvings – evidence of the previous occupants of these buildings. None of these signs are available for IMMA in its new home at the NCH Earlsfort Terrace (though the temporary entrance is fully utilised for advertising) but they face a similar challenge in settling into a building with a previous history. Christina Kennedy (Senior Curator, Head of Collections at IMMA) writes the following about the opening exhibition at the NCH, ‘Time out of
www.greenonredgallery.com
Mind: works from the IMMA collection’ (31 May – 2 Sept 2012): “The exhibition invites the visitor into a prism of personal narratives and worlds in which notions of time, place, memory, self and identity, may encircle, overlap, wind and unwind or perhaps only come to mind after the exhibition has finished.”1 I visited the exhibition with a group of friends, including the former politician Des O’Malley (name dropping over for this year, I promise). I only mention this because Des came with the wealth of memories and notions of time and place that the curator evokes. Perhaps a little unfortunate for the artwork, once again, is the all prevading history of the Earlsfort buildings that IMMA now occupies. Just as in the Royal Hospital, Kilmainham, here we have the regimented, institutional long corridors and small rooms. We are denied the chance to see IMMA try out a contemporary building with a blank slate. Des O’Malley had many memories from his time as a student of Law at UCD in the 1960s. He recalled taking part in the L&H debates (where I am sure he honed his debating skills for the Dail) held in the old physics theatre and he could describe the seating arrangement perfectly before we entered the room.2 You could see the memory reel turning in his mind. O’Malley also told an interesting anecdote about his involvement in saving the Annex from
www.emmahogan.com
parked life The Talbot Gallery, Dublin recently exhibited a series of paintings by Lucy Sheridan entitled ‘PARKed Life’ (26 Apr – 18 May). The press released states that Sheridan's work “explores the natural world and, more specifically, man's relationship with it [....] Lucy's subject matter is placed in minimal and unnatural surroundings; her work often references national parks, natural history museums, water parks and zoological gardens. In each of these locations the element of danger which would normally be present in a confrontation with wild animals is taken away, or at least momentarily forgotten.”
be flattened to make room for more of those awful office buildings alongside the Annex that now lie idle. While O’Malley brought memories of the building, I brought memories of seeing much of the work from the IMMA collection in the RHK. It was a good idea to start off the exhibitions with work that connected you with IMMA’s home. Some of the work suffered in the transfer such as Daphne Wright’sWhere Where do broken hearts go (2000), which here looks bunched in, and to take some words from Anri Sala’s vocabulary, the choreography is a bit truncated in this space.3 Considering the recent passing of artist William McKeown and his friendship with Dorothy Cross, the decision to house the two of them in an intimate room together was quite inspired and poetic. But Cross’s Parachute (2005) surely needed to be hung in a room with a higher ceiling. My main aim for my visit was to see Anri Sala’s film 1395 Days Without Red (2011), which was showing in a purpose-built installation in the Annex. It was great to see an installation that makes best use of this building. The quality of the install is very impressive and shows how previous attempts at showing art here, in my opinion, failed miserably to maximize the potential of such a unique and daunting space. Sala’s work has the effect of making you move, or experience anew, certain common occurrences such as simply crossing the road. While the film is based on the terror of being picked off by snipers while crossing a point in Sarajevo during the 1395 days of the siege (1992 – 1996) you feel yourself conscious of your own breathing as you make the typical Irish dash to avoid the rain when heading back into the main
I lOVE THOSE PAINTINgS ‘I Love Those Paintings’ was a group show held in Mother’s Tankstation, Dublin (11 April – 26 May). The title and theme of the show were triggered by a recently released solo ‘album’ by David Sherry. The four artists involved were Nina Canell, Atsushi Kaga, Matt Sheridan Smith and David Sherry. The press release notes that the exhibition “looks at the nature of assembled meaning, by exploring alternative approaches to art-making, both concrete and ephemeral, that employ applications of natural and social science to investigate methodologies, formal systems and social patterns. The art of exhibition curation (itself, as an assemblage) is extended by the fact that all the works have been originally made for other international specific purposes, but have never been exhibited together, nor exhibited in Ireland.” www.motherstankstation.com
‘Covered’ was a solo exhibition by Jill Bouchier held at SOMA contemporary, Waterford (10 May – 2 June). The exhibition included geometric paintings and textile pieces. The press release notes that “Jill’s work incorporates fabrics and found materials such as envelopes, blankets, buttons and textile samples. These everyday materials are transformed to create collages and sewn pieces that explore pattern and the associative power of fabrics that are reminiscent.”
www.somacontemporary.com
STORIES FROM THE CITy The Ivy House, Dublin recently present-
IMOCA, Moxie Studios, Dublin recently a group show ‘Silent Moments’ (26 Apr – 3 May). The show consisted of 23 photographers and their interpretation of the city of Dublin. www.iadt-silentmoments.com
Sea’ by Donegal-based artist Damien McGinley (10 May – 30 July). The press release says of his work, “Damien’s mixed media paintings are strongly informed by a sense of place, relating to rural and more often urban environments. In a response to external and internal landscapes, over the last number of years he
THE MUSEUM OF INCEST
has been examining how the linear structure can enhance the composition of these landscapes. Whereas these compositions were deliberately rigid and regimented, he is now beginning to approach his work seeking a dissolution of boundaries.”
www.theivyhouse.ie
lAByRINTHITIS Simon Fujiwara, The Museum of Incest Incest,, 2012
The Crawford Gallery, Cork recently held ‘The Museum of Incest’ by British / Japanese artist Simon Fujiwara (10 May – 27 June). ‘The Museum of Incest’ is Fujiwara’s fictional recreation of the story of mankind’s evolution, and the objects are archived and displayed in a museum-like setting. www.crawfordartgallery.ie
Rua Red, Dublin, recently showcased ‘Labyrinthitis’ by Danish artist Kirkegaard (12 – 19 May). Kirkegaard focuses on the scientific and aesthetic aspects of resonance, time, sound and hearing. ‘Labyrinthitis’ was an interactive sound piece that consisted entirely of sounds generated in the artist’s auditory organs and will cause audible responses in those of the audience.
www.fonik.dk
y yOUN g MAKERS ‘Young Makers’ was an international vis-
OPEN SHUTTERS IRAq
ual arts exhibition created by young people from Canada, Latvia, Slovenia and Ireland and made the last stop on its national tour in Temple Bar Cultural Trust’s No Grants Gallery (3 – 30 May). The tour was coordinated by Kid’s Own and is the result of a partnership with West Cork Arts Centre, Kilkenny County
building – just like you did in IMMA’s old home in Kilmainham when heading to the New Galleries. Clever of them to replicate that experience too.
Jill bouchier, Covered, 2012
ed ‘Stories from the City, Stories from the
SIlENT MOMENTS
www.talbotgallery.ie
demolition. The Annex, originally part of the Iveagh House complex, and a rare example of a real tennis court (the ‘real’ referring to regal and royal, he told us), was to
REMNANTS The Talbot Gallery, Dublin recently exhibited a solo show by Emma Hogan entitled ‘Remnants’ (24 May – 15 June). Emma’s practice is based on ideas of nostalgia, relics and memory. The press release states “Through searching on social media websites, Emma has located groups dedicated to reconnecting photographs lost in a natural disaster in the USA with their owners. The photographs vary in terms of subject matter and era [...] she has selected unclaimed images and used them as inspiration for the painting [...] This is a pivitol change in Emma’s approach; rather than painting her own memories as she had explored in her graduate show, this body of work sees her delving into the memories of others.”
MOVINg STIllS
Council Arts Office, South Dublin
The Dock, Leitrim recently exhibited
County Arts Office (through its NOISE
Notes 1. Time out of Mind foreword, exhibition guide Works from the IMMA collection ‘Moving Stills’ by Ruby Wallis (13 Apr – 2 2. lest est we have any readers who recall this seating arrangement we found that the original wooden bench-like seats were June). The press release notes “Moving removed from the physics theatre but remain as was in the adjacent lecture room now housing Grace Weir’s Dust Defying Gravity (2003) Stills’ explores the representation of a 4. From an artist talk: Anri Sala and classical composer and conductor Ari benjamin Meyers discussing their collaboration 30 / 05 / 12 utopian community in the west of
Ireland. Using the medium of film and photography, the work seeks to explore
South Dublin programme) and Temple Bar Cultural Trust (through it Scene Not Herd programme). www.templebar.ie
Eugenie Dolberg,Lu 'lu' la Kirkuk Kirkuk,, 2006
Belfast Exposed recently presented ‘Open Shutter Iraq’ curated by Eugenie Dolberg (11 May – 15 June). This exhibition involved a series of photographic essays
6
The Visual Artists’News Sheet
COLUMN
July – August 2012
Roundup
Mark Fisher
and texts by women from Baghdad, Basra,
The South Dublin Artists Forum recently
The conceptual framework continues a
Falluja, Kirkuk and Mosul. It presented a
held a pop-up exhibition at The Square,
sustained investigation into the theorist
Time Management
view of everyday life experienced
Tallaght (27 – 29 April) around a theme
Herfried Munkler’s concept of a post-
through conflict and behind news head-
of 'participation'. Engagement with the
heroic society. An artists’ talk, conducted
lines. A series of talks, screenings and
public was encouraged through free
between curator Gavin Murphy and
workshops accompanied the exhibition.
workshops and performances. Artists
Nicki Wynnychuk was held in The Lab.
www.belfastexposed.org
It is clear that the austerity measures being imposed across Europe with such ruthlessness have more than a strictly ‘economic’ motivation. They have presented an opportunity for capital to further extend its dominion over the most precious resource we have – our time. Capital has moved quickly to ensure that it can close down areas of culture and social life that are not subject to the imperatives of business. Already, funding has been pulled from many cultural projects and institutions, and for the foreseeable future this will only get worse. Yet the most damaging cultural effects of the austerity programme may not be its removal of direct funding for the arts. Even more troubling than this grim development is the concerted attack on the informal infrastructure which makes innovative cultural production possible. This infrastructure had been massively weakened before 2008, with neoliberalism’s attacks on welfare provision, social housing and higher education funding. In addition to meeting social needs, these social democratic programmes also provided spaces in the
Elizabeth Maguire Cleary, Olivia Hassett,
glitch Glitch Festival was recently presented by Rua Red, Dublin (12 May – 9 June). The main exhibition featured artists who
Margaret Tuffy, Sarah-Jayne Reid, Greg Long,
Elizabeth
Archibold,
shoal
Kate
Connaghton and Jacquelin Nicholson.
conspicuously use virtual and real spaces to explore new media artwork. The exhibition, ‘Experimenting With Clouds’, was devoted to exploring the history, social impact and future of open source technologies. Participating artists included: Alan Butler, Andreas Nicolas Fischer, Ellie Harrison, Lucy Kimbell, Joanna Kane and David McAllister. www.ruared.ie
amalia pica ‘Chisenhale Gallery, London recently presented a solo exhibition by Amalia Pica (25 May –15 July). The work featured newly commissioned works – sculpture, photography, installation and performance. The exhibition elaborated upon Pica’s ongoing interest in the social act of listening, sites of celebration and
social field for reflection, for experimentalism, and for the development of collective imagination, all of which are essential for the production of the genuinely new. It is a
www.pallasprojects.org/site
included Hugh O'Donnell, Cóilín Rush,
technologies of mass communication.
key blank
testament to the power that neoliberalism enjoys over our political institutions, our
This exhibition also marks the culmina-
imaginations and our unconscious that the colossal discrediting of neoliberalism,
tion of Pica’s year-long offsite project ‘I
which the financial crisis represented, led not to a retreat of neoliberal policies, but
am Tower of Hamlets, as I am in Tower of
their intensification.
Hamlets, just like a lot of other people
The way in which blame for the crisis has been deflected from finance capital
are’.
onto governments and people, has taken the form of a series of ‘folk political’ pseudo-
www.chisenhale.org.uk
Emily Robyn Archer,Shoal, 2012
‘Shoal’ was a participatory art project by Emily Robyn Archer held in the Ark (14 May – 22 June). ‘Shoal’ was part of
explanations. ‘Folk politics’ is the term that theorists Nick Srnicek and Alex Williams use to describe the tendency to understand the abstract financial systems which
dead zoo
'Awakening Curiosity' – an interactive
govern the world in terms derived from everyday experience. Such ‘explanations’
The Goethe Institut Irland, Dublin,
art exhibition and workshop experience
typically take the form of analogies with family budgets – when a family has
recently held ‘Dead Zoo’ by Özlem
for schools with a playful scientific twist.
overspent, when it has maxxed out its credit facilities, it is time to pay debt back. There
Günyol and Mustafa Kunt (18 May – 27
Archer’s piece involved a shoal of fish
is little in common between family housekeeping and government finances, but the
June). The title of the exhibition took its
made from tin cans to raise awareness of
name from the Natural History Museum
overfishing.
analogy serves a political purpose, handily deflecting attention away from the way in which credit was used to supplement wages that were falling in real terms at the same time as it draws upon (and amplifies) the guilt that many feel about their level of personal debt. One conclusion that folk political reasoning inevitably compels us to draw is that the solution to the crisis lies in more work. We must work harder and longer. We must increase our working hours and delay our retirements. If that prospect isn’t bad enough, we have also to contend with the changed nature of work under late capitalism. In their new book, Dead Man Working (Zer0 books), Carl Cederström and Peter Fleming enumerate some of the features of this cult of work within contemporary capitalism. We are no longer allowed to experience work as an oppressive presence, from which we can separate out our own projects and desires. Now, Cederström and Fleming argue, work incorporates the very ‘creativity’ that it was defined against. “All of those elements of personality that were once barred from work – sexuality, lifestyle, fashion tastes, obsession with pop stars and health food – have become welcomed, if not demanded, on the job,” Cederström and Fleming write. “For there is no better call centre worker than one who can improvise around
Mary Hurrell, still from performance ofKey Blank, 2012
Broadcast Gallery at DIT Portland Row, Dublin, recently held the first Irish exhibition and performance of the work of London-based artist Mary Hurrell entitled ‘Key Blank’ (3 – 26 May). The piece was a live composition of movement, objects and sound. The press release
The Dead Zoo. ‘Dead Zoo’ aimed to display classification different to those applied to nature. The animals represented are not classified scientifically but militarily. www.goethe.de/ins/ie
states, “Working to a silent score of words, the piece explores the reading of
morning motivational session for call centre employees, in which, like some delirious extrapolation of The Office, workers were required to sing along to the Muppets’ hit song The Rainbow Connection. Instead of injecting creativity into work, such processes capture ‘creative’ impulses and subject them to the deadening rhythms of work. The other side of this is the invasion of work into all areas of life: web developers who dream in code, or workers at Foxconn, the world’s largest manufacturer of electronic components and a notorious centre of hyper-exploitation, who report that their hands continue to twitch at night. Cederström and Fleming describe the fatalistic sense of time that this new kind of work brings with it: the longing for an end to work is shadowed by the conviction feeling that no end can ever come. One of the most vivid images in Dead Man Working is of the unused swimming pools, tennis courts and gyms that have been installed inside the Foxconn complex – these are nothing more than “cruel props [...] designed to give an impression that an end to work might come. But
conversations in
objects and space through the body, and
‘Lines of Sight’ was a selection of moving image work from the Israeli Digital Art Archive made by the artist and curator Megs Morley (15 June). ‘Lines of Sight’ umentary form, in an attempt to expose the relationship between the cameras
more specifically touch. The installation
role in mediating social conflict, political
uses objects which seal off one or more of
situations, traumatic memory, history
the senses in their reading, blank objects
and knowledge. With a focus on the
cut or shaped through the performer /
Israel context, this selection seeks not to
viewer’s experiencing of them.”
simplify readings of this highly contest-
www.broadcastgallery.ie
ed situation, but rather to further comanother view of helene
plicate potential understandings of it.
‘Another View of Helene’ by Fiona Larkin
Each of the artists in ‘Lines of Sight’ work
was recently held in the Butler Gallery,
to critically examine and expose the
Kilkenny (28 Apr –10 June). The press
mechanisms of dominant political, idea-
release notes, “In discovering ways of
logical and cultural power that under-
understanding and engaging with oth-
pins and shape society. The artists selected were Yael Bartana, Dor Guez, Filipa
ers, the work finds form in a variety of media from action to video to drawing.
Nicki Wynnychuk,Conversations in:, 2012
Cesar, Avi Mograbi, Roy Menacham
The camera is used to engage reflexively
‘Conversations in:’ by Nicki Wynnychuk
Markowich, Adrian Paci, Nurit Sharett,
and directly with viewers [...] Larkin offers
was held in the Lab in association with
Amir Yaziv, Artur Zmjewski.
a prismatic view of the world, where sug-
Pallas Projects / Studios and Fire Station
gested guides and coordinates don’t always take us where we plan to go.” www.butlergallery.com
[…] it never does.” Another terrifyingly resonant image from Foxconn is the safety nets strung up between buildings, designed to prevent workers from killing themselves.
lines of sight
focused on artworks that utilise the doc-
the script, breathe life into a dead role and pretend their living death is the apogee of life.” As an hilariously harrowing example, the authors offer the case of a Monday
www.theark.ie
in Dublin which is commonly known as
participation
The suicide epidemic at Foxconn was a consequence of workers seeking in death an end to work that there was no prospect of finding in life. Many of the political struggles that will be fought in the upcoming period ultimately amount to a war over time and work. Will we be forced to take the Foxconn workers as our model, so that all social energy is absorbed in the cybernetic treadmill of endless labour? Or will we somehow be able to reclaim a different use of time, a time in which collective dreaming, the shared invention of the new, can happen again? Sculpture detail from OliviaHassett, 2012
www.eva.ie/events
Artists’ Studios (18 May – 30 June). ‘Conversations In’ is an ongoing project
corrosion
that considers the relationship between
'‘Corrosion’ by Pat Byrne was held in the
image and object within the dilemma of
Mad Art Gallery, Dublin (24 – 31 May).
contemporary art practice. ‘Conversations
The artist writes, “To date my work has
in: Dublin’ is the third chapter in the
revolved heavily around the exploration
series following on from ‘Conversations
of oil paint as a medium, its versatility
in: Sydney' 2011 and Conversations in:
and its surface quality through the use of
Melbourne' 2010. Wynnychuk’s practice
oil mediums, applications and work
is based on the recuperation and trans-
methods. The core theme in my work is
formation of found, familiar and banal
the idea of playing with scale and
objects. The intent is to convert, translate
ambiguity.”
and reassemble the material so that it is imbued with a precarious new energy.
www.madartstudio.com
The Visual Artists’News sheet
July – August 2012
7
ROUNDUP BETWEEN lEAVINg
lIAM O'NEIll
cano, Eyjafjallajokull, since 2010, allud-
‘Between Leaving and a Possible Return’
An exhibition of new paintings by Liam
ing to tensions between chaos and entro-
by Neil Carroll was held in the Lab
O’Neill was held recently in St John’s
py, and between the teleological and the
recently (18 May – 30 June). The press
Theatre and Arts Centre, Listowel, Co.
merely random. For this exhibition, 'Eye
release notes, “Neil Carroll’s work spans
Kerry (1 – 22 June). The press release
of the Storm', she employs geology as a
three essentially different media: paint-
notes, “[O’Neill’s] obsession with the
language to conceive an understanding
ing, sculpture and installation. Centred
West Coast has been his main source of
oftime and our relationship to a con-
around a painting process, sculpture and
motivation and inspiration over the
stantly evolving environment, juxtapos-
installation are incorporated and amal-
years. His paintings recapture images of
ing new artworks in poetic relation with
gamated so that painting can become
harbours, horse fairs, landscapes, fisher-
historical and geological artefacts.
expansive and very often site-specific.
men, bog and meadow scenes. Further
The manifestations of these media has
inspiration comes from life in the arts
ranged from the brutish: squat and broad
and public life”. The exhibition was
(made from wood and plaster and house-
opened by Cyril Kelly.
ence almost as soon as it arrived.” www.thelab.ie,
EVERy STORy TEllS A PICTURE
CUSTOM HOUSE STUDIOS The Custom House Studios, Mayo recently showcased work by Ger Sweeney and
DARK END OF THE STREET
Brid Danaher (31 May – 24 June 24). The press release notes, “In recent years Ger Sweeney’s paintings have focused on developing a synthesis of abstract and figurative referents. His balancing of the formal and compositional with elements of colour and light culminating in his ‘Terrain’ series.” Of Danaher’s work it states “She observes beauty in objects that have otherwise exhausted their usefulness, an old forgotten boat, or a rusted chain […] Her work explores colour as reflected in the ever changing world of nature.” www.customhousestudios.ie
Colourful Spirits Art Walk, 2012
Colourful Spirits, a group of North Kerry artists, created a cross-disciplinary exhibition across Listowel, exploring the links between literature and art. Participating artists include Liam Brennan, Marie Brennan, Rebecca Carroll, Roger Catemole, Lisa Fingleton, Muiriosa Murphy and Bob Scott. The group also organised a walking tour as part of the
lAPSE
exhibition.
Nigel Rolfe, Dust in Face, 2008
The Kerlin Gallery, Dublin recently held
‘The Dark End Of The Street: Works From
‘Lapse’ (31 May – 7 July 2012), an exhibi-
Contested Ground’ by Nigel Rolfe was
tion of new black and white photographs
held recently in the Green on Red Gallery,
by Willie Doherty. The press release
Dublin (31 May – 7 July). The press
notes, “Doherty is concerned with how
release notes, “Sites in the landscape are
these neglected and, to some extent, lost
markers of political events both past but
images oscillate between the present and
also present. The land and places on it
the past. Unlike the rest of the artist’s
underscores fault lines and centres our
oeuvre these works have not been ini-
attention on our shortcomings in how
tially exhibited at the same historical
we live together. Whether workplaces or
time as their making. As a consequence,
dark and bloody grounds: from the per-
they have been subjected to a different
sonal to the global. Either close by or far
scrutiny, one that has been shaped by an
from here. In Ireland, from the depleting
understanding of how things have turned
for the roundup to the
boglands in the midlands to the bogside
out, but one that cannot provide a full
editor (lily@visualartists.ie).
in Derry, there are many landscapes of
account of the forgotten traumas and
loss and contest. These are reflected too
injustices that have been shrouded in the
in a wider world far away, whether in
fog of memory.”
South Dakota, places that themselves bear witness to man’s inhumanity to
www.facebook.com/people/colourful-spirits
Get into The Roundup ■ Simply e-mail text and images
■ Your text details / press release should include: venue name,
www.kerlin.ie
Majdanek in Poland or Pine Ridge in
location, dates and a brief description of the work / event.
EyE OF THE STORM ■
man and stand as unknown monuments
Inclusion is not guaranteed, but we aim to give everyone
to stupidity and greed”.
a fair chance.
www.greenonredgallery.com
HEllO DARKNESS
■ Our criteria is primarily to
‘Hello Darkness’ was a solo show by Gary
ensure that the roundup
Coyle, held in the the Kevin Kavanagh
section has a good regional
Gallery, Dublin (31 May – 30 June). The
spread and represents a
press release notes “Hello Darkness has
diversity of forms of practice,
taken up where [Coyle] last left off, name-
from a range of artists at all
ly, examining various aspects of the Gothic […] which he has filtered through
Siobhan McDonald, still fromEyjafjallajokull 2010, 2012-
'Eye of the Storm', an exhibition by
setting for most of this exhibition [...]
Siobhan McDonald was held at the
taking place within Ireland,
Many of these elements are explored in
Galway Arts Centre (25 May – 19 July
but do let us know if you are
‘Hello Darkness’, in the digitally morphed
2012). In the press release, Tim Robinson
taking part in a significant
heads proliferating in the sky of Algae
writes, "Siobhan McDonald’s work
international event.
Bloom, or the virus sweeping through
explores the idea of studying ‘nature’.
Twilight Forest Forest.”
Her recent works have been triggered by the eruptive nature of the Icelandic vol-
REPUBl REPUB lIC OF IRE IREl lAND Peer Critique - All Media - with Amy Stevens and Tim Porlock Sat 21 July (10:00 – 18:00) Organised with the asistance of Angie Duignan coinciding with Adapt Exhibition @Broadstone Studios 6 places Cost ˆ 80 / 40 (VAI Members) The Portfolio Career with Mary Carty Sep / Oct 2012 (date tbc) Marty Carty discusses how artists can promote their practice, with a focus on online platforms and approaches to audiences and markets. In association with the Crafts Council of ireland. @ Visual Artists Ireland, Dame Court, Dublin 2 Cost: ˆ 80 / ˆ 40 (VAI members) 10 places Working with Digital Images with Hugh McElveen 5 September (10.30 – 14.30) A hands on workshop looking at use and storage of digital files, post-production, repurposing images for different media requirements and safe archiving. @ Visual Artists Ireland, Dame Court, Dublin 2 Cost: ˆ 40 Documenting Your Work with Tim Durham 12 September (10.00 – 17:00) Workshop on photographing your work for proposals and submissions, covering xposure, ISO, white balance, apertures, depth of field, jpg and raw quality, resolution of images, tripod use and much more. In sasociation with Crafts Council of Ireland. @ Visual Artists Ireland, Dame Court, Dublin 2 Common Room Lunchtime Talk with James L Hayes Thur 20 Sept (13.00 – 14.00) James L Hayes will discuss his current research and his recent IRON-R project with CIT CCAD and the National Sculpture Factory. Free event @ Visual Artists Ireland, Dame Court, Dublin 2 18 places Performance Masterclasses #1 and #2 for Emerging Artists, with Nigel Rolfe Autumn 2012 (tbc) In association with Crafts Council of Ireland. @ Visual Artists Ireland, Dame Court, Dublin 2 Cost: ˆ 80 / ˆ 40 (VAI members) 10 places Peer Critique Sessions with Visiting Curators Date and venue tbc Health and Safety for Visual Arts Professionals Date tbc
Chartered accountant, Gaby Smyth, gives advice on financial management for artists. In association with the Crafts Council of Ireland. @ Visual Artists Ireland Cost: ˆ 8 10 places
NORTHERN IRElAND NEWTOWNARDS
Artists' Talks and Artists' Clinic: Birds&Words and Visual Artists Ireland Wed 8 August (time tbc) VAI's next clinic will take place during the Creative Peninsula Festival and will feature talks by artists Alice Dixon and Jessica Hollwood on their fine art print enterprise Birds&Words. Followed by Q&A on practice issues with VAI staff. Free event @ Ards Arts Centre, Newtownards, Down 35 places The Art of Collaboration Date tbc Seminar and Artists talks on collaboration between literary and visual art forms. Confirmed speakers: Gregory McCarthy and Alice Lyons -– others tba. @ Ards Arts Centre, Newtownards Cost: £5 30 Places
bElFAST
DIY Media and Object Hacking with Saoirse Higgins and Cliona Harmey Wed 15 and Thur 16 August (10.30 – 16.30) Hands-on, two-day workshop exploring DIY and hardware hacking approaches to media art practice using a range of everyday electronics, open-source tools and found materials. Participants will create a piece of work to be shown the following day. Cost: £30 / £15 (VAI, BX DAS Members) @ DAS, Belfast 10 places Project Management for the Visual Arts Date tbc A hands-on session adapting project management principles to the visual arts. Aimed at artists, curators and festival / event organisers. @ Belfast Exposed Community Centred approach to Planning Creative projects In partnership with Belfast Exposed @ Belfast Exposed Spring 2013
Managing Your Accounts with Gaby Smyth 4 Sept (10.30 – 15.30)
stages in their careers.
his neighbourhood, which provides the
www.kevinkavanaghgallery.ie
for more information or to register visit: northern ireland http://visualartists.org.uk/services/professionaldevelopment/current republic of ireland http://visualartists.ie/education/register-for-our-events/
DUblIN
www.stjohnstheatrelistowel.com
paint) to the ephemeral and temporal: a painted room that was erased from exist-
www.galwayartscentre.ie
professional development training & events summer 2012
■ Priority is given to events
Monica Flynn / Professional Development Visual Artists Ireland, Central Hotel Chambers T: +353 (0)1 672 9488 E: monica@visualartists.ie http://www.visualartists.org.uk http://www.visualartists.ie http://www.printedproject.com http://www.thecommonroom.net Twitter: VisArtsIreland Facebook: http://www.facebook.com/VAIProfessionalDevelopment
8
The Visual Artists’News Sheet
News VAI News
Other News
vai 2012 get together
block t
The VAI 2012 Get together took place at
BLOCK T celebrates the opening of a
Limerick School of Art and Design on
brand new five-story building that can
Friday 15 June. Myriad talks and work-
facilitate a larger range of cultural and
shops filled the day while the Common
creative activities. The tile warehouse
Room Cafe provided an informal infor-
will remain as a gallery and workspace
mation and conversation hub. VAI would
but additional artist studios are now on
like to thank all the fantastic volunteers,
offer, as well as spaces for collectives and
the immensely helpful staff at LSAD, the
small companies working in the creative
insightful
informative
industries. The press release states, “We’ll
Common Room Cafe table holders and
be launching a creative consultancy and
all those attendees who provided enthu-
an educational department under wider
siastic and perceptive responses. We
plans to facilitate stronger cooperation
hope that this event will take place again.
and links within the arts. We want to
Furthermore, several of the individual
ensure sustainable growth for the arts at
talks will most likely inform future indi-
a local level, but we also believe that
vidual events, information on which will
Dublin is full of bright, creative talent
appear in the VAI listings and e-bulletin.
that can achieve big things when they
We would greatly appreciate if you could
work together. If you’re interested, our
take a few minutes to fill out the survey
doors are open and we’d love to hear
on our website, so we can make the Get
from you.”
speakers,
Together even better in future. www.visualartists.ie
soma vai advocacy
SOMA Contemporary closed its doors
Visual Artists Ireland has an active advo-
after three years in Waterford City.
cacy and representation programme. VAI
“SOMA Contemporary would like to
monitors policies and takes on the key
thank the many artists and guest cura-
issues that concern professional artists
tors we have worked with, without them
generally in relation to their status, rights
Soma would have never been able to do
and income. It also represents the inter-
what we did, or have a reason to be what
ests of individual artists on a case-by-case
we were. We would also like to thank the
basis in relation to specific issues cover-
Arts Council and any past sponsor that
ing areas such as tax and self employ-
has helped us out – especially Waterford
ment, funding, social security, contracts,
city council for working with us over the
copyright, insurance and many more. To
past three years, with a special thanks to
inform this work, VAI is calling on mem-
Conor Nolan and Jane Cantwell. Of
bers to assist us in our advocacy role by
course we need to thank everyone that
creating or joining local interest groups
has helped us over the years: Joe Harney,
with a feedback channel to VAI. We are
Brendan Butler, John Loftus, Anthony
currently establishing a regional net-
Costine, Michael Durand, Aoife Kirwan,
work of artists who can inform us of
Plasma Studios, Adrian McGrath, Maw
issues at a local level and provide feed-
and Paw Hallahan, Maw and Paw
back on matters that affect artists across
Corcoran, Joe Twomey, Conor Nolan,
Ireland. These groups will help guide the
Susan Connolly, Mary Ruth Walsh, Ben
advocacy work which we undertake
Reilly, Michael Beirne, Kate Strain, Dean
while also assisting us from time to time
O’Sullivan, Luke Marsh, John Haggis,
by engaging with the issues at hand.
Mark and Gillian and the Pallas guys,
Datasheet #1 – Topic: The Status of the
Carl and Ruth from The Good Hatchery,
Artist in Ireland, Datasheet #2 – Topic:
Ian McInerney from The Black Mariah,
Education, Datasheet #3 – Topic: Further
Peter Prendergast from Monster Truck,
Education, Datasheet #4 – Topic: Work
StudentsZine, Ormston House, the bands
life, Datasheet #5 – Topic: The Artists
and live acts, everyone who attended and
Charter, Datasheet #6 – Topic: Ireland:
supported our shows and events and
international engagement. Register your
anyone www.somacontemporary.com
below or contact Alex Davis alex@visualartists.ie or 01 6729488. http://tiny.cc/Advocacy_Volunteer
lic. Jeremy exhibited at Void in 2010 and
committee, the Catalyst, Belfast archive
culture ireland
spent time in Derry in the lead up to his
committee and a member of the NI
The Board of Culture Ireland has
exhibition; his presence at the Biennale
Literature Forum. Forthcoming projects
announced the appointment of Ms
is therefore particularly significant. The
in addition to Tulca include Abridged
Christine Sisk as Acting CEO. Christine
Venice Biennale is one of the most pres-
projects at home and abroad plus projects
has worked with Culture Ireland since its
tigious art exhibitions in the world; I’m
for the Derry / Londonderry City of
inception in 2005 and is currently
incredibly excited at the prospect of what
Culture celebrations in 2013. He holds a
Director of Grant Programmes. Christine
Jeremy will create for the pavilion in
PhD from the University of Ulster. Tulca
is an arts graduate of UCD, and also holds
2013.”
2012 will run from 9 – 25 November
a Diploma in Art History from Trinity
2012.
College Dublin. She established the
www.derryvoid.com
www.tulca.ie
void Artist and manager of Void Gallery in
Jimmy Deenihan TD, Minister for Arts,
british institution award
Works. She also chaired the Inter-agency
Heritage
has
Alison Pilkington has been awarded a
Committee on the Per Cent for Art
announced the introduction of a new
British Institution award for her paint-
Scheme. Christine coordinated the
philanthropic initiative, on a pilot basis,
ing, Friend, at the Royal Academy Summer
Culture Programme of Ireland’s EU
for arts and culture organisations. The
show in London. The British Institution
Presidency in 2004, and from 2002 to
initiative – the Philanthropy Leverage
awards are selected by a panel of acade-
2005 was the National Delegate to the EC
Initiative – is designed to encourage
micians, critics, curators and gallerists
Culture Affairs Committee.
philanthropic
and
each year and awarded to students.
endowment funding of the arts from
Alison is currently a practice-based
private sources. The initiative, established
researcher in fine art painting at the
ormston house graduate
with funding of €230,000 for 2012, will
National College of Art and Design,
The recipient of the Ormston House
be managed by the Department of Arts,
Dublin.
Graduate Award 2012 is Gimena Blanco.
and
the
Gaeltacht,
sponsorship
Heritage and the Gaeltacht. The
www.royalacademy.org.uk
Pavilion at the Venice Biennale 2013. Jeremy Deller has been selected for the 55th Biennale. He will present a solo exhibition in the British Pavilion, which will run from June to November 2013. Maoliosa Boyle said, “It was an honour to be part of the panel and represent Void. Jeremy Deller is a wonderful artist who creates socially engaging work in a real sense, for the public, involving the pub-
www.aha.gov.ie
This year’s invited selector was Paul Sullivan of Static Gallery, Liverpool.
provide an incentive to arts organisations
ardscoil ris
About her degree show presentation,
to proactively seek new and multi-annual
James L Hayes has been awarded the
Gimena writes: “My work explores, on
relationships with sponsors which
Ardscoil Ris Per Cent for Art commission
the one hand, questions specific to the
deliver private sector financial support,
after the adjudicating panel had short-
process of photography – how light
thereby increasing overall funding
listed five contemporary artists to sub-
makes a photograph and how light itself
available to the arts. It will be available
mit stage two developed proposals for
works, what is lost and gained through
across projects of varying scale, geography
the competition. Hayes’s two-part large-
digital manipulation. On the other, I
and art forms. It is envisaged that this
scale work is due to be completed by the
explore the relationship the resulting
funding will unlock new private sector
spring of 2013 and will comprise of inter-
photographic print, understood as an
funding of 2.5 times the State allocation
nal sculptural installation interlinked
object, enters into with the three-dimen-
of €230,000 generating total additional
with an external installation work that
sional space it inhabits. Different systems
funding of €805,000 to the arts in 2012.
will also comprise multiple components.
have
The pilot initiative will be reviewed at
The project will be completed in associa-
Photography abstracts reality into visual
the end of 2012. The Leverage Initiative
tion with Ardscoil Ris and Healy Partner
language, formal elements of that lan-
will run in parallel with a second
Architects in Limerick.
guage such as light, line and colour are
initiative – the Philanthropy Capacity
different
levels
of
reality.
used to consider relations across media.”
Building Initiative – that is operated by
Over the next year, Gimena Blanco will
the Arts Council. Under this initiative
Arts council NI Funding
work in developing a solo exhibition for
the Arts Council will provide one-to-one
The Arts Council of Northern Ireland's
the House Programme, 2013. Paul
professional advice and direct funding
Public Art Funding Programme, is
Sullivan is an architect, artist and writer.
support to a number of selected
designed to support the commissioning
He is the founder and director of Static
organisations to help them build and
of new art for public places throughout
Gallery, Liverpool, established in 1998.
resource their capacity to attract
Northern Ireland. The Programme is
philanthropic giving.
open for applications for permanent sin-
www.ormstonhouse.com
gle works, multiple linked works (eg a
dit summer project studios
sculpture trail) and integrated art
The School of Art Design and Printing at
footprint international
projects. The Programme will open in
DIT is pleased to host six artists and one
Four Irish printmakers have been accept-
June 2012. Online applications will be
curator in the Summer Project Studio in
ed into the 3rd Biennial Footprint
available. ACNI has designed the Visual
DIT Portland Row during the months
International. This competition is organ-
Art
to
July and August. The project studios were
ised by the Center for Contemporary
strengthen the visual arts sector by creat-
awarded to Eithne Jordan, Mark Clare,
Printmaking in Connecticut. The four
ing opportunities for organisations to
Padráic E Moore, David Quinn, Sally-
printmakers are: Susan Early, Aidan
develop their capacity and build audi-
Anne Kelly, Karl Burke and Siobhan
Flanagan, Barbara Hannigan and Paula
ences. Application forms will be made
McDonald.
Pohli. In addition, Paula Pohli won third
available to organisations after discus-
prize for her linoprint work entitled
sions with ACNI regarding the eligibility
Dublin Apparition.
of the proposals. The Programme will
talbot gallery award
open in June 2012. The Capacity Building
Talbot Gallery Studios is pleased to
Programme aims to strengthen the arts
announce that the Most Promising
Tulca festival
sector by creating opportunities for
Graduate Award 2012 went to Daniel
Tulca Festival of Visual Art has
organisations to develop their capacity
Tuomey from NCAD. Daniel received an
announced Greg McCartney as its 2012
and build audiences. Application forms
eleven-month studio residency rent-free,
curator. Greg McCartney is from and
will be made available to organisations
along with a solo exhibition within the
based in Derry, Northern Ireland. He is
after discussions with ACNI regarding
Talbot Gallery.
the Project Coordinator and Editor of the
the eligibility of the proposals. The
Abridged poetry / art magazine and cura-
Programme will open in June 2012.
www.ahg.gov.ie
www.contemprints.org
Derry, Maoliosa Boyle, represented Void on the selection panel for the British
Committee to manage the State Art Collection while at the Office of Public
philanthropy leverage
Philanthropy Leverage Initiative will www.blockt.ie
interest in volunteering at the website
July – August 2012
tor of its exhibition strand. He is a former Director of the Context Gallery. He is also a freelance exhibition-maker and is a member of the Void, Derry curatorial
Development
Programme
www.artscouncil-ni.org
www.talbotgallery.com
The Visual Artists’News sheet
July – August 2012
9
REGIONA PROFIlE REGIONAl
Visual Arts Resources andActivities: and Fermanagh Fermanagh Visual Artists' Forum
Outland Arts
Pot by Jane Fallis, 'Something Else' exhibition, 2011
NOT many arts organisations have their home
Members of Outlands Arts engage in curatorial
amongst rare birds, illusive beasts and scarce-found
practices and I will be curating ‘Dark At Its Full’ for
flora, but Outlands Arts has just this. Outlands
the International Beckett Festival in Enniskillen in
is the brain-child of artists Helen Sharp, Diane
August. This unique event will be held in the grand
Henshaw, Harriet MacMillan, Miriam de Búrca and
piano salon at the magnificent Castle Coole and
Bryonie Reid and is inspired by living and working
will be an evening of music and film reflecting on
in County Fermanagh. Our headquarters are on
Beckett’s Mercier and Camier Camier. Artists making and
the Crom Estate nature reserve. Outlands’ mission
performing new work include Irish composer Dr
is fuelled by the group’s ambition to encourage
Catherine Laws, installation artists Ciarán Maher
audiences, fellow artists and curators to regard rural
and Paul Hamlyn. Award-winning artist and
areas as equals: just as culturally rich and significant
filmmaker, Seamus Harahan, will collaborate for the
in terms of contemporary art as urban context. We
first time with Cultural Olympiad Boat Project artist
seek to provide innovative arts activity within this
in residence, folk musician Thirty Pounds Of Bone.
rural context, alone as well as in collaboration with others.
Elena Murphy, Marble Kaleidoscope, 2011
Fermanagh
District
As a collective of working artists, Outlands
rare opportunity to curate this exhibition from the
aims to address the various elements of what it
entire British Council art collection. It is a unique
involves to be an artist living and working in a rural
and bespoke opportunity for county Fermanagh
area and also to address the individual interests of
residents and those beyond its borders to see work
each member and their specific art practice.
by such internationally renowned artists as Grayson
Outlands has recently been awarded an ACNI
Perry, Douglas Gordon and Mark Wallinger. The
grant that has enabled us to run a programme of
title of the exhibition is taken from Crom-born
workshops designed by the group to introduce new
writer, Shan Bullock’s novel Ring O’Rushes O’Rushes; both
skills for members and other local artists, but also to
fictitious and autobiographical, Bullock’s writing
Council
make the arts more accessible to all. They have
encourage the passing on and teaching of these skills
borrows from fact and from imagination to weave
identified the need for a central core to the visual
been generous with sharing their expertise and
within the community in order to provide work for
tales of rural life; so too does ‘Humbly Through The
arts community in the county, independent of the
experience. Some members are simply looking for
artists and a network for meeting and sharing ideas.
Dust’. The exhibition has, at its heart, the curator’s
council. So, Visual Arts Fermanagh was set up as a
company and contact in what is often a solitary
Established and celebrated artists such as Sean
response to the experience of living and working in
platform for interaction and cohesiveness between
and lonely occupation. The group exhibitions have
Lynch, Ursula Burke, Julie Bacon, Duncan Ross, Niall
rural county Fermanagh and also references a more
visual artists in the county. Fermanagh has a vibrant
already resulted in some artists collaborating and
Walsh and poet Eva Burke will all be visiting Crom
curious notion: that the autobiographical is manifest
arts scene and has produced many great artists and
running their own joint exhibitions.
over 2012.
within a rural landscape.
IN
2009,
Opening night, 'Something Else', 2011
In October, Outland Arts will bring ‘Humbly Through The Dust’ to Fermanagh. I was given the
practitioners such as TP Flanagan, William Scott
One of our main objectives is to exhibit
Workshops will be held in the beautiful
Outlands welcome visitors of all types to
and Jeremy Henderson. The creativity and desire to
regularly. Access to suitable venues has been a
listed building on Crom that serves as Outlands’
chat, to stay or to come and make work in our
make links between one another was always present
problem but last November we hit the jackpot,
workspace (kindly donated for use by The National
beloved county and this summer we will conduct
but Visual Arts Fermanagh has made it possible
gaining access to Rosahilly House. The owner,
Trust) and a selection of them will be open to the
an exchange with Belfast’s most exciting new art
for artists to come together as a collective, to be
Rory Houston, has recently converted one of the
public. The intriguing Floating World Books and
gallery, Satis House. Outlands have been invited to
stronger as a whole rather than as individuals. As a
barns of this old house into a spectacular gallery
clay goddesses Fired Earth have already completed
stage an exhibition in the unique environment of
group with charitable status, we have applied for a
overlooking Lough Erne. The space is large, well
their workshops, held at The Share Centre. (Share
this South Belfast terraced house gallery space run
grant from the Arts Council of Northern Ireland to
lit and professional in appearance, comfortably
is a Fermanagh charity that works for the inclusion
by Kim McAleese and Eoin Dara.
fund workshops run by sculptors Niall Walsh and
housing the plethora of different-sized paintings and
of disabled and non-disabled people by providing
Outlands make a point of celebrating more than
Andy Parsons, which would benefit the whole arts
sculptures we produced. It was a challenge indeed to
opportunities for all to participate in a wide range of
just visual art and in last autumn’s ‘Harvest Feast’
community and the public.
curate such an exhibition, balancing colours, styles,
creative, educational and recreational programmes
we invited singers, musicians, gardeners and cooks
At the outset, a set of objectives was articulated,
sizes and techniques of work in such a way that there
through over 30 different arts, land and water
to join us around a big wooden table and enjoy an
a constitution drawn up and a call made for artists
was fluidity and strength, that the works did not
activities). Outlands nurtures and promotes the
outdoor exhibition and a home-grown, home-baked
to apply for associate or professional membership.
fight for attention but complemented one another.
system of barter and this is manifest in The Share
feast. So, if you pass our way, we’ll put the kettle on if
The group aims to: Enable artists living or working
We had great attendance at the exhibition, which
Centre’s support, allowing us use of their kiln and art
you bring the buns…
in Fermanagh to communicate their work to
lasted for three weeks, and received good coverage
room in exchange for artists undertaking workshops
the public through exhibitions, public displays,
and reviews.
and fundraising.
Helen Sharp is an artist, writer and curator
events, demonstrations and promotions; organise
We have exhibited twice in a small, disused
We have been working on a number of
based in Fermanagh. Her work details theories
lectures, seminars, workshops and other forms of
shop in the centre of Enniskillen. As the rent was
projects including ‘Sowing the Scene’, a symposium
of autobiography and the representation of
enlightenment and instruction either alone or in
high, however, we have only opened the pop-up
examining
recollected history.
collaboration with others; improve access to, and
show for a single weekend at a time. We hope to use
landscapes. Outlands will also be working on an
the quality of, visual arts in the county; promote,
this space again for a show during the prestigious
exciting secret project with Cinema North West
maintain, advance and improve the education
‘Happy Days’ Beckett Festival at the end of August
timetabled for August 2012.
and training of artists, particularly those living or
2012. The space is happily situated opposite the
working in Fermanagh.
famous Blakes of the Hollow pub, which will be the
This is a broad vision that we do not propose
main hub of the festival. I can see many people in
to implement all at once, but are working away
the artistic community coming together during this
steadily to support. The group as it stands has
time.
about 50 members. There is a core committee who
What has come out of the group for me in these
organise and run exhibitions, social events, funding
last few years is a supportive and fluid network. I
etc. We meet formally about once a month to discuss etc
have gained friends as well as skills, inspiration and
issues, organise events, but also informally – simply
the invaluable benefit of being pushed out of my
coming together over dinner to discuss art.
comfort zone.
the
phenomenon
of
constructed
VAF comprises a wide range of artists, all looking for something different. Some are graduates
Susan Hughes is a Fermanagh-based artist.
fresh from art college who have moved back to Fermanagh looking for contacts and places to
She graduated from the University of Ulster in 2006 and is the current Chair of Visual Arts
exhibit. Some are looking for stimulation, ideas
Fermanagh.
and the possibility of collaborative work. More established local artists have been supportive in helping to widen the Fermanagh audience and
'harvest Feast' at Outland Arts
Outland Arts headquarters, Crom, Co Fermanagh
10
The Visual Artists’ News Sheet
July – August 2012
REGIONAL PROFILE
Fermanagh Arts Office and the Higher Bridges Gallery
Jeremy Henderson, A tree throws out its meaning without the use of an alphabet, 2004
Jason Sumray, Figure, Table and Box, 2011
Diarmuid Delargy, Two Cod Study, oil on board
What are your visual arts policies? What do you see as the role of
A recent document published by the Arts Council of Northern Ireland
creative industries for the two regions, as well as support artists in the
the Arts Office?
highlighted the “poor living and working conditions of artists working
hinterlands. The key aim of the programme is to support the training
in Ireland”. This document takes a realistic stance on the state of the
and showcasing of fine and applied arts throughout the Fermanagh
cultural infrastructure. The grim reality is that the mean average
and Leitrim areas from 2012 – 2015. The programme focuses on
income of an artist in Northern Ireland is £3,000 – £7,000 per annum,
emerging artists, developing their business acumen and artistic practice
which isn’t much really considering ongoing cutbacks in the sector.
through online and one-to-one training. Master classes for the sector
Despite this, cluster groups are bringing artists back from the verge of
are also provided, with the primary aim of up-skilling rurally based
quitting their practice and I think further investment is definitely
artists within all artistic genres. The programme has created two posts,
required to resource contemporary art throughout the country,
both of which have been led by Leitrim Design House. Further details
particularly in the North. Similarly, more groups need to come together
regarding this programme will follow in the next few months via the
to strengthen creative development for the long term. To date, funding
Visual Artists Ireland e-bulletin and news sheet.
Our core aim, at the Fermanagh District Council Arts Office, is to develop all artistic genres within the Fermanagh region. However, visual arts have been a primary focus with regards to developing the arts sector as a whole, as well as supporting new and existing groups of artists. We focus on developing and delivering an inclusive arts programme, working to dispel notions of elitism in the sector. Through partnership with other cluster groups, we deliver a programme of activities where the arts are open to all, enjoyable, gratifying and a tool for lifelong learning for the wider community sector.
in the North has been very city-centric and rural artists are just starting
The Fermanagh District Council’s Arts Advisory Committee offers
to realise what they are entitled to regarding the various forms of grant
annual grants for community and voluntary art groups, as well as
aid out there.
individual artists from or resident in Fermanagh. This committee also supports a wide variety of initiatives such as children's drama groups, youth orchestras, short-term music programmes, multicultural projects, photography, music, visual arts and festival-related events. Furthermore, each year, the Arts Office offers three artist residencies at the Tyrone Guthrie Centre at Annaghmakerrig, Co Monaghan (due to be advertised in the local Fermanagh Press July – August 2012). These residencies are suitable for professional artists living in Fermanagh or from the region. In addition, the Arts Office provides information for local artists, collating opportunities in a newsletter that is emailed to artists registered for the e-bulletin.
1n 2010, the Arts Office also set up Visual Arts Fermanagh to create a network for local artists and strengthen the amateur / emerging arts sector. From this group, another group of artists was formed, called
Unfortunately, funding from ACNI also has been ring-fenced by central
Outland Arts. Outland Arts was established in order to curate, develop,
government to grow the creative industries via its CIIF fund, and this is
up-skill and mentor artists from the Fermanagh area. This group is a
having a major impact on the emerging artist and the SIAP awards. The
small gathering of five artists (friends, gardeners and cooks!) based in
self-arranged residency award has been axed and other schemes of
the South West Fermanagh region. They comprise: Miriam de Burca,
significance for promoting the arts abroad, such as the Venice Bienniale,
Bryonie Reid, Harriet MacMillan, Helen Sharp and Diane Henshaw. The
will have no representation this year from the North. Furthermore,
group recently achieved funding from the Arts Council of Northern
community arts remain a focal point in the North making it increasingly
Ireland to develop their practice through a series of up-skilling
difficult to drive forward our growing arts scene.
workshops that include: Land Art in Context, Bookmaking, Bronze
Could you outline a couple of your key visual arts projects? For the last 10 years, the Arts Office has been programming a
Casting, Archiving for Contextual Practice, Writing for Critique etc. What are your hopes and ambitions for future visual arts activity and resources in Fermanagh?
Ultimately, the Fermanagh Arts Office has many different roles:
comprehensive exhibition schedule the Higher Bridges Gallery in the
developing and coordinating artistic activities and events across the
Clinton Centre, Enniskillen. The gallery is situated in the heart of Co
The Arts Office is currently researching various off-site venues for
county; encouraging and inspiring enthusiasm for the arts and
Fermanagh and hosts an ongoing monthly programme of exhibitions
future visual arts programming, which will provide new space for the
promoting it as a valuable, positive and worthwhile activity for all;
by contemporary and emerging artists of much critical acclaim. In
visual arts in Enniskillen, in association with the Higher Bridges
working to bring the arts to a wider community by forming links and
addition, there have been some larger-scale group exhibitions that aim
Gallery. We are also in dialogue with the Leitrim Sculpture Centre
partnerships; broadening participation through increased audience
to develop the ethos of contemporary practice within the context of
regarding the development of further cross-border projects, focusing
and practitioner involvement; administration of annual individual
growing the sector and strengthening solidarity networks. These have
primarily on co-commissioning new work and creating tailor-made
artist and group bursaries through the Arts Advisory Grant Aid;
focused particularly on rural areas that have been marginalised and
residency opportunities for the visual arts sector. The Arts Office's
facilitating partnering, synergy and skills exchange between groups,
socially deprived, and suffer from a lack of investment in infrastructure,
Enniskillen Visual Arts Open has taken a break this year and hopes to
individuals and agencies involved in arts advocacy.
within the area of visual arts.
kick off again in the near future with a comprehensive visual arts
What are the biggest challenges facing you in terms of Visual Arts
Upcoming exhibitions include: Mickey Donnelly 'Recent paintings and
resources, programming and development?
works on paper' (29 June – 28 July), The Enniskillen International
In my opinion, the challenges facing visual artists in Northern Ireland stem from significant reductions in the grants available to the sector. Fermanagh is situated in a rural region close to the border and really does struggle to keep the arts alive. However, in times of austerity the arts – amazingly enough – do become very exciting. Artists in the
Beckett Festival (11 – 27 August), Dermot Delargy 'New Work' (7 – 9 September), Alfonso Lopez Monreal 'Prints / Paintings' (4 October – 3 November), Claire McLaughlin 'New work' (9 – 24 November) and the Christmas Expo Show featuring artists from across Ireland (30 November – 21 December following an open call in September).
North have encountered long-term financial struggles and have proved
We have also started to work in collaboration with Leitrim County
very resourceful; most of us work to get by and without such a life-ethic
Council and Leitrim Design House, who have secured €800, 000 from
one would find it hard to make a living from just being a practitioner.
the Interreg fund via SEUPB with the support of ICBAN to develop the
symposium of events and opportunities for the emerging and professional arts sector. Diane Henshaw is the Arts Officer for Fermanagh and Director / Curator at the Higher Bridges Gallery.
The Visual Artists’ News sheet
July – August 2012
11
REGIONAl PROFIlE
Tara Moran Woods, It could have been a dress, 2009
Tara Moran Woods, A Case of the old and found, found handle and patchwork of artist's clothes, 2009
Tara Moran Woods' photographs of found objects
Tara Moran Woods, It started with a walk walk, 2009
Tara Moran Woods, Find, Mend, Keep, found shirt and rope, 2009
Make Do and Mend
nameless, just a description and phone number. There was a sort of mystery surrounding the identity of this person that I could connect to the work I was making at the time. I linked the advertisements to
FERMANAGh-bASED ARTIST ARTIST,, TTARA ARA MORAN-WOODS, DISCUSSES A RECENT JOINT ExhIbITION, WhICh TOOk PlACE AT ThE MAD ART GAllERY, ERY DUblIN IN AUGUST 2011. ERY,
second-hand objects and arranged them in some old shelving I found by the mill. For example, a rusty pastry cutter with a catering advert, a small doll’s dress with a dressmaker advert, a painter and decorator’s text ‘No job too small’ beside a doll holding a large paintbrush. My interest in text continued in an assemblage of pens. Some local
IN August 2011, Patricia Kelly and myself held an exhibition at the Mad Art Gallery, Dublin entitled ‘Make do and Mend’. The
used were a representation of this in contrast to the ‘make do and mend’
garages sell bunches of pens and the money goes to a charity. Made
era, which is no longer a way of life.
originally for businesses, most of the details on them are in another
exhibition came about from a desire to adapt traditional domestic
It started with a walk was one of the first pieces made on the
crafts like crochet and stitching into contemporary, multi-media textile
residency. I gathered a variety of grasses and flowers beside the Brosna
works. The aim was to highlight the value of the everyday: unseen
and made a series of drawings which progressed into small, doll-like
In contrast to these advertisements, graffiti also interested me, in
and unnoticed tasks and habits, our surroundings, materials and
3D figures. The body was made from thick stem, with grass and leaves
particular on the walls of an old ruin that once served as a hospital for
things which are extraordinary within the ordinary. These items are
sewn on for clothes and hats. Inspiration came from a local miniature
soldiers. There were many messages and signed names: evidence of the
reminiscent of past trades, conducted at home, that once provided an
village where Barbie dolls had been alteres to depict local characters.
previous residents’ presence. This was conscious mark making, where
income for households.
The dolls I made were a natural alternative to this.
the person’s name and identity was clear to read, in contrast to the lost,
language. Again, the description of the original owner remain elusive. I assembled the pens into a sack, a bit like the game ‘pick up sticks’.
Patricia Kelly is also a local Fermanagh artist who explores the
Re-piecing, rearranging and mending the disregarded or lost
subject of landscape through the use of discarded clothing belonging
objects became a perspective to create the rest of the work on residency.
My own work is based on the identity of others and the unknown, in
to family and friends. The work is metaphorical rather than a direct
It could have been a dress was a web-like structure transformed from a
contrast to Patricia’s work, which focuses her own personal belongings
translation of the landscape, exploring memory, emotion and inner
found jumper into a dress by crocheting the bottom part with gold
and family. The connection between our work is the use of needle
feelings. The scenes she explores have become closer to home – person
thread. The contrast between the grey soiled garment and gold thread
and thread and the reuse of discarded items. The similarities could
and place increasing in importance. Kelly’s recent work reflects her
is an example of what the jumper could have looked like. Thus, by
be clearly seen when our work was displayed side by side. I selected
own personal heritage and was completed using clothing from three
repairing the object I changed its value. Something that was previously
only work that incorporated stitching or crochet for the exhibition. It
generations of her family. This use of worn clothes has a double purpose:
thrown on the street was transformed into an item that could be put
could have been a dress was placed, hovering, at the top of the winding
they give the piece a life before the it is even formed, but the materials
on display.
staircase at Mad Art Gallery, which gave it an eerie figurative context.
discarded objects along the roadside.
In A case of the old and found found, I became a part of the work myself. The
The shirt with rope and stitching and the dolls made from foliage were
My work for ‘Make do and Mend’ was created on residency at
beginning of a small suitcase was created with a rusty petrol can handle
displayed in Perspex boxes, as I thought this would convey a sense of
Belmont Mill, Co Offaly. The residency lasted for three months and
found by the mill. Some of my own clothes, cut into squares, were sewn
value and preservation. Photographs of the found objects and a hand-
provided me with time to explore the locality and experiment with new
to form the suitcase structure. While on my residency, I also became
written road sign were also displayed. Providing the source or location
subjects and contexts. Here, my creation process became increasingly
one of the people that had passed through the village.
of the observations in this way helped explain to the 3D work. The
had another life, another existence – not spiritual but physical.
spontaneous and conceptual. The local area was a major influence on
In Find, Mend, Keep I folded shirt found by the road, wrapped rope
small suitcase, A case of the old and found found, sat beside the front door, as a
the work, as I spent a lot of time walking and cycling to other nearby
around it and sewed thread around the edges to create a parcel-like
reminder of the journeys people make. It left an unsettling presence,
villages. It was quite a remote location, near the Grand Canal and River
object, emphasising the idea of preserving and appreciating an item
questioning whether the owner is arriving or leaving.
Brosna, and close to many historical sites and derelict buildings.
that once belonged to an individual.
I began by collecting found objects along the roads and capturing
Photographs of the collected items in their found situ became valid
Tara Moran-Woods is a visual artist based in Fermanagh. She
images of uninhabited dwellings. These all maintained traces of people
artworks on their own. I came across a trainer floating in the canal, and
works in installation, drawing, painting and textiles. She is a
passing through and of those who were once settled in the area. The
thought both of Cindarella’s lost shoe and the character now walking
graduate of Sligo Institute of Technology and has exhibited in the
objects prompted questions as to their value, the owner’s identity and
around wearing just one shoe. I also photographed a glove found by the
181st Annual RHA Exhibition and the Context Gallery, Derry.
where they might have gone. Some of the objects gathered included a
road and a bow from a parceled present. In these cases the image was
t-shirt, rope, a glove, a jumper, a trainer, a large bow from a wrapped
enough to represent the collection of objects and belongings gathered,
present, a handle from a petrol can and a pastry cutter.
triggering a story and history of each item.
In contemporary life, we are surrounded by throw-away fashions
I started to keep some of the advertisements in local newspapers:
and mass produced decoration, furniture and clothes. The found objects
those that offered some sort of professional trade or service. All were
12
The Visual Artists’ News Sheet
July – August 2012
intervie w
two overarching priorities in the visual arts: support
needs of an audience. The second part of this is the
to the individual artists – in terms of bursaries, travel, training and support and Aosdána; and
access agenda. For the visual arts sector, the ‘Here and Now’ initiative, on July 4th, is the beginning of
support to visual arts venues through work spaces,
data capture on audiences. We need to interrogate
studios, galleries etc. So these supports, combined
the information on visual arts audiences together
with projects / commissions, are all about the
and address the findings.
individual artist and the conceptual manifestation of the artist imperative. There are ways then that
The accessibility of the language used by visual
public access and education can emerge from this
artists is also important. The artist shouldn’t feel
work. There are many interesting and exciting ways
they are dumbing down the work or concepts in
that the visual arts sector is specifically developing
making it more ‘accessible’, nor should the audience
audiences and engaging with education and
feel patronised. Not every exhibition or performance
outreach. They do not see this as a box-ticking
is going to appeal to everybody. At the creation
exercise but rather a natural part of their
stage, the artist and the gallery, or whoever is
programme.
presenting the work, need to come together. It is at this juncture that they need ask, ‘who do we want to
KM: The Arts Council has always taken an
see this work?’ Thus defining the ‘who’ that will
‘arm’s-length approach’ to advocacy. Yet, in the
begin to frame the ‘how’. That’s the moment – when
most recent arts strategy, it is enshrined very
the facilitator and the artist connect – that the
clearly. Perhaps you could elaborate.
audience needs to be part of the relationship. Education and outreach is often an afterthought,
OM: A lot of the Arts Council’s advocacy work is
but it needs to happen long before that.
invisible, as it attempts to insinuate itself across all
Orlaith McBride, image courtesy of the Arts Council
New Directions Kerry McCall interviews orlaith mcbride about her role as director of the arts council.
aspects of government. For example, next week we
KM: Having read the 2011 – 13 strategy, it notes
are meeting with Minister for Social Protection, Joan
that you plan to demonstrate the value of the
Burton, and, following that, Minister for Education
arts both socially and economically and that
and Skills, Ruaírí Quinn. The arts don’t exist in some
you recognise and value the intrinsic nature of
sort of separate silo to the rest of Irish society. It is
the arts. But ultimately, when we are talking
appropriate that we meet ministers and talk about
about cutting up bits of cake and funding
issues that are of concern to arts organisations and
provision, data capture and evidence-based
artists but our work is also about ensuring that the
decisions will be made. So, if 300 people go to
arts are on the national agenda. We have a role to
one thing and 5 go to another but have an
play in the social and cultural development of the
incredibly meaningful engagement, how can
state and it is the Arts Council’s function to articulate
data capture this conceptual connection?
this to government, but also to the public. We do have an arm’s length relationship with government
OM: You cannot make decisions based solely on
and are part of the CNCI (the Council of National
quantitative data but it is important that we capture
Cultural Institutions). Therefore we can and do
it to advocate on behalf of the sector when the
advise government from time to time on a range of
government ask us, ‘ how many people are attending
Kerry McCall: On June 21, 2011, you were
visual arts will look at access development differently
issues, either as part of the CNCI, or individually as
the performing arts or visual arts events around the
announced as Director of the Arts Council of
from those in the performing arts. So art forms will
the state agency for the arts. The chairman met
country?’ Up until recently, we didn’t have that
Ireland / An Comhairle Ealaoin and you took
have varying strategies.
recently with the minister to discuss a range of
evidence. However, it would be incredibly wrong
issues that the Council is concerned about, but this
and reductive for an Arts Council to use quantitative
does not necessarily happen in the public domain.
data to make decisions, which have to be made
up your position in September. As your first year draws to a close, it seems an opportune
Education plays a critical role as part of supporting
time to reflect.
access to the arts. We need to support our teachers in
based on the artistic and aesthetic quality of the idea
terms of developing their understanding and
I was at the Visual Arts Workers Forum (VAWF) in
and then of course other factors come into play. If an
Orlaith McBride: When I came into this position, it
confidence regarding the arts. It’s not about seeing
Cork recently and spoke about how theatre and the
Arts Council was making its decisions only on
was very clear that I was from the world of education,
the arts as a separate part of the curriculum. The
performing arts are very good at being vocal and
quantitative data, we would have to close the doors,
of young people in the arts. The values you bring to
Department of Education has a responsibility for
advocating on behalf of their sector. The visual arts
because that’s not the role of an Arts Council. We are
a job remain with you but in assuming this position
the curriculum and ensuring that children are
really need to start advocating publicly for
charged with supporting and developing the arts in
I have responsibility for all art forms and areas of
exposed to a full arts education. It is the Arts
themselves. At VAWF there was a sense of coming
Ireland. If we also only spoke about the arts in
practice. These are all valuable and critical to the
Council’s role to ‘add value’. We are developing a
together as a sector and saying, ‘we need to find our
economic terms, then those would be the only
overall arts infrastructure in Ireland, and it is our
range of programmes in this area such as an artist in
voice and we need to articulate that voice’. This is
metrics that will be used by government to
responsibility to support them all.
residence scheme in Colleges of Education. As part
the kind of advocacy that needs to happen in arts
acknowledge and evaluate the work that we do. We
of this programme, we have recently supported a
and culture. We all have a role to play in this, both
must ensure that we capture the data and recognise
I took up my position mid-way through the current
music residency with St Patrick’s Teacher Training
the Arts Council and the sector(s).
the economic impact of what we support, but
strategic plan and I’ve been able to use my strategic
College in Drumcondra. Colleges of education are
planning and policy background to consider what
where the lifeblood of teaching in Irish schools gets
KM: In an interview in December 2011 with
needs done. Two key priorities have emerged: access
made and renewed. The students’ experiences there
The Irish Times, Rosita Boland, you talk about
and education. There is significant provision in this
are critical to their values, attitudes and skills as
“future-proofing the arts in Ireland” and
KM: These are particularly challenging times
area across all art forms, but the Arts Council
teachers. It is therefore vital that the arts are part of
“needing to support a sustainable infrastructure
for organisations and individuals in the arts /
recognises that work is still needed, particularly in
that experience.
for the future”. What does this really mean for
cultural sector. Since 2008, funding has
creators and producers of visual art in Ireland?
decreased every year. Indeed, another significant
just tick the education / community arts box on
OM: The big thing is to understand your audience
cut to the arts is envisaged in the forthcoming budget. How do you expect the sector to
the application form to ensure funding?
and I think the visual arts sector has been very
respond?
bringing the world of education into the realm of the arts sector. The Arts Council is committed to increasing public
ultimately, our support is to the making, creating
KM: Is it fair to say, then, that artists should
access to the arts. Arts Audiences is one initiative
and participating in an artistic experience.
proactive in using new media to engage in a way
that is building and developing audiences. The other
OM: Absolutely not. Although education and access
that other art forms have not yet achieved. So yes, I
OM: I think there has been a maturity of response
side to this coin is broader access to the arts. Access
are newly adopted corporate priorities of the Arts
think it is a challenge but you need to engage
from the sector to date. We all have our part to play
crosses all art forms, so what we need to do is effect
Council we have a responsibility across all the
differently with your audience – it can’t be a passive
in terms of advocating and will fight as hard as we
a cultural shift both internally and externally, to
artforms to support the development of new work.
relationship anymore.
can to ensure that the projected cuts are not as bad
reach new audiences – be those young people, those
The need to develop and embed education and
with disabilities, those who are geographically or
access more widely beyond those organisations
Audiences, and understanding ones audience in a
gone from €83 million in 2008 to €63.2 million this
socially marginalised. All art forms will have their
with a clear mandate and commitment to this area
developed and systematic way, is a relatively new
year – that’s almost 30% of our funding gone and,
own way to engage across an access agenda. Our role
should never compromise the quality or ability of
thing in Ireland and Arts Audiences is one of the key
we could be returning to 2004 levels of funding.
is to encourage and support organisations to reach
artists or organisations to create work. For example,
initiatives that we have developed to support the
That is unthinkable. The Arts Council has lost 20
beyond their regular constituency. Those in the
over recent years, the Arts Council has committed to
sector in better understanding both the profile and
staff – we have gone from 65 to 45, so we’ve lost a
as predicted. That’s all we can do until then. We have
The Visual Artists’ News Sheet
July – August 2012
interview
13
issue
third of our staff. We’ve tried as hard as we can to keep the service the same but it’s proving difficult. Difficult decisions in terms of funding have been made and there are unfortunately more to come. This is inevitable. The government says, ‘you’re going to have to do more with less’. Well
Art and the Law monica flynn of vai and barrister viv meacham discuss a recent event entitled 'art and the law' that took place on 17 May at the bar council, dublin.
at some stage, we have to turn around and say, ‘we are going to have to do less with less’. So, in terms of what we expect out of this budget, we are working really hard at trying to ensure that government protects the Arts Council and understands that funding us is about funding arts activity in every part of this country. There are organisations and artists working in every county in Ireland. They are doing great work and in so far as we can, we need to be in a position to respond to them. We can’t always do so sufficiently because we don’t have the money so we need to balance sustainability and viability into our decision-making and also ensure that the new and emerging is supported. In terms of the visual arts, we need to support artist’s studios, galleries and the individual. In effect its an ecosystem and all the bits need to be sustained. KM: You have been a member of various boards. What advice would you give to those in similar governance positions today to future proof their own organisations and make them sustainable? OM: There are two things I would say: firstly, be consistent in what you want to achieve rather than changing tack every couple of years. This ensures there is a deeper understanding of what a board is trying to achieve and, therefore, it is much easier for that message to filter through into the organisation. Then, be relentless with that message and be brave around that. If a board is clear about what they want to achieve, its policies will find a manifestation. KM: Given the various discourses surrounding cultural value, how do you plan to accurately and holistically capture this value, to demonstrate how the visual arts make an important contribution to the well-being of the people of Ireland? OM: I hope that we consistently articulate the value of all art forms in terms of advocacy and state support to the arts. We are lucky enough to live in a country that places such importance on the arts and this is manifested in initiatives like Aosdána, the artists tax exemption etc. This year, we have an exhibition that represents 50 years of the Arts Council’s collection. It tells the story of the visual arts through this period of Irish society. I think a national collection is a unique way of saying we value that art form. We will have four simultaneous exhibitions curated by the Hugh Lane in Dublin, the Crawford in Cork, Limerick City Gallery and the Model in Sligo and will also commission a new work from a contemporary visual artist. This is a living, breathing collection and remains as contemporary as it was 50 years ago. For me, that is a concrete manifestation of the support we invest in the individual artist, as a state and as the agency that applies that commitment and that value. Kerry McCall lectures in arts /cultural management at IADT. Kerry’s particular area of research interest centres on the varied issues surrounding cultural value. She is currently Co-Editor for the (forthcoming) Irish Journal for Arts and Cultural Management and is a member of the Research Committee for the National Campaign for the Arts, Ireland.
Visual Artists Ireland has been aware of the need for a wider pool of legal expertise to support our work, and that of our artist members, for some time now. Thus, the development of this event, in partnership with The Bar Council and Vivian Meacham, has been a significant move forward. With the diversity of visual practices and approaches to work, there is no ‘one size fits all’ when it comes to contracts, copyright and commissioning agreements. Therefore, a nuanced understanding of the issues that arise in the commissioning, creation and exhibition of works is required from artist, commissioner and legal professional. Henry Lydiate reflected on this, providing a lively and inspiring account of his career and the development of his art law practice in the UK. What became clear was his interest in and engagement with artists’ practices and a willingness to think creatively when developing agreements and negotiating on behalf of artists. Art practices continue to shift, both materially and spatially, toward the ephemeral and temporal. Thus, the artist’s source of income depends more and more on creative approaches to valuing and benefiting financially from their intellectual property rights. For example, how does Banksy, whose temporary, public, site-specific works, develop earning opportunities and assert his intellectual property rights? The key current issues, from Henry’s point of view, are: legal support around collaboration; use of mixed media; appropriation; web-based art. He also argued that the development of legal supports for visual artists needs to be encompassed within a broader, cross art form initiative and pointed out the need for on-going education around these issue, for artists and lawyers alike. David Langwallner, presenting on copyright, provided intriguing examples of fair use cases regarding appropriation art, such as Bridgeman Art Library v Corel Corporation (1999) and Leibovitz v Paramount (1998). In the latter case, Paramount’s use of parody was upheld as defence against infringement of Leibovitz’s copyright on her image of a pregnant Demi Moore. The ambiguities and questions raised are as interesting as the art works. For example, sticky copyright issues remain a problem that surrounds installation art, as works tend to be temporary and not fixed to a surface. Hence they cannot be defined as art within the legal definition required for copyright purposes. This area of law is quite niche and both Henry and David emphasised the need for lawyers supporting the arts to gain and maintain familiarity with international case law, as this has influence at local level, particularly in relation to copyright. It is impossible to address this topic without acknowledging the financial problems faced by artists accessing legal representation. Robert Ballagh provided insights into efforts he and organisations such as the Artists Association of Ireland have undertaken, to assert visual artists’ rights within Irish law. His willingness to take a case against the state with regard to the Artist’s Resale Right paved the way for its implementation. (However, he was keen to point out that knowing he and his barrister had a strong case made this a manageable, personal risk.) Henry emphasised a number of salient points regarding legal costs and resolving disputes: that visual artists need to negotiate the terms of each project or commission; that letters of agreement serve the purpose better than contracts; that mediation on disputes outside the courts is preferable and less costly for all involved. With these points in mind, VAI are delighted to announce participation in The Bar Council’s Direct Access Scheme which will make it possible for our members to access legal opinion and provide a stimulus for junior barristers to
Printed Project 15: Physical Stuff Made Strange Curator / Editor: Vivienne Dick Assistant Editor: Treasa O’Brien Printed Project 15 invites filmmakers, artists and critics to approach the image from myriad perspectives: film as material, as phenomenological experience, as rendered or discontinuous image. Through interviews, essays and images contributors have explored themes such as: image and difference, image and rhythmn, sound image, video and live performance, and the auratic power of the projected image.
Cover price: €10 www.printedproject.com
develop expertise in visual arts law. We look forward to announcing further details on this scheme in due course and to further work with the Bar Council on support and events for both artists and barristers. VAI welcomes input and expressions of interest from both solicitors and barristers on visual art law issues. Monica Flynn is a visual artist and Education and Professional Development Officer at VAI. In September 2011 we had our first meeting about this event. The idea grew organically when VAI identified what seemed to be a scarcity of Irish lawyers familiar with the area of art law and all the issues that flow from this. When we first met, I learned that VAI members had limited access to legal professionals and often received unsatisfactory legal assistance when faced with issues relating to their practice. Artists perceived a lack of understanding concerning the various ways in which they work and of art law in particular. Most of the complaints received focused on these themes and thus the idea for this event came about. I learned that the legal problems artists face vary greatly, from contractual law issues to complex copyright matters. It seemed a logical step to first put together some form of information seminar for both artists and lawyers, to gage interest levels for such a venture. It was felt that this would be a good opportunity for the law professionals get an understanding of artist needs through real case studies so they could respond accordingly. The Bar Council very kindly partnered with VAI on the event which was held in the Distillery Building. The Bar Council is currently in the process of setting up a Direct Access Scheme for VAI members. This will provide direct professional access to barristers for non-litigious work. Although the project is very much in its infancy, it is hoped that if we can set up a panel of barristers who have an interest in this area of law, we could offer a type of Art Chambers facility to VAI members, thus adding value to any Direct Access Scheme. The event itself highlighted a wealth of issues but, in particular, a lack of legal education in the arts sphere and an absence of art law education in the legal sphere. Both Henry Lydiate and David Langwallner gave fascinating examples of complex copyright and contractural issues that artists have experienced when attempting to protect their body of work. Robert Ballagh was kind enough to give us a background of the legal battles he faced over the years and he also detailed his ongoing advocacy work on behalf of artists. Again, the contributions from the attendees compounded the view that artists are facing problems getting legal professionals to help them in the initial stages of their queries. The event was very much a starting point. Initially, the plan is to put together a panel of lawyers to advise with regard to legal queries from VAI members. In the future, the hope is to partner with other organisations to host events highlighting these issues, moving towards possible multi-disciplinary solutions over time. Viv Meacham is a barrister and member of the Bar Council of Ireland.
Vivienne Dick is a filmmaker artist who lives and works in Galway. She moved to New York in 1975 and became a key figure of the 'No Wave' movement. Her films have been screened at cinemas, museums and film festivals interntionally, including Reine Sofia, Filmhaus Vienna, Moma and the Whitney in New York. Festivals include: New York, Edinburgh, Berlin, and Oberhausen. A retrospective of her work was shown at The Crawford Arts Gallery in 2009, and at Tate Modern in September 2010. She has received a number of Production Awards from The British and Irish Arts Councils, and has had work commissioned by Channel 4, BBC and RTE. She was elected member of Aosdána in 2007. Her work is in the collections of The Museum of Modern Art, Anthology Archives, New York, and the Irish Film Archives. With contributions from Bev Zalcock, Abigail Child, Agnes Varda, Austin Ivers, Ed Halter, Jo Ann Kaplan, Margaret Fitzgibbon, Aine phillips, Lucy Reynolds, Sarah Pucill, Maria Klonaris, Katerina Thomadaki, Liz Greene, Sherry Millner and Ernie Larsen.
Founded in 2003, Printed Project is a curated contemporary art journal, published twice a year by Visual Artists’ Ireland. Each issue is compiled by invited curator / editors.
14
The Visual Artists’ News Sheet
July – August 2012
Profile
Monster Truck Gallery, interior
Monster Truck Gallery, exterior
Peter Prendergast and Eoin Holland outside Monster Truck Studios
Monsters Inc padraic e moore considers the progression and development of monster truck gallery and studios as a new programme is developed for its space in temple bar, dublin.
The city of Dublin has undergone numerous transformations
events. While the Francis St building has been retained and utilised as
itself as an integral part of Ireland’s cultural scene. As MT continues to
since Monster Truck Gallery was first born, around 2005 / 2006. The
artists’ studios (which were improved and upgraded) the relocation of
position itself within both national and international artists’ networks,
economic, social and cultural life of the city has dramatically changed.
the gallery venue has enabled MT to attract new visitors into the
through the programming of the project space of contemporary art, it
However, regardless of the prolonged decline into austerity there have
gallery space and expand its potential audience. The aim is to draw
becomes increasingly necessary for the individuals behind MT to
been a number of cases which underscore that progress can be made
attention to exhibited works and better serve the public who already
maintain their pragmatic and efficient approach. Invariably, it will be a
and maintained through persistence and ingenuity. It may have
engage with the gallery, as well as attracting audiences who may not
struggle to deliver ambitious projects in a context of ever-improving
become something of a cliché but it is worth repeating that the visual
yet be familiar with Monster Truck.
standards and increased expectations when budgets are either
arts in Dublin have remained more robust than one might have
This has been aided by several physical alterations to 4, Temple
excruciatingly low or, as is more often the case, non-existent. While it
expected in the face of an ongoing programme of cuts to arts funding,
Bar, beginning with a major architectural change: reconstruction of the
is likely that in the coming years the gallery may need to continually
combined with the absence of any significant private or philanthropic
interior mezzanine level. This has created a second gallery space that is
compromise on programming, the hope is that MT will continue to
support. The resilience of the arts scene in Dublin (and Ireland for that
more autonomous from the main gallery at ground level than it had
function as a barometer of cultural production and indeed the artistic
matter) has been admirable and at times incredible. Much good work
previously been. This new space has been titled North and will largely
aspirations of the city. Prendergast states:
has been done with meagre resources. Monster Truck Gallery is a case
be used for solo presentations by artists. Although modest in size,
“We are interested in being a flagship organisation for the Temple
in point, and has been consistently developed and refined from its
North has already increased activity in the gallery programme, with
Bar area. We want to provide real and lasting cultural participation that
beginning.
two solo exhibitions: by Stephen Gunning, and the most recent by
resonates, excites and is relevant to the general public we look to serve.
When I first encountered Monster Truck (MT) in 2006 it was an
Sophie Loscher. Renovation of the main gallery has increased wall
We believe that the community of artists emerging through the art
equally original – though no less important or valuable – organisation
space, simplified architectural features and improved the gallery’s
colleges, with big ideas and high energy levels, are best placed in the
than it is now. It was Al Kennington and Tom Lynn who first recognised
capacity to draw attention to exhibited works. The addition of a large-
cultural quarter of our capital city. We represent this community and
the need for a space in which cultural production of all kinds could be
scale HD projection screen in the street-level gallery window has also
act as social glue for both the delivery of work and social interaction.”
presented. They responded to this by securing a building on Francis
furthered the gallery’s programming capacity, and the installation of
It is clear that those involved in Monster Truck believe strongly in
Street, which they began converting into a complex of studios with a
this screen triggered the inception of the Nightscreen programme. The
its role as a support network for artists and new ideas, as well as a
project space on the ground floor. Numerous exhibitions and
idea behind this facet of MT’s activity was to extend the gallery beyond
catalyst for progressive thinking. From its inception, MT was in many
performances took place at the gallery, which served to secure MT’s
the building and past normal opening hours. The Nightscreen
ways the outcome of a need to create a functional network beyond the
reputation. It was at this point that it became an integral element of
programme recently featured ‘Astral Projection Abduction Fantasy’, a
safety net of art school or university. As an organisation they have
Dublin’s cultural fabric.
four-week program featuring work by over 30 international artists.
sought to create an increasingly professionalised hub for cultural
After a brief hiatus of activity, Colm Mac Athlaoich and Peter
In terms of the future, Prendergast remains both determined and
producers and provide the opportunities for people to deliver projects
Prendergast adopted MT. They were at the core of a group of curators,
optimistic. In conversation, he emphasises his desire to continue
into the heart of Dublin’s cultural quarter. MT is now at a turning point
artists and designers who occupied and programmed the space while
cultivating an organisation that is lean, both in how it approaches
but it is evident that the organisation has already succeeded in growing
continuously improving and developing its physical and organisational
administration and budgetary control and how the functions, buildings
during a period that has also seen an unprecedented decline in
structure. A quick glance at the online archive documenting the
and staffing are consolidated. Currently, a team that is relatively
economic prosperity. Hopefully, this expansion will continue well into
exhibitions and events that have taken place in MT in the years since
minimal considering how busy the MT program is already manages
the future.
its inception emphasises just how important a role it has played in the
the gallery and studios. The team comprises four people: two directors,
professional development of so many people – particularly those in the
and two gallery / studio assistants. There is also an advisory curatorial
Padraic E Moore is an art historian, writer and curator based in
earlier phases of their career.
panel that seems flexible and fluid. It is inevitable that, as a project like
Dublin. In March of this year, Moore participated in a curatorial
MT has been perpetually evolving from the moment it was
Monster Truck evolves, so does the necessity to refine and improve the
residency at the Israeli Centre for Digital Art and was invited to
established. When MacAthlaoich and Prendergast first arrived, they
operation. The expectations of an audience become gradually
contribute findings from this towards eva International 2012.
immediately set about making further improvements to the interior of
heightened and often the individuals behind a venture may become
the Francis St gallery and the studios. Improvements continued until
frustrated by the grueling mission of quotidian management.
MT divided in 2010 and a new venue was acquired in what had
In the course of its development, MT has moved closer to
previously been the Original Print Gallery at 4, Temple Bar. This new
becoming a more institutionalised entity. From the outset it was
location is devoted specifically to exhibitions and similar temporary
acknowledged that this was crucial if the gallery was going to establish
The Visual Artists’ News sheet
July – August 2012
15
PROFIlE
The 'pond' behind Pallas Projects / Studios' new building
Pallas Projects MARk CUllEN DESCRIbES ThE PROCESS OF MOVING PA P llAS PROJECTS / STUDIOS INTO A NEW SPACE AND DETAIlS UPCOMING EVENTS AND ExhIbITIONS. AFTER 16 years of nomadically wandering the
Swords, Gretta Gun, Dive Bar Songs for Dive Bar
north, east and west side of Dublin’s inner city, Pallas
People and Cignol. The money raised from this
Projects / Studios has found a long-term home south
event will go towards renovating the hall into this
of the river, with a view of St Patrick’s Cathedral and
aforementioned facility. When this work is
one of Dublin’s more unusual and unplanned water
completed, the hall will be available to hire for a
reservoirs. Our new building is on the edge of the
variety of arts activities, from exhibitions to
historical Liberties, Black Pits and the Tenters. It is
performances, for use as a reading / rehearsal room,
one part of the old St Bridget’s Convent Primary
workshop space or as the extension of an artists’
School, who have since moved next door to a newly-
studio. We will give preferential rates to visual
built school and playground. Our other next door
artists and artists from our studios.
neighbours come in the form of avian visitors to a
In September we will recommence our curated
secret pool of water that exists courtesy of a large
exhibitions programme which has been funded by
hole excavated and lined in preparation to build a
the Arts Council and Dublin City Council. This
block of apartments. Needless to say, these were
programme will be started by Irish artist and curator
never built. Instead, it has become a secret pond for
Paul Murnaghan with ‘Notes from the MTA’, an
a brace of ducks and a family of foxes to enjoy along
international group exhibition that emerged from
with some of our artists whose studios over look this
his residency at the prestigious International Studio
city idyll.
and Curatorial Program (ISCP), New York. This will
The section of the building that houses Pallas
be followed by the first of our extended exhibitons
Projects / Studios has the look of a Georgian building,
where artists will be offered a residential lead-in
with its generously-proportioned sash windows and
period in the gallery prior to the opening, in order to
high ceilings. However, it is the youngest of the
develop work in situ. The first of these will be a solo
three buildings that make up the old school, having
exhibition by Irish artist Wendy Judge followed in
been built sometime in the 1950s. The other two
spring by artist collaborators Ruth Clinton and
buildings that lead down to the street are from the
Niamh Moriarty. In between these will be our
Victorian period. In order to find us, one must walk
'Periodical Review Exhibition' with guest curators
along a lane beside these buildings and a tall wall
Padraic E Moore and Eamonn Maxwell, which is a
decorated with a surprisingly pleasant trompe l’oeille
unique, yearly survey of Irish contemporary art
mural. This opens out into a decent-sized playground
practices.
Upcoming
Orla Mc Hardy The Beacon Line HD projection, trt 10’58” 2011
Orla Mc Hardy : The Beacon Line
with another high wall and the continuation of the
The project space at PP / S will be a visible and
landscape painting. The building is set far back from
accessible resource within the local neighbourhood
the street and, as a result, the sound of traffic is
while reaching out nationally and beyond. By
Siobhán Mc Donald Eye of The Storm guest curated by Aoife Tunney
diminished; this, coupled with the spaciousness of
continuing our remit of initiating crossovers with
the yard induces a calm atmosphere on arriving into
7 September—27 October 2012
arts organisations to new partner organisations in
the studios.
the local area, while maintaining an internationally
Showing Now
The two-story building has 10 rooms of varying
recognised presence, we aim to strongly represent
sizes from a 100 square metre hall to a 10 square
the model of a professional, Irish grassroots arts
metre loft, which have been divided into 18 studios
organisation. We intend to create a programme that
and one yet to be renovated office loft. At the time of
provides an entry point into the activities of our
writing, these studios are shared by 19 artists paying
organisation. Pallas’s curated projects and diverse
monthly rents and electricity of ˆ 170 – ˆ 260 with
range of studio artists will provide a platform to
two studios still available. All the studios are well lit
introduce diverse audiences to the wider landscape
and come with programmable heaters. We have
of Irish and international artist-led and contemporary
Bryonie Reid: (re)writing
sectioned off 70 square metres of the hall to be a
art practices over the next 10 years.
29 June— 1 September 2012
multiple-use gallery, project workshop space and venue. We recently launched our new complex with
Mark Cullen is the Director / Curator at Pallas
a fundraising event – ‘Running in the Hall’ – a
Projects / Studios.
The Border Garrett Carr: New Maps of Ulster Adrian Duncan: The Difference in How I Believe You
barbecue and evening / night of music with entertainment provided by some fine acts such as
www.thedock.ie
16
The Visual Artists’ News Sheet
July – August 2012
collaboration
Bita Razavi /Jaakko Karhunen, How to do Things With Words, 2012
Bennie Reilly, All we Hear is More Than Words, 2012
Aideen Doran, Burn all You Factories, 2012
Featherweight Portable Museum Alissa Kleist discusses a recent touring exhibition initiated by catalyst arts, belfast and MediaPyhät, Finland which sought to create links between non-profit, artist-led groups.
Hyun Joo Min, 'Chilli, 'Chicken', 'Fish', 'Egg', 'Sink'
some pieces could also manifest themselves as installations in the Catalyst Gallery. The entire exhibition (though a live performance piece was also part of it) neatly fitted into a small cardboard box that cost £14, posted to Finland after the take-down of the show. Thus, it became the digital version of the “paper phantoms, transistorised landscapes. A featherweight portable museum,” described by Susan Sontag in her critically acclaimed book, On Photography, from which MediaPyhät
Necessity is the mother of invention and now, more than ever
in between shows and in back rooms and hallways, MediaPyhät was
before, artist-led spaces look for economically viable, alternative ways
able to facilitate a touring exhibition that showcased new media in a
borrowed the exhibition’s title.4 In Catalyst’s cavernous main gallery, the exhibition had room to
to organise projects that challenge and change the status quo.
curated context while at the same time avoiding space hire charges,
unfold. Northern Irish artist Aideen Doran’s projection, Burn All Your
MediaPyhät is a Finnish artist group led by artists and curators
which can be very expensive. When ‘Featherweight Portable Museum’
Factories – featuring found images of building faults and collapsed brick
Jussi Koitela and Kaisa Luukkonen. It is part of the artist-led Rajataide
toured Finland this February (8 – 12), it was shown in three different
work – was projected large-scale onto a purpose-built wall. The back-
Association (based in Tampere, Finland). MediaPyhät was established
cities in less than a week. In Tampere, it was on display for two days
catalogue of work made by Finnish-based South Korean artist Hyun Joo
in 2009 and since then the group have organised three to five events
in Galleria Rajataide, in Turku’s B-Galleria it was screened alongside
Min, possessed a tactile, often unsettling, yet strangely mesmerising
per year: providing a platform for work made by young and emerging
another exhibition for a further two days and in Helsinki it featured
quality that proved hard to resist and an additional four video works
Finnish artists; exhibiting experimental forms of contemporary new-
in artist-led gallery Oksasenkatu 11 for a single day. This whirlwind
(Chicken, Fish, Egg, and Sink) were displayed alongside her original
media based works; and hosting screenings, talks, and public events.
tour ensured that the artists involved received a great deal of exposure
submission, Chilli, a filmed performance of the artist force-feeding
without having to pay for it.
herself red chillies.
In 2011, MediaPyhät, in collaboration with Finnish artist Pii Anttila, initiated ‘Featherweight Portable Museum’, an international
The submission criteria stated that selected work had to be easily
Irish artist Bennie Reilly’s sound piece, All We Hear is More
touring exhibition striving to link non-profit, artist-led spaces in
transportable, but the theme was left intentionally open-ended. This
Than Words, took on a sculptural quality; playing over a set of large
different countries on an extremely modest budget, creating “a light-
resulted in an eclectic and diverse selection – a group show that aimed
headphones it seemed to sprout from the gallery wall (a hole was drilled
weight flexible structure to show media arts (not just video) [in Finland and] internationally”.1 Catalyst Arts, based in Belfast, hosted the first leg
to give an impression of the multifaceted approach to art making in
through to the other side of the wall and into the Catalyst office where
Northern Ireland, Ireland, the UK and Finland. The way Catalyst
the MP3 player and wiring lay hidden from view). Reilly sings a sound
of ‘Featherweight Portable Museum’ in December 2011 (1 – 16), and co-
selected the works was based on a desire to discover and reveal new and
‘collage’ of song snippets that were popular hits in the 1980s and 1990s.
organised the open call for submissions, selecting six Finnish artists to
unknown artistic practitioners from a country that the organisation
As her voice progresses from one line to the next, the familiar words
exhibit alongside the same number of Irish and UK based artists chosen
has had little previous interaction with.
evoke nostalgia, while at times the fractured nature of the work proves
by MediaPyhät.
The submissions that Catalyst received often showed a discernible
to be vexing, and makes the listener want to hear the full, original song.
Catalyst is funded by the Arts Council of Northern Ireland to
interest among Finnish artists in nature within urban spaces. To
support local and emerging artists, often showing them alongside
represent this re-occurring concern, Catalyst selected a video work
“In this wantonly frustrating work I struggle to remember and play
more established names in a variety of projects and shows. All funding
by artist Laura Järveläinen, entitled Tranquilliser. This loop of calmly
tunes from the same period on childhood keyboards. Constantly falling
received goes directly into facilitating this and the directors work for the
lapping waves on a hazy, mysterious Finnish coastline could be
gallery voluntarily. ‘Featherweight Portable Museum’ was unbudgeted
downloaded via a QR code to a smartphone and was intended to present
off the musical horse, I persevere from one honky victory to another.”5 Difficult economic times continue, and resulting art funding cuts
on Catalyst’s part, which meant that the organisation did not receive
a small, portable moment of escape for the modern city dweller.
will be felt in varying degrees across the arts sector in Northern Ireland.
Reilly states,
specific funding to support it or pay artists’ fees. Nevertheless, the gallery
How To Do Things With Words by Iranian artist Bita Razavi
In the Republic of Ireland, many artist-run spaces that were previously
provided support in-kind with space, time, publicity and resources.
and Finnish artist Jaakko Karhunen offered a more controversial
able to offer exhibition opportunities for free are now forced to charge.
Later, two Catalyst directors obtained funding from the British Council
perspective on Finnish life by addressing issues surrounding
In Northern Ireland, space hire may become another way to counteract
to travel to Finland to accompany the show on tour and give a number
immigration. Razavi and Karhunen collaborated on this video – their
the funding lost in this year’s cuts (and the austerity that is yet to
of presentations in the artist-run spaces hosting the exhibition.
wedding ceremony – held in an art college studio space during Razavi’s
come).
In Finland, as in Northern Ireland and the Republic of Ireland,
degree show. In front of family, friends and witnesses the unsmiling
‘Featherweight Portable Museum’ offers an alternative way to run
the majority of funding for the visual arts is awarded by the state.
couple were legitimately joined in holy matrimony by a registrar, yet
ambitious international exchanges in lean times, and demonstrates
A grant system is available for artists and for the more traditional
everything about this performance / video seems staged. In the gallery,
how working with artist-led organisations can be an enriching and
institutions, but alternative artist-run spaces receive very little funding
it was projected alongside two copies of the marriage certificate,
economically viable experience for artists and other organisations
for programming. As a result, many of these spaces have to charge for
documents authenticating this ‘legal performance’. Razavi states in her
alike. Catalyst Arts continues to offer free opportunities for artists and
space hire, something that is realistically only affordable for artists in
submission,
vows to support projects such as MediaPyhät’s ‘Featherweight Portable Museum’ in their quest to do the same.
receipt of artist grants. Koitela states that, “the lack of curated shows and
“This focus on theatricality and fictitious style of the video will
programs which are free for our artists is a big problem in Finland”.2 The Finnish Arts Council prioritises grant funding for artists
raise a question in the viewer which is the validity of the marriage and the motivation behind it. This will lead the viewer to the main aspect of
Alissa Kleist lives and works in Belfast. She is a visual artist, co-
making more traditional, object-based work. Consequently, there
director at Catalyst Arts and a member of artist collective PRIME.
are fewer exhibition opportunities for those engaging in more
the work which is my problems as an Iranian for staying in Europe.”3 One appeal of the exhibition was its capacity to contract and
experimental, new-media based projects and for the smaller spaces
expand in any given space. This ‘lightweight structure’ can potentially
supporting these practitioners. This has proved to be a difficult situation
adapt to fit a huge variety of different-sized art venues. The exhibition
for both emerging artists and curators to operate in.
brief originally stated that the selected works would be screened on a
By exhibiting ‘Featherweight Portable Museum’ in slack spaces,
show reel. However, it became apparent to the Catalyst directors that
Notes 1. Interview with Jussi Koitela, artist, curator and founding member of MediaPyhät, 25 March 2012 2. Ibid 3. Extract taken from a statement written by the artist 4. Sontag, Susan, On Photography,1977, Penguin edition, p68 5. Extract taken from a statement written by the artist
The Visual Artists’ News Sheet
July – August 2012
17
Festival
Francis Quinn at Market Studios
Large group exhibition at Block T, all images courtesy of Tadgh Nathan
Michelle Browne performing as part of 'Livestock'
Around the Block
released from Dublin’s Arbour Hill Prison in August 2010. The weekend finished with the bi-monthly performance event ‘Livestock’, an initiative of the artists at the Market Studios, which took
grace mcevoy talks about Link culturefest 2012: series of visual art and music events, organised by block t, that took place across the smithfield area of dublin from 25 – 27 of may. LINK Culturefest was a BLOCK T initiative; a locally,
of last year, with BLOCK T.
place in Unit H on the Sunday evening and included participating artists Eleanor Lawlor, Joan Healy, Seamus Bradley, Vivienne Byrne, Michelle Browne, Catherine Barragry, Katherine Nolan, Niamh Murphy, Debbie Guinnan, Matthew Nevin, Ciara Scanlan and The Fathers of Western Thought.
independentally run festival that aimed to showcase and celebrate
All of the partnering organisations involved believe in artistic
Other on-going exhibitions that took place during the festival
the culture, art and people that make up the diverse community in
exchange and in the potential for collaborations between these
included ‘Open Your Eyes’, a group show at Little Green Street Gallery,
Smithfield and its surrounding areas. Over the weekend, the festival
three cities. BLOCK T is progressively involved in helping to develop
‘New Work’ by Sarah O’Neill in The Complex, ‘Outside The System
hosted both local and international artists, musicians and curators in
international networks and considers this hugely beneficial to the
of Difference’ by Marie Farrington and Sarah Doherty in The Joinery,
a series of events for the public. The three-day programme featured an
development of an artist’s career. These exchanges offer up possibilities,
‘Somewhere to Be’, a group show in The Lighthouse Cinema and ‘I Love
Art Trail of exhibitions, live concerts, open studios, screenings, readings
broaden perspectives and allow for future projects to be established
Those Paintings’, a group show in Mother’s Tankstation.
and performances. These events were hosted by a collection of cultural
and developed. LINK Culturefest created a platform to facilitate this
It is clear that there is a thriving cultural and creative community
spaces and creative enterprises that are located between Stoneybatter
dialogue between art spaces and professionals in the local area, with the
sprouting in Smithfield and its immediate surrounding areas, which is
and Capel Street.
purpose of developing lasting national and international relationships
contributing and responding to its rich historical legacy in a vibrant and
across the cultural field. LINK will continue to focus on developing a
dynamic way. In recent years, Smithfield Square itself has been a site
model for an ongoing transnational exchange programme.
of redevelopment and although this re-invention may not have gone
The festival kicked off on the Friday evening with a launch, kindly opened by the Lord Mayor’s representative, Councillor Padraig McLoughlin, actor, Stephen Rea, BLOCK T’s Managing Director, Laura
The weekend continued with a series of exhibitions throughout
entirely as planned, it has allowed the area to become home to many
G Dovn and Local Historian, Noel Hughes. This launch was hosted
Saturday afternoon and evening. These exhibits displayed the work
of these creative initiatives that are leaving an impact on the conflicted
in one of Smithfield’s vast vacant retail lots, which, for the period of
of both the Irish artists and their international partners and were
cultural identity of the area. LINK Culturefest highlighted these quietly
the weekend, was transformed into a large contemporary gallery of
showcased in the gallery spaces within the Market Studios (Unit H),
influential spaces altogether for the first time and brought them to the
over 4,000 square foot, hosting the work of over 100 exhibiting artists
Ormond Studios, Loom Studios, bio.space 033, BLOCK T and Supafast
forefront of the public’s attention.
from participating local studios and two international partners.
Building. The following day unfolded with an afternoon of open studios
The enthusiasm and energy that we were confronted with made
This showcase was a representation of the work being produced by
in a similar style to that of the OAA in Marseille and the studio spaces
it a truly collaborative effort in helping to put Smithfield and the
local artists from some of Dublin’s oldest art studios such as New Art
are also shared with their international partnering artists. This gave the
surrounding areas on the map as a cultural destination. Support for
Studios, who turn 30 years old next year, to studio spaces that have
artistic community in this specific area of the city the opportunity to
the festival also came from some of the local businesses that worked
only emerged in the past couple of months such as Loom, Satellite and
network, showcase and forge new relationships with both one another
with us in a collaborative manner, either through small donations or
Flatpack Studios. Other participating artists were representatives from
and the public. Jennette Donnelly from Art for Art’s Sake kindly hosted
benefits in kind. We hope that all these links will be felt far beyond
BLOCK T, the Market Studios, Supafast, Visual Arts Centre, Brunswick
a public tour of all these spaces over the weekend.
the weekend’s events and that the festival will continue to grow and
Mill Studios, bio.space 033, Chancery Studios and Ormond Studios.
The evenings featured live musical events such as the Mersk
The exhibition also included work from 20 international artists from
Collective and European Sensoria Band in one of Dublin’s most unique
Lisbon and Marseille who took part in an exchange programme for the
venue spaces and galleries, The Joinery, Arbourhill. Afro-Peruvian Jazz
The Spaces: BLOCK T, The Joinery, NAS (New Art Studios), bio.
period of the festival.
Band, Phisqu, Shane Latimer’s experimental music group, OKO, and
develop in the near future.
The three international partners involved in LINK Culturefest
Trinity Orchestra performing Radiohead played in St Michan’s Church,
space 033, The Complex, The Market Studios / Unit H, Supafast Building, Ormond Studios, Brunswick Mill Studios, Flat Pack
2012 were Château de Servières in Marseille, Castelo d’If and Plataforma
a beautiful venue that also hosted of the exhibition ‘Reflections’ by
Studios, The Chancery Studios, Visual Arts Centre, The Little
Revólver in Lisbon. This exchange was in conjunction with the 13th
Mella Travers and Maeve McCarthy, RHA.
Green Street Gallery, Loom Studios, Satellite Studios, The Lilliput Press, The Lifeline Project, Art For Art’s Sake, d.ploy.
edition of the Marseille Open Studios (OAA: Ouvertures d’Ateliers
Pop-up events created specifically for LINK Culturefest took
d’Artistes) organised by Association Château de Servières, France. For
place throughout the weekend, including the performance X,Y Axes
almost 14 years, Château de Servières, one of Marseille’s best-known
by Fergus Byrne, which looked at the process of making drawings
The Businesses: The Lighthouse Cinema, Jameson Distillery, Third
galleries, has successfully run one of the city’s most established artist
through performative elements such as skipping and hula-hooping.
Space, Little Italy, Cobblestone, Dice Bar, Fresh, Generator, Brown
residency programmes and the OAA. During the OAA, 44 artist studios
Readings by Desmond Hogan, Hugh Fitzgerald Ryan, Adrian Kenny
Bag, Maldron, Bargaintown, ODON and Go Car. With support
open their doors to the public for three days, displaying their work and
and Patrick Myler took place at The Lilliput Press. A series of screenings
from Dublin City Council, The Arts Council, The French Embassy
the work of their invited partnering artist. This event is a great way to
entitled ‘Surrounds’, were presented at BLOCK T’s new creative studio
in Ireland and Smithfield Area Business Association.
meet new people, forge new relationships and to share and exchange
space, which featured the work of two filmmakers, Moira Tierney and
ideas. Over 10,000 catalogues are produced for the OAA, promoting the
Gregory Dunn. Tierney’s Ride City (Smithfield Square) is a short Super
Grace McEvoy is a co-founding member and Visual Arts Co-
work of each participating artist. These are distributed to the local and
8mm film based on the horse market fair in Smithfield. Dunn screened
ordinator of BLOCK T. She was the Exhibitions Director for LINK
national galleries, artists, museums, critics and press in Marseille. Over
three separate works: The Lifeline Project (2012), a short film in which
Culturefest.
the past four years, Château de Servières has focused on developing
Kaethe Burt O’Dea discusses her proposal for a new, yet sensitive use for
an international exchange programme. It is this initiative that led
the once majestic Broadstone Railway terminus, Sole Man (2012), a story
to the development of partnerships with Castelo d’If Associação, an
about Larry Donohoe, who runs a shoe repair business in Stoneybatter
organisation based in Lisbon, Portugal and more recently, in September
and Released (2012,) a short about ex-convict Larry Murphy who was
www.blockt.ie
18
The Visual Artists’ News Sheet
July – August 2012
how i made
Jeanette Doyle, animation still from Black Bulb, 2011
Jeanette Doyle
Factory Direct jeanette doyle describes how she created work for a recent exhibition at the andy warhol museum, pittsburgh.
‘Jeanette Doyle: Fifteen Days’ was an exhibition in three parts,
established contemporary artists who will conduct three-week to two-
other parts of the world. The project ‘I crossed a line’ comes at a time
with a residential element. The exhibition was premised by my interest
month long residencies in Pittsburgh, where each artist will work with
when the complicated world of finance, ultimately the ‘system’ that
in the relationship between dematerialised practices of the late 1960s /
an individual factory making new work based on the materials and
controls everything, is unravelling and being seen to fail. Individuals
early 1970s – as conceptualised by Lucy Lippard, amongst others –
processes of the host industrial facility. The 'Factory Direct' project idea
and institutions are apparently crossing lines that have caused damage
versus current definitions of the ‘immaterial’ both in relation to digital
first arose in Troy, New York when artist Michael Oatman was looking
and disruption in areas we held to be rock solid and unshakeable.
art practices and also ‘immaterial’ labour. Every day for 15 working
for a novel way to bring contemporary artists to that city in an effort to
Ansaldo, the company that I will be working with, generates
days I changed the light bulbs illuminating a major Warhol self portrait
examine its industrial past. After this first project, the next 'Factory
traffic signalling systems. The work for ‘Factory Direct’ will look at
in the entrance gallery of the museum, and also sent out a mailshot
Direct' was held in New Haven, Connecticut in 2005 at the non-profit
what happens when these consensual systems become disrupted, and
gifting a new digital work to the contents of my address book. These 15
Art Space, on a larger scale. Now, the Andy Warhol Museum has
also at the importance of received visual codes to our own progress in
works were also posted on The Warhol’s website. After performing this
expanded the 'Factory Direct' idea into a large-scale and citywide
the world and their impact on our safety and the safety of others. For
dematerialised act in the museum I then commuted to Ansaldo
project that will bring artists to Pittsburgh, conflating the fields of art
instance, what might happen if we lose the basic understanding that
(formerly named Union Switch and Signal) which is a factory I have
and industry.
red means stop and green means go. I am also extremely interested in
been paired with for an upcoming exhibition with The Museum called
Pittsburgh has a rich history in the realm of industry and was the
‘Factory Direct’ opening later this year, curated by the Director of The
the regional and cultural specificity of visual language.
dominant power in steel, bronze, tin, coal, aluminum, food and glass
Since returning I have been reviewing all the footage I shot, which
Museum, Eric Shiner. In the museum I was performing ‘immaterial’
production from the late nineteenth century through to the mid
includes interviews with employees of Ansaldo, documentation of
labour, a reflection on which was distributed ‘immaterially’, and in the
twentieth century. From Andrew Carnegie’s US Steel to HJ Heinz’s
signalling systems and work processes. I have been making paintings,
factory I was watching and recording, thereby reversing normal roles.
ketchup, Pittsburgh was the home of many major American industries.
drawings and animations that will be shown the gallery in June and
The performance in the museum was dematerialised in the sense
It was one of the wealthiest cities in the world at the beginning of the
broadcast online on a microsite which I am currently developing.
that there was no substantive difference between the visibility of the
twentieth century, and many leading cultural institutions and civic
There will also be a text-based animation, the first line of which is “I
Warhol image before and after the light change. It was also a form of
organisations continue to be the beneficiaries of the trusts and
crossed a line and entered freshly into a world of signs and symbols”.
immaterial labour in that it was not conventionally remunerated and,
foundations that Pittsburgh’s industrialists left behind. In ‘Factory
This text piece emerges from reflections as to what might happen if the
in a sense, pointless. The digital animations that were distributed
Direct: Pittsburgh’, I will be given the unique opportunity to examine
world of signification becomes troubled and overloaded. The show will
comprised of a series of sentences played out against eight different
these legacies and work with both the staff and production capacity of
emerge by marrying these considerations with what I learned in
colours. These built up a narrative and were pictorial, as one letter
the local Ansaldo factory.
Pittsburgh while visiting the Ansaldo plant every day, in combination
appeared on screen at a time. They were concerned with illumination
The exhibition is titled ‘I crossed a line’. This could be understood
and countenance and also with their relationship to the viewer. These
as: ‘I crossed a line’; to cross the boundaries of acceptability; to
works were informed by quite an intimate engagement with the
transgress; ‘crossing the line’; a nautical term for a ceremony
In the last few years, Jeannette Doyle has exhibited at the 2009 798
receiver as they were to intended to be seen on individual consoles, so
commemorating a sailor’s journey across the equator; the violation of a
Beijing Biennale, 'Something Out of Nothing', The Invisible Dog,
each was an ‘exhibition for one’. The first sentence was “Lights want
basic guideline in film-making that states that two characters (or other
New York, 'Embedded Art Berlin', The Berlin Art Academy;
nothing from you but obedience” which emerged out of the overall
elements) in the same scene should always have the same left / right
'Preview 09', White Box, New York.
scope of the project and was also a rumination on Ranciere on Schiller’s
relationship to each other. If the camera passes over the imaginary axis
Juno Ludovisi. Juno Ludovisi is the statue of a deity who wants nothing,
connecting the two subjects, it is called crossing the line.
needs nothing from you. Therefore, in Ranciere’s construction, this
My project is premised on a basic tenet that underlies my entire
statue creates an alternative space, as it allows the viewer to imagine
body of work to date: the suspicion of coherence and an investigation
the world differently. Thus, in its very autonomy it generates a sense of
of signs. The signs, symbols and indicators around us serve to provide
possibility that may be considered political as opposed to a more
structure, safety, balance – and thus we believe them to be true. What
obvious politically-engaged practice. ‘Factory Direct’, which followed
happens when they stop being true? Or we stop believing in them?
‘Jeanette Doyle: Fifteen Days’ combined art and industry, and took
Furthermore, as is the case with Ansaldo, these differ from region to
place at the Museum and off-site in June. In total there are 15
region and what might be legible to us in the west may not be so in
with considerations of the museological context of the show.
The Visual Artists’ News Sheet
Critique Supplement Edition 6 July / August 2012
Sinéad Ní Mhaonaigh 'Untitled' Millenium Court Arts Centre, Armagh 17 May – 23 June 2012 All art is, in a sense, a communication, an
individual paintings. This forces the viewer to see the
exchange of ideas between the artist and an audience.
pieces untrammelled by any preconceived notion of
As with written and verbal conversations, this
what the work is ‘about’ or what the artist is trying to
exchange can be more or less straightforward. We
do. The fact that the work is abstract further
depend on external clues – context, tone, shared
unbalances the conversation; the artist has made her
knowledge – to guide us and put us at ease. One of
statement, now it’s up to the viewer to engage.
the accepted conventions is that both parties want to
As an introduction to abstract painting, the
communicate and that each will therefore do all they
exhibition offers a comprehensive lesson. There is no
can to make that happen.
discernible subject matter, but among the shapes and
In the case of Sinéad Ní Mhaonaigh’s exhibition
forms emerge hints of landscapes, urban and rural. A
at the Millennium Court Arts Centre, this convention
number of paintings explore the sharp edges of line
is subverted. The exhibition is untitled, as are the
and grid, others the soft contours of daubs and dots. The palette is limited and subdued, with just the occasional inclusion of stronger colour. Quite a few of the paintings are framed or underlined by large thick strokes of black paint. On some the corners are delineated, reminiscent of traditional elements in a quilt. But is it the artist’s intention to provide the visitor to the gallery with a masterclass in abstract art? At one level, all creation is for the creator – an opportunity to explore their chosen medium, to discover their innate skills, to develop their techniques and to ‘meet’ themselves. By putting their work in a public arena, the artist is extending that experience to a wider audience with a view to – well, what? This is the inherent ambiguity in Ní Mhaonaigh’s exhibition. It is not clear what the artist’s purpose is. Affirmation is an obvious motive, albeit a doubleedged one, for showing work to an audience, and the clearest evidence of affirmation is, to put it bluntly, sales. Here, that basic motivation is mitigated by the choice of venue – a publicly funded gallery is not as dependent on sales as a private gallery – and by the lack of information. No titles on the works, no numbering of the individual pieces and a small range of prices (£2,005, £2,085 and £3,330) dependent on size – the notion of the works as potential purchases is barely hinted at. There are 25 paintings, almost all the same size (40 cm x 40 cm) with just a few slightly larger pieces. Most of the works are displayed as pairs or series, the link between them being the shapes and forms explored. These groupings, and the restricted palette, provide clues that a single creator is at work, but there is no signature to confirm this. Perhaps this is the artist’s intention, to distance herself from the experience of the viewer, to – impossibly – become anonymous? There are risks with such an approach, deliberate or otherwise. The viewer’s experience of the work becomes more dependent on context, not just of the gallery, but of the placing of the pieces in relation to each other. This, in turn, reduces the power of each piece to be a desirable object in its own right – not
Sinéad Ní Mhaonaigh, Untitled, image courtesy of the artist
the artist’s primary aim, perhaps, but nonetheless an implicit one, given that the works are for sale individually. The distance between the artist and her work also has its dangers. While placing the work rather than the artist at the centre of the viewer’s experience is reasonable, the degree to which Ní Mhaonaigh has done so is unnerving. Is it an act of absolute confidence? Or an unwillingness to commit? Will it engage or alienate the viewer? Is the work strong enough to convey the essence of its creator once taken out of this particular context? Is this a conversation or a monologue, quietly whispered from afar? Mary Catherine Nolan is an artist and writer with a background in linguistics, and is interested in the relationship between these two forms. Sinéad Ní Mhaonaigh, Untitled, image courtesy of the artist
Sinéad Ní Mhaonaigh, Untitled, image courtesy of the artist
The Visual Artists’ News Sheet CRITIQUE SUPPlEMENT
basil blackshaw 'blackshaw at 80' The F E McWilliam Gallery and Studio, banbridge 12 May – 13 October 2012
Ruby wallis 'Moving stills' The Dock, Carrick-on-Shannon 13 April – 2 June 2012 RUBy y Wallis is a practice-based PhD researcher
basil blackshaw, A Dog and Two Men, 2001
basil blackshaw, The Morning Excercise, Courtesy of Adams' Auctioneers
seem to belie the notion of a utopia.
with the National College of Art and Design /
In the two portraits of the young man and the
GradCAM, Dublin. A recent exhibition of her work
boy, the gaze is held; there is stillness, apart from eye
at The Dock, represents her current work in
movements, a slight swaying of the body and of
progress.
foliage moving in the wind in the background. The
The gallery at the top of the stairs contained
simplicity and purity of these two films remind me
four video projections on loops, two positioned side-
of the early Lumiere shorts, some of which were
by-side the length of the space, and two others
family portraits. Wallis’s project is philosophical in
asymmetrically facing each other on walls at either
intention. Her interest in phenomenology, in
end of the room. The second gallery displayed a
philosophers such as Merleau-Ponty and Levinas, is
series of other short video pieces, again on a loop and a wall of research material relating to a new
clear from material posted on the wall in Autowalk and from her website.4 Merleau-Ponty returns to the
work in development entitled Autowalks. Autowalks
body and embodiment as a way of being in the
In the first gallery the two projections arranged
basil blackshaw, Portrait of Douglas Gageby Gageby, 1989, Irish Times Collection
July – August 2012
world.5 The face-to-face encounter is, for Levinas, an
side by side were of a moving ‘still’ shot of a young
epiphany, a privileged phenomenon,6 a realisation
man facing the camera. Next to it was an opaque
of radical difference and strangeness. For Levinas,
image of greenery shot though what looked like
the ‘other’ cannot become an object of knowledge,
thick plastic. On the left, and adjacent to this pair of
and cannot be reduced to the ‘I’.
images was a projection of a dilapidated, wooden
The work in the second gallery is called
caravan and an old converted truck with bright red
Autowalks. Here, Wallis has invited members of the Autowalks
and blue peeling paint. Trees are visible in the
community to walk with a camera in a geographical
background and the surrounding grass is overgrown.
space describing the place they feel most comfortable
The fourth projection on the opposite and far wall
or uncomfortable in. One of the walks takes place at
was of a young boy, again looking directly at the
nighttime, allowing a particular kind of physical
camera.
connection to the environment to and the sensory
THIS engaging survey of work, selected by the
Moving through the presentation provides few
artist – with a few significant contributions made by
disappointments. Wall after wall holds sturdily-
curator Dr Riann Coulter – celebrates Blackshaw’s
constructed images. I noticed that many of the
In Britain, from the 1970s – 1990s there was a
experiences of sound and smell. This is about
80 year. As such, it presents a highly personal view
paintings recall other artists’ work. Some of these
loose movement of people, arising out of the hippie
collective memory, the secret places we connect to,
of his life as a maker of paintings. While the majority
affinities may be intentional, others merely
movement, who chose to opt out of an advanced
especially as children, where we feel at home and
of selections date from the past two decades, the
coincidence. For example, the linear details in Anna
consumer culture, live in squats and travel from
safe. This work is altogether more informal and freer
exhibition spans nearly 70 years. The earliest work
on the Sofa, a portrait of Blackshaw’s wife, make me
music festival to fair with the desire to live closer to
than ‘Moving Stills’: wandering, mapping and
happens to be an accomplished, but very tiny, view
think of Matisse. Then I see View towards Dromara
nature in vans, busses and converted trucks. Many
tracing connections and lines of kinship, revealing
of a sheep the artist painted in oil at the age of 11. To
Hills and from its grid-like substructure I pick up
moved to Ireland and Europe. Wallis’s family arrived
intimate testimony and introspection.
me, an individual previously unfamiliar with his
inklings of Cezanne. The couple and window in
in the Burren in the West of Ireland in the late 1980s,
work, the assortment initially offered a wholly
Graham and Jude recall bedroom scenes by Eric Fischl, while the powerful The Fall recalls the
joining others who had settled there a decade earlier. The artist uses the word “utopian”1 to describe the
Vivienne Dick is a filmmaker artist based in
disparate array of images concocted in a range of sizes, styles and subject matter. Groups of portraits,
disturbing intensity of Goya’s Disasters of War series.
community where she grew up, describing how
place at the Crawford Gallery (2009) and Tate
horse paintings and studied views of the countryside
But not all of these affinities point back in time. The
people were “nurturing vegetables, building simple,
Modern (2010).
abut larger expressionistic canvases bristling with
high horizon and scarred earth depicted in The Field
handmade and small dwellings from recycled
aggressive brushwork, bold colours and a graffiti-
really surprised me. It screamed Anselm Kiefer, but
like scrawl. There are also a couple of canvases
predates facets of this German’s work by about 30
materials”.2 Wallis has been photographing her family and
bearing a primitive quality that is commonly
years.
friends within this community since 2003 when she
th
associated with outsider art. A pleasant and
The installation of Blackshaw’s paintings offers
produced a series of large format portraits for her
informative gallery staffer advised me that the
a number of captivating perspectives. Standing near
degree show at GMIT called ‘Ordinary Moments’,
selection featured many of the artist’s favourite
the centre of the gallery enables the viewer to see a
followed by a series entitled ‘Cooloorta’. With
subjects and that, like many artists, he felt closest to
breadth of horse images. Seven works ranging from
‘Moving Stills’, Wallis continues to explore her past
his most recent paintings. In addition to the
the subdued Jockey Adjusting the Girth, produced in
categories already noted, pictures of dogs, friends
the late 1950s, to Zebra (2008) which bears the
at a remove. She calls it “experiential research on collective experience of place”.3 In her work there is
and members of his family are also included.
appearance of an illicit wall painting, can be seen.
an awareness of the challenges faced when working
Blackshaw’s energetic brush strokes and the
The animal also appears as a woolly child’s toy and
with material that is intimately related to her own
manner in which he deploys colour and organises
a ghostly red form. A group of recent paintings
personal story and memories. The view from inside
his compositions soon pulled me into the work.
depicting various types of enclosed spaces – a monk’s
the poly-tunnel acknowledges, perhaps, the
Supporting this was evidence of a broad knowledge
cell, pram, bird cage, a vase holding a flower and a
difficulties of seeing clearly, the impossibilities of
of art that derives from affinities detectable in his
clearing amidst some trees – occupies a nearby
certainty. Likewise, the aging and peeling caravans
work. Most importantly, I appreciated his willingness
alcove.
to take risks and head in new directions which
measurements, script and other half over-painted
formed the most prominent feature of his output.
marks run along the edges of these canvases or
Blackshaw’s
inherent
desire
to
Rendered
in
a
studied
Galway. Retrospectives of her work have taken
Notes 1. Artist statement 2. Artist statement 3. Artist statement 4. www.rubywallis.com/phd.html 5. "...by thus remaking contact with the body and with the world, we shall rediscover ourself, since, perceiving as we do with our body, the body is a natural self and, as it were, the subject of perception" from Merleau-Ponty. Phenomenology of Perception, 2002, Routledge, london, 239 6. http://mythosandlogos.com/levinas.html
crudeness,
push
disrupt the passages of yellows that dominate these
conventional formats into new territory made itself
compositions. Vibrant colour and scratchy lines
evident in the portraits, the first group of works I
produce the alluring sketchiness that is a hallmark
encountered. He might depict a subject from an
of his oeuvre. These canvases emit a warm and
unusually high angle, as he did in Portrait of Cherith
transient light that is also tinged with a subtle
McKinstry, or make use of an unconventional sized
anxiousness. Conveying a sense of isolation, they
canvas. Such is the case in Portrait of Michael Longley
speak of limitations, the stock-taking that occurs as
where the subject has been lodged in a square. He
one ages and induce contemplation on the passage
can also create less than harmonious relationships
of time. The attendant visual richness of Blackshaw’s
between a sitter and the background. The intriguing
paintings left me wanting to see more.
Ruby Wallis, still from Dido
visual tension that ignites Portrait of Ted Hickey holds the eye and engenders extended analysis. The eyes also respond to the way Blackshaw captures the essence of his sitters’ features. Though he paints in a very concise and spontaneous fashion, their likenesses are deftly rendered.
John Gayer is a graduate of the Ontario College of Art and the University of Toronto. Currently based in Dublin, his writing has appeared in Sculpture, Framework – the Finnish Art Review, Art Papers, and other publications. Ruby Wallis, Being Inside the Poly Tunnel, 2012
Ruby Wallis, Research Wall, 2012
The Visual Artists’ News Sheet CRITIQUE SUPPlEMENT
July – August 2012
gary Coyle 'hello darkness' kevin kavanagh Gallery, Dublin 31 May – 30 June 2012
eamon o'kane 'in all things' Gallery 126, Galway 13 June – 7 July 2012
THE press release for Gary Coyle’s ‘Hello
the frame, these gestural forms, in their intrusion into
Darkness’ employs the word ‘Gothic’ as packaging for
photographic reality, compound the pastoral parody
the dreary menace that glides sullenly and persistently
of the already suggestive mise-en-scène.
though his work. It’s a teasing, slippery description. In
Culled from South Dublin, many of the
architecture, literature, art, even music, ‘Gothic’
photographic backdrops are places to which Coyle
connotes a gut reaction rather than a strict formal
has periodically returned, physically or topically. In
categorisation. The term had once been coined as a
their staggered, tasteful presentation they could
slur – grim cathedrals were ‘Gothic’ in that they
commemorate tragedy, portend destruction, or have
seemed like something the Teutonic barbarian tribes
nothing really to do with anything. The more we
would have thrown up to house their trophies and
search for significance in these empty settings, the
treasure. Time and fashion have leavened the word so
more they resist our prying. Coyle is playing at
it now refers to a certain ambience, a pervasive sense
obsessions and delusions, spinning nightmares out of
of dormant but inescapable violence.
postcard photos.
‘Hello Darkness’ is made up of 15 works (plus
The scenery of South Dublin supplies much of
one in the Kevin Kavanagh’s office) of various sizes,
the material from which this surreal montage is
all charcoal on a roughened, heavyweight paper that
constructed. On paper, Coyle clearly communicates
slightly compromises the draughtsman’s control and
the native’s visual colloquialisms and in doing so he
reinforces a blurrily cracked texture to his skies and
enters, as the press release mentions, the “psycho-
streams. Virtuosity doesn’t necessarily announce
geography of places”. Though Joyce is the obvious
itself in the drawings. Some are rigid and precise
exemplar of the narrative mapping of Dublin city, the
while others are more gestural or perfunctorily
obscured wit and absurdity of ‘Hello Darkness’, at
descriptive, like a snippet from a dream log or a scene
once morbid and lyrical, bears a sharper resemblance
sketched according to eyewitness testimony.
to another literary figure. Flann O’Brien’s fondness for
Eamon O'kane, 'In all things' things', 2012
Eamon O'kane, 'In all things' things', 2012
Eamon O'kane, 'In all things' things', 2012
Eamonn O'kane, 'In all things' things', 2012
Pieces like I’ll be your Mirror and Registered
whistling through the graveyard, for an insouciant
Trademark posit bizarre juxtapositions usually seen
tincture of nostalgia and disgust, seems a more
MONUMENTAl coniferous trees are rendered
and range of practice. What does this artist not do?
in photographic collage, but rare for the ancient, low-
appropriate model for Coyle’s knowingly quixotic
directly on the wall of 126 in charcoal, the material
His works often explore different aesthetic styles and
fi medium of charcoal drawing. They read like Ed
journey around the mouth of the abyss.
produced from their own burnt and compressed
methodologies appropriated from other disciplines
Ruscha’s take on Andre Breton: hand-rendered
To state the point simply, he doesn’t just immerse
bodies. The black carbon coats the wall with velvety
such as science or architecture. I am reminded of
mimicry of embossed or laser-cut lettering –
his work in a pre-processed mood and let it simmer.
flocking, its ashy black dust litters the floor, forming a
Canadian artist Rodney Graham whose work shares
intentionally boring, palatable font over scenes of
Even the strictly Dublin-based images, like that of the
sort of compost out of which an installation of
many of O’Kane’s concerns and varied aesthetic
rocky terrain or fluid embellishment. In I’ll be your
Stillorgan dual carriage way in The Bridge Bridge, are a
machine-tooled wooden blocks, sticks, strips of torn
approach. They both express an intense commitment
Mirror, an intricately drawn human eye stands in for Mirror
platform for other loci of gloom to rest upon. Over the
wood and molecular geometries rise like rhizomic
to rigorous intellectual art, enjoy visual puns and
the R in mirror, which would have been a very
image of the passage is a type-set binary encoding of
growths from the underground of Galway’s artist-run
absurdist humour, while examining social and
different kind of decision if the letter R in any way
the words of the ‘Son of Sam’ killer, David Berkowitz,
gallery. Eamon O’Kane has created a space of darkly
philosophical systems of thought, particularly
resembled the eye.
addressed to New York Daily News columnist Jimmy
observed beguilement and play using his
modernism. In Graham’s film works, the artist
Breslin in 1977:
characteristically diverse means: wall drawings,
performs his own ingenious characterisations; to my knowledge the only art form O’Kane has yet to try!
Other peculiarities park themselves in the picture plane like vestiges of a dreamscape squatting
“Don’t think since you haven’t heard from me
sculptural installation, projected and screened stop
stubbornly in waking thought. Fluctuating striations
for a while that I went to sleep. No, rather, I am still
motion animations. All are arranged in the space
like those found in aboriginal painting obscure
here. Like a spirit roaming the night. Thirsty, hungry,
with bold clarity and simplicity.
otherwise straightforward pictorial landscapes. In
seldom stopping to rest, anxious to please…”
This accessibility is also reflected in his well-
O’Kane also cites his young family as stimulus for his practice: an aspiration most artistic parents dream of.
Hello Darkness Darkness, a wavering sideways arc motif
Novelist Ann Radcliffe, progenitor of Gothic as a
articulated artist statement outlining his research on
“My sons Emil and Mikkel were born in 2005
surrounds an ovoid off-centre staging of the sinister
style, privileged ‘terror’ over ‘horror’, espousing the
the chemical element carbon which is found ‘in all
and 2007. They provide a constant flow of joy and
hooded figure, whose shrouded profile has recurred
first as a means of heightening the senses to an
things’, hence the show’s title. O’Kane’s multiform
inspiration, and continually prove that play is at the
in Coyle’s work intermittently. Too irregular to
elevated state of awareness by depriving them of the
conceptual connections link Frederich Fröbel’s (the
constitute patterns and too abstract to integrate into
full realisation of a threat. By allowing ugliness and
inventor of the Kindergarten) educational play blocks,
root of all creativity.”1 This delight in creativity and unselfconscious
pain to hover half-defined, terror strings a psycho-
the development of creativity with botany,
imaginative leaps is evident in his practice, which
emotional fibre-optic between our very human
crystallography, explorations of carbon in forms and
suggests O’Kane enjoyed and respected the act of
perceptions and our animal reactions. The higher
processes of material assemblage.
‘play’ in his studio long before the arrival of his
Gary Coyle, The bridge (don't think since you haven't seen me...), 2012
cognitive functions strive to know more, while the
Carbon, O’Kane points out, is a most abundant
children. In art, play as a methodology is most useful
glands and nerve-clusters prepare for fight or flight.
element and the basis for all known life. He materially
when married with conceptual coherence and O’Kane
Coyle is at work in the vein of Hitchcock or the darker
represents its properties through wood as a live body
also incorporates lively artistic references to add
tones of Arthur Conan Doyle. At first, his narrative
(in his tree images), a mutilated body (in his
further depth and interest to his work. ‘In all things’
haemorrhages the most vivid frames from the reel.
installation of dissected wooden parts) and a cremated
channels, at times, the cool abstraction next to
The author then recedes, letting us scramble to
body (through charcoal). He then renders its
psychological figuration of Isabel Nolan, the
connect the dots, chuckling darkly as he goes.
regeneration and resurrection via three charcoal-
modernist architectural designs of Buckminster Fuller
drawn animations that display different modes of
or Le Corbusier, William Kentridge in the scratchy,
Curt Riegelnegg is a writer and critic. He has
wooden re-construction. The first is a screen full of
dense emergence and accumulations of images in his
contributed to various publications, including
wood blocks transforming into crystalline shapes.
animated drawings.
Art Papers and annuals by Project Arts Centre
The second is a slowly compounding array of carbon
Eamon O’Kane has created an imaginative space
and The LAB.
molecules networking into a dense impenetrable
of play, intellect and beauty in this exhibition that
web. The third is a vigorous sequence of various
attempts to address “life, the universe and everything”
coniferous and deciduous tree drawings, each
in its scope. It is simple and direct on many levels,
appearing rapidly in the projection like subliminal
accessible to a broad public with a complex underbelly
messages, urgently communicating their ecological
of reference and meaning to satisfy even the most
authority.
exacting art critic.
O’Kane provides no titles on any of his works, which makes the show a little difficult to navigate (or
Áine Phillips is a mulitmedia performance artist.
refer to in this review). I am informed by 126 that his
Recent exhibitions include Kyoto Art Centre, and
intention is to open the work to buoyant and
NON Festival Bergen. She co-curates Live@8 and
unconstrained interpretations. In his commercial
is Head of Sculpture at the Burren College of Art.
shows, labels are requisite, but he emancipates his work from titling for alternative spaces. Exhibiting internationally, producing multiple Gary Coyle, 'hello Darkness', at the kevin kavanagh Gallery
Gary Coyle, Registered Trademark Trademark, 2012, charcoal on paper
solo shows a year, O’Kane is prolific in both his output
Notes 1. Quote taken from an online article on Eamon O’kane’s work. http://www. hermanmiller.com/lifework/ideal-livework-space-artist-eamon-okane/
The Visual Artists’ News Sheet CRITIQUE SUPPlEMENT
Allyson keehan 'life drawings' Draoicht, Dublin 14 June – 1 September 2012
July – August 2012
ANNUAL VAI / DCC
Visual Art Writing Award ‘A Decade of Centenaries’ Dublin City Arts Office and Visual Artists Ireland invite submissions for the Annual VAI / DCC Visual Art Writing Award. The award was first launched in 2011 and has been devised as a developmental opportunity for writers, as part of Dublin City Council Arts Office and Visual Artists Ireland’s commitment to encouraging and supporting critical dialogue around contemporary visual arts practices.
Alison keehan, Fiona, Indian ink on paper, 52 x 69cm
Submissions for the award should comprise detailed, but brief (500 words max) proposals / abstracts for a thematic article dealing with how the visual arts might respond to the decade of centenaries 2013 – 2023, accompanied by an up to date CV and three examples of previous visual arts writing. This opportunity is not limited to residents of Dublin City. The winning submission will receive editorial support and mentoring from VAI and an honorarium from Dublin City Council Arts Office of €800 – comprising a €500 commission to write for the Visual Artists’ News Sheet and a €300 commission to write a short essay as part of The LAB’s 2012 / 2013 programme.
DEADLINE
5pm Friday 17 August
Alison keehan, Laura, Indian ink on paper, 50 x 65cm
DRAIOCHT, “A centre for the arts and
it’s as though her direct look has pushed the artist
entertainment in Blanchardstown”1 is ensconced
further away. Laura and her companion seem to
within the larger scheme of the Blanchardstown
obscure the light, as though overwhelmed by the
shopping complex in Dublin 15. The centre hosts an
inky medium.
artist-in-residence scheme and has two dedicated
As well as rendering the subject, gestural marks
exhibition spaces. Currently occupying the First
carry the imprint of the body that makes them, the
Floor Gallery, Allyson Keehan’s, ‘Life Drawings’ (all
loop of attention completed when this double trace
2010 – 2012) are given the difficult task of holding
is reconstituted in the viewer’s eye. In effective life-
their own in a space full of its own life: the exhibition
drawing we might expect to find this attention
space doubles as an atrium for the offices, stairwell,
made vivid. Though adroit in her handling of
and rehearsal spaces extending from it on three
materials Keehan, at times, seems outside the loop,
sides. Keehan, better known as a painter, is a former
too focused on pictorial niceties (artful drips and
artist-in-residence, and presents a compact
drapery – an eye for ‘elegant’ arrangements can miss
exhibition of small, framed ‘Life Drawings’,
more vital signs of life) to be fully open to the life in
consisting of mostly female figures in attitudes
front of her. Capturing vitality in the prone presents
synonymous with the life-drawing room. Some
its own problems of course, and the artist avoids this
recline on drapery, relaxed, perhaps sleeping, while
in some of the pencil studies avoid by having the
others, straight-backed, convey the incongruous
models sit up. Sophie features a figure, head tilted
attitude of naked attentiveness typical of the life-
upwards, perched on the edge of her seat. Though
drawing format.
life-like, the work resists portraiture. The model’s
Figures are rendered in Indian ink or graphite
slim frame is held to attention, her bearing and gaze
on paper, the loose washes of the works in ink (the
rendering her statuesque. Her look is open but also
majority) contrasting with the handful of more
concealing.
detailed pencil studies. Among the 16 works on
Chairs and draped beds support the models’
show males appear only twice. A languid Rodolfo
poses and provide ballast for the pictorial
shares an unmade bed with Laura in, Rodolfo and
architecture. Laura reappears in two of the more
Laura. Kadir, in Kadir and iphone 4S
affects
effective works: in Laura, the bed appears to be
insouciance by perusing his facebook page, a jaunty
floating in space, tethered lightly to the base of the
arm behind his head. The gallery blurb begins with
white page by three gravity-obliging drips. Resting
the words, “Poised, elegant and sophisticated”, but
her head in the crux of an elbow, the subject hugs
there is, perhaps, too much ‘posing’ going on.
her pillow anxiously, adrift on a magic carpet
Keehan’s oil paintings possess a sophisticated sheen
through fantastic but unsettling lands. In Laura in
but her drawings aim for a semblance of life, and are
Front of Mirror the same model poses – legs drawn up
better viewed against that ambition.
and arms folded – facing us, and away from the
Each drawing is named after the sitter or sitters.
mirror of the title. Delicate pencil lines convey a
The longest wall contains a pairing that includes
pensive figure, dwarfed by surrounding space,
one of the show’s best pieces, Fiona, with a drawing
braced between the reflecting surfaces of the mirror
that seems to me less successful, the aforementioned
and the artist’s eye.
Rodolfo and Laura. Comparing them helps to
While making these notes a lady in a blue coat
highlight the overall differences. Fiona lies on her
passed by, slowly pushing a cleaning trolley. Some of
back. Her body is angled slightly towards the artist
Keehan’s better drawings have a sense of this, the life
– towards us – and lies open to the falling light. The
drawn on the page just passing through.
model exudes a relaxed confidence and her trust is repaid in the artist’s deft response. Assured tones of
John Graham is a Dublin based visual artist. His
light, medium and dark ink describe the contours of
next exhibition will be at the Green on Red
the recumbent figure; the hidden forms that support
Gallery in October of this year.
and give structure to the soft surfaces of the skin are never in doubt. The figures of Rodolfo and Laura
Notes
seem ill-defined by comparison, appearing a little
1. www.draoicht.ie
lost on the page. As Laura gazes towards the viewer,
ADDRESS SUBMISSIONS TO Lily Power:
lily@visualartists.ie
Patrick O’ Connor (1940 -
)
at Kilkenny County Council Arts Office, no. 76 John Street, Kilkenny
August 11th – August 31st 2012 Kilkenny County Council Arts Office Working to strengthen and cultivate the arts in Kilkenny, by supporting and empowering practitioners, encouraging creativity, innovation and excellence and increasing community appreciation and participation. Mary Butler, Arts Officer mary.butler@kilkennycoco.ie Niamh Finn, Administrator niamh.finn@kilkennycoco.ie http://www.kilkennycoco.ie/eng/Services/Arts/ 056 7794138
The Visual Artists’ News Sheet
July – August 2012
23
Critique special
Mark O'Kelly installation, image courtesy of eva International
Gimena Blanco, installation at Limerick School of Art and Design, image by Mathew Gidney
Exit Limerick
When ‘Exit’ took place in Liverpool in 2003 there was another unexpected outcome. According to Static, the Liverpool John Moores University initially displayed a strong resistance to the project, seeing it as an attack from the outside, but over the course of time it began to
emma mahoney reviews static, liverpool's 'exit limerick' project, where graduates from limerick school of art and design and those featured in eva international 2012, were given live critiques.
internalise this critique and to change itself from within. What was then a traditional and conservative art department began to adopt the more contemporary and radical values it holds today. It would appear that in a project like ‘Exit’, the best possible outcome is to inspire radical self-questioning not just among the student body but also within the academy itself.
When a work of art is reviewed it is rare that the artist should
In order to answer this question, the exact nature of this
come face to face with the reviewer in a forum staged to interrogate the
collaboration deserves further interrogation. ‘The establishment’ in
nature of the critical process. This is precisely what happened at the
question here could be categorised as an ‘enlightened’ one – by which I
‘Exit Limerick’ debate held at Limerick School of Art and Design (LIT)
mean, one that seeks to resist becoming and instrument of our
The only review that was notable in its absentia from the insert in
on 15 June. The lecture theatre was crammed with students, some
neoliberal society. Annie Fletcher, the curator of eva 2012, works for
the Limerick Leader was a review of ‘Exit Limerick’ itself, so in keeping
enthusiastic, some ambivalent and others disgruntled, all with one
one of the most progressive art institutions in Europe, the Van
with ‘Exit’s’ bare bones critical style, I conclude my critique of this
goal in mind: to meet the critics who had dared to write about their
Abbemuseum. Together with its director, Charles Esche, Fletcher has
reviewing process with my own 100 word review paired with a second
work for a four-page insert in the Limerick Leader.
long been involved in the project of New Institutionalism, a process
review of the same work written by Curt Riegelnigg.
‘Exit Limerick’ is the fifth iteration of a project by Static Gallery,
whereby art galleries and museums begin to internalise the institutional
Liverpool, wherein members of the art world (including critics, writers,
critique that was initially targeted at them in the 1970s and 1980s,
curators and artists) are invited to review the work of graduating fine
resulting in self-reflexive and auto-critical art institutions. The goal of
art students. By way of acknowledging the subjective nature of the
these New Institutions is to promote artistic practices that challenge
critical process, each artist is given, not one, but two separate reviews.
the status quo, and to produce new and heterogeneous publics.
Epilogue
Emma Mahoney ‘Exit Limerick’ is the fifth iteration of a project by Static, Liverpool, wherein members of the art world are invited to review the work of
‘Exit’ was first initiated by Paul Sullivan and Becky Shaw in three art
Taking this historical context into account, it becomes less a
graduating art students. ‘Exit’ is both a critical tool and an autonomous
colleges in Liverpool in 2003. The agenda was twofold: to offer critical
question of whether Static is ‘selling out’ by accepting an invitation to
work of art, and it is precisely the tension between these two functions
reviews to newly graduating artists, and to assess the role and value of
collaborate with the ‘establishment’, and more a matter of expressing
that make it interesting. The first iteration in 2003 was about testing
art criticism. Static further complicated its project by inviting art world
solidarity with an institution that shares their values. Furthermore,
the divide between public and private, establishment and anti-
figures in positions of power to review the work of ‘untested’ artists.
‘Exit Limerick’ did not completely capitulate to the institution. Static
establishment, and the tensions that arise therein. Nine years on, it has
They also (intentionally) staged the project without the permission of
made its own, non-negotiable demand. It insisted that ‘Exit Limerick’
become a collaboration between Static and eva, resulting in the loss of
the universities.
should not be limited to reviewing the LIT degree show alone, but
a little of its subversive edge to the institution.
The results of this first undertaking were far more political then its instigators could ever have first anticipated. For a start, the reviewers,
should also encompass reviews of every artist participating in eva and its fringe.
Curt Riegelnigg
who were initially happy to be involved, grew reticent, possibly
This new dynamic sought to interrogate how the critics would
because they did not know what would happen to these artists five
negotiate alternating between reviewing emerging and established
With this review, I stack one last layer of ‘meta’ on to my
years down the line. What if they gave a damning review to a future art
artists. Would they approach the reviews differently? For some reason
experience of Exit Limerick and I have to admit that my underlying
superstar? What repercussions would this have? Doubtless, they were
this aspect of the project was undermined by the fact that there was
bafflement has not really subsided. (One point of outstanding personal
also anxious about their own reputations, particularly as each artist
very little crossover between the critics who reviewed the eva artists
discrepancy: I pointedly adjusted my metric of judgement for the LIT
was being reviewed twice; what if the other reviewer ‘got’ the work
and those who reviewed the LIT students. In fact, of the 19 reviewers
when they completely missed the point?
involved in the project, only seven reviewed artists from both eva and
graduates, some critics did not.) During the fluctuating tensions of the closing discussion on June 15th, some students expressed appreciation,
However, these tensions palled in comparison to the ‘real’ political
LIT. In the reviews of these seven critics, there was definitely a
some cried ‘foul!’. Some reviewers responded in conciliatory tones and
impact of the project. A few of the graduating artists used the glowing
difference in approach when it came to reviewing the recent graduates,
some with schoolmarm obstinacy. Static Gallery’s purposeful obstacles
reviews they had received from directors of major national public
which was underlined by an unwillingness to be overtly critical and a
had reduced each critic to a sharply pronounced attenuation of himself,
galleries to challenge their degree results – and won. It is in this ripple
retreat to describing the work whenever the reviewer didn’t really
and disparity won the day on almost all fronts.
effect that the validity and integrity of ‘Exit’ resides. In his introduction
come to grips with what the student was trying to say. Emma Mahony is a lecturer in Visual Culture at NCAD and a PhD
to the recent Berlin Biennial catalogue, Forget Fear, Artur Zmijewski
‘Exit’ is supposed to represent a threshold – between being a
calls for an art that produces “substantive tools for acting on the world”.1 ‘Exit’ could be perceived as such a tool.
student cocooned in the academy and making the first tentative steps
‘Exit’ started off as a form of institutional critique – an attempt to
eva artists seemed to deviate from this goal. Moreover, their inclusion
The reviews published in the Limerick Leader are available at
expose the mechanisms, power structures and politics of the art world
introduced a sense of hierarchy. The reviews of eva artists were listed
www.eva.ie/exit-limerick
from the outside – yet in ‘Exit Limerick’ this power relation has shifted.
first in the newspaper supplement, followed by the fringe artists, with
Rather than an attack from the outside, ‘Exit Limerick’ is a collaboration
the students coming last. What also stood out is that some of the major
between an increasingly established artist-led initiative (Static) and the
figures in the Irish art world – including Caoimhín Mac Giolla Leith,
establishment (eva International 2012). A collaboration such as this
Helen Carey, Aileen Burns and Johan Lundh – only reviewed the eva
gives rise to a problem: how to maintain that element of criticality
artists. If the point has previously been to pair established art world
when the critical distance that originally produced so much productive
figures with students, this was lost in the most recent iteration of the
tension collapses.
work.
researcher.
into the art world as a solo artist – yet the inclusion of the established
Notes 1. Arthur Zmijewski, foreword to Forget Fear, 7th Berlin Biennale, KW Institute for Contemporary Art and Verlag der Buchandlung, Walther Konig, p10
24
The Visual Artists’ News Sheet
July – August 2012
event
Images courtesy of Alan Phelan and Adrian Colwell
VAI Get Together 2012
Briefings B Briefings B comprised four similarly disparate talks: Neva Elliot’s ‘Working with what you’ve got’, ‘Presenting Yourself’ with Kerry
lily power gives an overview of the vai get together 2012, which took place on 15 june at limerick college of art and design.
McCall, 'Copyright' with Pearse Ryan of Arthur Cox Solicitors and ‘Working Abroad’ with Artquest’s Russell Martin and Nick Kaplony. In Working with what you’ve got’, Neva Elliot looked at how
Get Together 2012, the first of our national gatherings for visual
volunteer presence and enthusiasm was a problem highlighted. An
artists measure their own success, and identified ways to create
artists and arts organisations, took place on Friday, June 15th in
issue that is perhaps singular to the vacant spaces movement is
opportunities. She emphasised the importance of collaboration,
Limerick College of Art & Design. In what turned out to be a packed
concern about the negative impact that an upturn in the economy
mentoring, cultivating peers and maintaining connections where a
event, over 250 people gathered for a day of engaged sharing. Based
could have. Will these spaces no longer be available? Will councils lose
natural affinity is evident. Elliot provided examples of projects run
upon our model in local areas, the day was designed around a wide
interest in assisting artists once commercial rents can once more be
with limited means, using ingenuity and creativity, such as the
range of topics that are of current interest to visual artists, with the
obtained? Several attendees cited this talk as a highlight of the day, and
‘Apartment Project’ in Manchester. Ultimately, the talk focused on the
canteen of the college transformed into The Common Room Café.
there was some frustration that it lasted only half an hour. In response
value of positivity and self-determination, working with others and
Here, people could meet to further discussions, or find out information
to this, Mary Conlon is planning a follow-up event, details of which
exploring dormant possibilities in the resources already available to
about a wide range of organisations from Ireland and the UK who were
will appear on the VAI website.
artists.
present on the day.
Mary Carty’s talk, 'Socialising Your Arts Practice', was aimed at
Kerry McCall spoke on 'Presenting Yourself' and gaining self-
Feedback about the day has confirmed that it was a very lively and
assisting artists in some of the business aspects of their practice. She
awareness of the language used around artistic practice. She encouraged
energy-filled experience for people from a wide range of age groups and
emphasised the value of social media for accessing a particular
artists to use clear, accessible language to describe their work and to
experience levels, who came and shared expertise and knowledge in a
audience and keeping relevant people informed. Carty claimed that
carefully consider the narrative of their practice. McCall highlighted
free and open manner.
artists are natural storytellers, and that blogging or sites like Flickr and
the importance of being realistic: focusing on the opportunities
Talks and presentations, divided into five topic strands, ran
Tumblr provide a platform for this. She also stressed the value of tools
available to you and researching the exact requirements for an
simultaneously across the day, culminating with tours of eva
such as Google Analytics, which allow artists to monitor responses to
application. Next, she ran through the specifics of such an application,
International and an evening reception. What follows is a brief
work / writing posted online.
advising artists to spark the reader’s interest and think about how they
overview of the strands, expanding on a few of the myriad topics and
In his 'Legal / Contracts' presentation, John King provided
might describe the work if it had been created by someone else. Recent
issues raised during the day. We are now planning for the next Get
information on contracts for artists. He specified exactly what a
painting graduate Joan Stack told us that she found this latter part
Together, so keep an eye out for announcements in 2013.
contract should contain and offered advice regarding breach of contract:
particularly relevant, as someone leaving the college environment.
keeping discussion channels open, for example, or contacting a
Pearse Ryan’s talk on 'Copyright' aimed to clarify several issues
representative organisation. King also gave advice on the realistic costs
surrounding artists’ copyright, a subject that has moved into focus as
Briefings A comprised four diverse talks: ‘Empty Spaces’ hosted by
of entering into a legal battle. In response to this talk, artist Martina
works are distributed in new ways on the internet. He discussed the
Mary Conlon of Ormston House, ‘Socialising Your Practice’ with Mary
Rosenthal said she found the clear, detailed information on contracts
conceptual problems inherent in defining what constitutes the
Carty of www.spoiltchild.com, ‘Legal / Contracts’ with John King of
very useful. Examples of standard contracts can also be found in the
‘expression’ of an idea with regard to performance art or non-permanent
Ivor FitzPatrick and Co and ‘Curating for Not-for-Profit Spaces’ led by
VAI info pool.
work. Ryan went on to outline other instances where copyright issues
Briefings A
Sheena Barrett.
'Curating Not-for-Profit Spaces' was opened by Sheena Barrett
might arise including collaboration, commissions, mistreatment of
The use of empty properties for visual art endeavours remains a
of The LAB, Dublin, who began by providing an overview of how this
much-discussed topic across Ireland. The 'Empty Spaces' talk proved
city-centre, not-for-profit space has developed over the last six years. As
Working Abroad: In their presentation, Russell Martin and Nick
very popular and began with Mary Conlon’s description of the Ormston
Assistant Arts Officer as well as Curator, Barrett felt she was able to
Kaplony discussed the many facets of working abroad as an artist. They
House project in Limerick, which was born as a response to a lack of
nurture and direct policy from the outset, working within the LAB’s
stressed the importance of preparation: deciding which opportunity
sufficient local studio and gallery space, and has grown into a vibrant
remit as an inclusive space, responsive to the city. Patrick Murphy of
would be most valuable; developing networks / starting conversations
city-centre space. Aaron Lawless of Faber Studios, Limerick talked
the RHA also spoke about changing remits, stating his belief in original
with artists / organisations abroad; researching available funding or
about the validity achieved through democratic, artist-led spaces and
and individual galleries that don’t replicate what others are doing.
earning opportunities; ensuring necessary support is available; being
how this has aided public engagement. Annette Moloney, an
Alice Maher followed, providing an artist’s perspective as counterpoint.
aware of practicalities such as visa issues and cultural differences. They
independent curator and writer, went on to discuss a pamphlet she
She spoke specifically about the difficulties she has faced as an
detailed some of the services Artquest provide including opportunity
wrote in 2009 entitled ‘Art in Slack Spaces’, emphasising that many of
established artist, which does not necessarily translate into financial
listings for myriad countries. Martin and Kaplony also held a table in
the questions and issued she raised remain unanswered.
security. Maher gave further insights into perceived prejudices on the
the Common Room Café and continued to offer advice and information
part of galleries, who often favour emerging artists and the negative
on these themes.
The issue of sustainability was a recurring theme and Mary Conlon pointed out the difficulty in having to develop a long-term programme for a space with an unclear future. Similarly, sustaining
impact of the economic downturn on sales of work.
work and works on loan.
The Visual Artists’ News sheet
July – August 2012
EVENT
ACADEMIA
25 ISSUE
CRITICAl WRITINg
This strand featured speakers working across
This strand comprised four talks on different
academic fields relating to the visual arts to present
approaches to critical art writing followed by a
current themes in their research. The day was
panel discussion with Q&A chaired by Fiona Fullam.
divided in two and began with a ‘Negotiation
The speakers were: Fiona Fullam, James Merrigan
Workshop’ led by Susanne Bosch (University of
(+Billion), Fergal Gaynor (Enclave Review) and
Ulster). ‘Think Citizen’ followed this, comprising a
Adrian Duncan (Paper Visual Arts).
bite-Size licensing AlEx DAVIS PROVIDES A bITE-SIZE GUIDE TO COPYRIGhT AND lICENSING FOR ARTISTS.
conversation, performance and ‘social agitation’
Fiona Fullam opened with her talk entitled,
with Paul Tarpey and Sean Taylor (MA SPACE,
'Pushing at the Margins: the Scope of Arts
COPyRIgHT protects original pieces of work
Depending on the circumstances, a licence can
LSAD). Finally, Siun Hanrahan spoke on ‘The Future
Writing Today', looking at definitions of ‘read’,
from being copied without permission. Whenever
be a very simple document or it can be extremely
of Art and Design in Ireland’.
‘visualise’ and ‘critical’ to introduce discussion on
an original work of art is created the copyright in the
detailed. The Visual Artists Ireland Info-Pool contains
Suzanne Bosch's dynamic 'Negotiation
the roles and the various forms of critical writing.
work belongs to the artist. The artist does not have
a guide to contracts for artists written by solicitor
Workshop' mapped negotiation processes that
She quoted Raymond Williams, claiming that
to do anything to gain this protection; it is free and
Linda Scales. It contains the following list of items to
might apply to visual artists. Using a case study – a
responses should be ‘practices not judgements’ and
automatic. However, it is still advisable to assert
include in a licensing agreement. This is a very
public art commission at a sports centre in Berlin –
went on to examine various theories on the act of
copyright whenever possible using the copyright
useful checklist if you are considering drafting your
Susanne Bosch asked attendees to stage the event,
judgement. Fullam queried the function of critical
symbol ©, your name and the year of creation.
own agreement, or are reviewing a licence agreement
illustrating the parties who might be involved in a
texts – whether they add to a work or exists as an
Copyright lasts for the creator’s lifetime plus a
draft presented to you by another party.
process such as this, and the best way to seek a
independent, valuable entity.
further 70 years and remains with the artist even
resolution. Attendees reported that this was an
James Merrigan argued the benefits of Writing
after the physical artwork is sold. The only way to
interesting, alternative approach to conflict
for Online, such as: freedom from the pressure of
transfer copyright ownership to someone else is in
resolution techniques made applicable to artists.
writing for an editor, the immediacy of the medium
writing.
Licence Agreement Checklist:
• • •
The names and addresses of the artist and licensee
Paul Tarpey’s ‘Think Citizen’ talk examined
and the capacity for writing prolifically. He
An exception to the rule can occur in an
notions of citizenship and the role of a citizen to
acknowledged, however, that online art writing,
employee situation. Unless a contract of employment
engage in a dialectical and sometimes critical way
combined with social media, still appeals to existing
states otherwise, an employer usually owns the
(only the licensee can exercise the rights); sole
with the exercise of public power. Tarpey focused on
networks. Merrigan detailed his ‘10 Commandments’
copyright to anything created by the employee in
(the artist and the licensee can exercise the
the importance of off-site art in this process,
for critical writing, which included: an emphasis on
the course of their employment. This rarely affects
rights) or non-exclusive (the artists and other
referencing several projects in Limerick city. Sean
play – in reaction to the often self-aggrandising art
visual artists and for the purpose of the guide it is
third parties licensed by the artist can exercise
Taylor and students from the MA SPACE at LSAD
world – and on writing relentlessly. He closed with a
assumed that the artist is the first owner of
also carried out a performance / agitation.
video of Derrida detailing his fears about the impact
copyright.
Siun Hanahan began her talk on 'The Future
of his own writing.
•
The subject matter of the licence (the artwork) The nature of the licence, ie whether exclusive
the rights)
As copyright owner, the artist can prevent
The specific uses of the work that are licensed including, where appropriate, the size of
of Art and Design in Ireland' by stating her belief
Fergal Gaynor posed the question 'Irish art
others from copying the work, performing the work,
reproduction, the number of reproductions,
in the importance of art and design provision in
critical writing: what could it be?' examining the
making an adaptation of the work or making the
the media in which the reproduction is
education from primary school onwards. She
sense of liberation felt by some at the demise of
work available to the public (eg eg broadcasting). It
referenced the Hunt Report, which recognised the
Circa, which allowed smaller publications to emerge
therefore allows the artist to control who uses the
need to acknowledge diverse learning requirements.
in its wake, reacting to what came before. In contrast
work and in what manner. A person who wishes to
Hanrahan argued that the state associates the arts
to James Merrigan, he admitted fetishism for print,
make copies of the work must obtain the permission
with entertainment rather than knowledge, and
and concern for the physical manifestation of a
of the copyright owner and this permission may be
bemoaned the fact that only one institution with
publication. He also expressed a preference for the
granted by means of a licence or an assignment.
university status caters for art and design. The
slow editorial process, which helps writers develop
The sale and transfer of copyright to another
audience response to this rousing talk certainly
and results in considered criticism. He went on to
person is an assignment and involves handing over
demonstrated the pertinence and relevance of this
discuss ideas of judgement, an absence of which,
the rights to the artwork for good. A licence is more
topic.
Gaynor claimed, creates closed networks of artists
akin to renting art out. It is an agreement between
and writers. This, he believes, has become the norm,
the artist and another person (known as the licensee)
in an era when funding depends more on box
whereby the artist gives permission to the licensee
ticking than a process of judgement.
to reproduce the work for limited purposes, for a
artist (ie ie written agreement to put your
CREATE This strand was hosted by Create, the national
• • • • • •
authorised and so forth Proofs to be authorised by the artist before printing, if appropriate Cropping or other manipulation to occur only with the consent of the artist, if appropriate Clarification that copyright ownership remains with the artist Clarification that any additional uses will require additional permission and a fee Original material to be returned to the artist, if appropriate Licensee to observe the moral rights of the
development agency for collaborative arts in social
Adrian Duncan spoke on 'The importance of
limited period, usually in exchange for payment.
copyright notice on every product sold and on
and community contexts. Featured speakers were:
an active editorial role in art writing' and gave a
Once the licence expires the licensee can no longer
every advertisement or brochure for any such
Lynette Murphy, Michelle Brown and Ailbhe
description of how Paper Visual Arts came into
use it. In most circumstances it is much more
Murphy.
formation, and the various manifestations it has
appropriate to grant a licence rather than an
Lynette Murphy, Research and Development
taken. Playing with form, for example, has been a
assignment of copyright as it means that the licensee
Producer at CREATE, spoke on 'Communities as
feature of the publication, with reviews disseminated
can get the rights they need while the artist retains
Source Material' and introduced the Collaborative
on individual tickets for a particular project. The
the copyright and potential future earnings.
Arts Performance Pack, a limited edition artwork
influence of other forms of writing – the short story
What goes into the licence is a matter of
and professional development tool. Murphy
and the personal essay – has also influenced its
agreement between the two parties but will usually
described, in detail, how the original format of the
development. Duncan argued the need for
detail how the work is to be used, for how long,
pack can be used to benefit artists interested in
compassion in art criticism, and for writers to
whether it is an exclusive or non-exclusive licence
working collaboratively.
understand their own ability to judge.
and what remuneration the artist will receive. When
In 'Communities as Co-Creators', artist
The talks were followed by a somewhat heated
an artist grants an exclusive licence only the licensee
Michelle Brown provided detailed examples of
Q&A where discussion continued on topics such as:
can reproduce the work for the duration of the
successful community-based projects such as Rhona
the commissioning of reviews and whether this
licence. An artist should be wary about granting
Byrne’s ‘Home’, centred in the Ballymun Pigeon
hinders a writer’s instinct and compulsion, insularity
exclusive rights unless the terms are favourable. A
Club, Dylan Tighe’s ‘Trailer of Bridget Dinnigan’ and
in Irish art writing and editorial concerns.
non-exclusive licence need not be in writing but an exclusive licence and an assignment must be in
‘What’s the Story Collective’ at Rialto Youth Centre.
The day concluded with a wine reception at
She explored the role of the artist in community
the Absolute Hotel where discussion and debate
endeavours, and how to gain the greatest value from
continued. The winner of the VAI draw was
Licensing fees generally come down to
such an experience.
writing to be legally valid.
• • • • • •
product which bears your art) The purposes for which the reproductions may be used Whether or not the licensee can grant sublicences to others The duration of the licence The territory in which the licence can be exercised The fee / royalty payable by the licensee and when this is payable Your right to have their books audited at your own expense to make certain they have paid
•
you what is due to you A provision permitting termination for nonpayment or other material breach of the
•
agreement A procedure for dealing with disputes
announced and the original Eamonn O’Doherty
negotiation between the artist and licensee. A ‘flat
Licensing can be a complex and time-
Ailbhe Murphy's 'Communities as Activators'
Anna Livia drawing promptly handed over. We
fee’ is a one-off payment and is common where an
consuming task. Many artists choose to mandate a
focused on points of entry into the community,
certainly hope to hold this event again and would
artist is granting a limited licence, for example a
professional organisation to manage copyright on
looking at how resources are allocated and
greatly appreciate your feedback through the survey
reproduction for the cover of a book. Royalties are
their behalf. The Irish Visual Artists Rights
‘essentialising’ the community. She also discussed
that will appear on our website. Several of the talks
more common for merchandise and are usually
Organisation (IVARO) provides a range of licensing
the relationship between artists and the community:
will also be available online and any follow-up talks
based on a percentage of the sales price of the
services for copyright consumers seeking to license
how to negotiate effectively, maintain artistic
or events will be announced through our listings,
licensed work. This gives the artist a continuing
the work of an artist for a one-off use or continuous
autonomy and find a balanced position and critical
e-bulletin and news sheet. VAI would like to thank
share in the success of sales of the licensed work.
uses. Membership is free and open to all visual
distance within the established community
all volunteers and the staff at LSAD.
The licence should address practical issues such as
creators. More information at www.ivaro.ie.
how the royalties are calculated, when payments
environment. Lily Power is Assistant Editor at VAI.
become due and how payments are to be made.
Alex Davis is the Advocacy Officer at VAI and Administrator at IVARO.
26
The Visual Artists’ News Sheet
July – August 2012
seminar
Artist, writer and lecturer at the University of Wales’ School of Creative Arts, Ciara Healy spoke about how NIVAL has become the axis mundi of her artistic and educational practice, a place she is drawn back to and that continues to inform her work. While studying for a practice-based BA in DIT, researching postcolonial approaches to curating, she became familiar with the library. Archival practices found their way into her degree show and she went on to work in NIVAL as a database manager for a number of years. There she met people who have become instrumental in forming her later career, highlighting the library’s unique status as a hub where like-minded people can meet, find out about each other’s work, share ideas and make valuable personal and professional connections. Healy also spoke about the strange sense of time that prevails in NIVAL, where the files and archive boxes act like portals providing access to different periods in the history of Irish visual art and design and allowing researchers to experience a strangely compressed
'Document!' exhibition, all images courtesy of NIVAL
temporality as they travel back and forth in time through the collection. This continuous movement was reflected in the structure of her presentation, which leapt from current concerns and work practices to student work and on-going research interests, but returned constantly to the importance of NIVAL as the pivotal point on which the various aspects of her career have hinged. Artist and curator Michelle Browne’s work is performance based and largely temporary in nature and because of this she is acutely aware of the importance of documenting her work and also the problems inherent in the forms of documentation available. Although
'Document!' exhibition at NIVAL
'Document!' exhibition at NIVAL
text and photographic images (and perhaps less frequently, moving
Document!
images) are the default media used to document performance events,
Sabina McMahon reports from a recent seminar held at nival, as part of their ongoing exhibition 'document!'
experience of the event. When she initially became interested in
there is essentially a disconnect between these and the live experience of an art form that engages all the senses in a way that cannot be adequately described in a review or appreciated through a third party’s performance work in college, Browne researched all the Irish performance art events documented at NIVAL, but later viewings of
From 27 April – 26 May NCAD Gallery hosted ‘Document!’, an
panellists alike railed against the compromises involved in the creation
video and live performances by the same artists revealed the
exhibition of material from the collections of the National Irish Visual
of a solely (or largely) digital archive that would deny the researcher
inadequacies of these accounts and live art’s problematic relationship
Art Library that was held to celebrate NIVAL’s 15 birthday and the
the employment of all their senses except sight. The texture of the
with attempts to make it part of a textual or pictorial archive. In her
launch of its recently redesigned website.
paper, that wonderful dusty-old-book smell and the hastily scribbled
exhibition ‘Out on the sea was a boat full of people singing, and other
A series of four events were programmed to coincide with
notes in the margins of our shared history would all be lost, as would
stories’ at The LAB in 2011, Browne attempted to address some of the
‘Document!’ The first, a performance and video work by Jennie Guy,
the spontaneous, accidental find that leads researchers to intriguing,
issues surrounding the documentation of performance art while
was the third iteration of her ‘Reading Ensemble’ series and was
and often rather odd, discoveries.
acknowledging that an attempt to do so is ultimately futile, observing
th
presented at the opening of the exhibition and screened in the gallery
Graphic design historian and lecturer Mary Ann Bolger’s
space during the show. This was followed by ‘Current Investigations
presentation, fittingly entitled ‘A Spoon in the Archive: the (very) raw
Both Browne’s presentation and the title of the exhibition,
into Irish Visual Culture’, a public seminar and discussion that took
material of graphic design history’, began and ended with one such
‘Document!’ (intended as the noun that describes NIVAL’s contents and
place on 11 May and was accompanied by the launch of ‘A Conversation
discovery: a teaspoon. Her research into post-war Irish graphic design
the imperative form of the verb entreating artists to record their work
About Archives’, a commissioned publication by curator and arts
led her to investigate the recently deposited files of the Institute of
in some way), point towards the necessity of preserving some record of
advisor Valerie Connor and Trinity College and the National Library’s
Designers in Ireland (IDI) at NIVAL and surprisingly (or not?), amidst
artistic activity so it can live on for future generations of artists and
Cultural Coordinator, Catherine Morris. Two artist-centred ‘A walk
the posters, layout mock-ups and committee meeting minutes she
researchers. This fed neatly into the final presentation by Galway-based
through the file with…’ events featuring Alice Maher in conversation with Catherine Morris on May 15th, and John Byrne in conversation
found a small, discarded teaspoon. For her, this spoon has come to
artist and curator Megs Morley. Perceiving a clear absence of information
symbolise the peculiar nature of archival graphic design material and
on artist-led activities in Ireland, in 2006 Morley developed the Artist-
with Declan Long on May 22nd, completed the programme.
how its ephemeral nature and designers’ resistance to preserving
Led Archive, a portable archive documenting over 80 artist-led
The ‘A walk through the file with…’ events served to highlight the
anything but the finished product of their output is often at variance
initiatives – studio groups, collectives, live art events, publications –
physicality of the material held at NIVAL, an aspect of the library’s
with the very concept of an archive. Contrasting her experience of the
dating from 1980 to 2008. Supported by funding from the Arts Council
unique collection that was central to the ‘Current Investigations…’
teaspoon with the white-gloved clinicality of Britain’s Design Archives
she organised focus groups around the country to encourage people
seminar. Subtitled ‘NIVAL resources in support of contemporary art
in Brighton, Bolger advocated the establishment of a happy middle-
involved in artist-led initiatives to donate material from their archives
and design research’ and introduced by NIVAL administrator Donna
ground for the preservation of Ireland’s design heritage: one that values
and launched The Artist-Led Archive with a series of exhibitions and
Romano, the event was chaired by Valerie Connor and featured five
the preservation of design history but also accommodates the eclectic
public events. Artist-led initiatives are largely transitory by nature and
20-minute presentations by Mary Ann Bolger, Róisín Kennedy, Ciara
and idiosyncratic nature of the physical archive.
without Morley’s timely work some or all of the information contained
that, with performance work, “you just had to be there”.
Healy, Michelle Browne and Megs Morley, followed by a Q&A session.
Róisín Kennedy, lecturer in UCD’s school of Art History and
within the archive would be lost already as the history of visual, sound
Rather than placing the focus of the seminar on the academic outcomes
Cultural Policy, spoke about some of the unique material that NIVAL
and performance art that happened outside our institutions would be
of the speakers’ work through the delivery of research papers, the
holds and how it facilitates research that, without the library, would be
tidied out of attics and emptied from old filing cabinets. The Artist-Led
emphasis instead rested on their experiences of the act of researching
impossible. In 2006, while researching critical writing on art in Ireland
Archive is now, appropriately, housed in NIVAL.
at NIVAL and the significant professional and personal connections the
from 1939 to 1972, Kennedy began assessing the vast collection of
At the heart of the seminar was a celebration of the fact that the
panellists had formed with the library and its collections.
newspaper reviews, letters to the editor (host to many now-hilarious
National Irish Visual Art Library is a truly unique facility, the only one
Despite recent moves towards digital archiving, the majority of
but at one time deadly serious visual art-related spats and feuds) and
in the country that attempts to preserve the everyday business of the
NIVAL’s holdings are primary sources rather than digitised facsimiles
other published critical writings on Irish art in NIVAL’s collections.
visual arts in Ireland for posterity. Not only is it an invaluable resource
of the original documents, and the importance of this was evident from
Virtually no analysis of these had been published prior to this and the
for researchers, but it also allows artists, galleries and arts organisations
the beginning of the seminar. NIVAL is a tangible archive and the ritual
artist, exhibition and special collection files allowed her to piece
to play an active part in the formation of the archive by contributing to
nature of the physical interaction that its materiality, its realness,
together the narrative of both critical and the public attitudes to
the contents of their own files and in turn, the future of Ireland’s visual
insists upon, establishes an intimate connection between researcher
contemporary Irish art in the mid-twentieth century. Rather than
cultural heritage. So whatever visual artworks or events you have
and document that simply cannot be replicated with digitised archival
relying on the time-consuming microfiche she had been using at the
initiated, made or attended, ‘Document!’, and donate the resulting
material. In the Q&A session following the seminar, the discussion
National Library she was able to directly access the original material in
material to NIVAL. Spoons and all.
turned inevitably to the possibility of digitising NIVAL’s collection, and
NIVAL’s reading room, to hold the traces of the history she was
while it was argued that doing so would improve access to the
examining in her hands. The originals were quicker and easier to work
Sabina McMahon is a visual artist based in Dublin. She recently
collection in the short term, it was also acknowledged that technology
with and, as is the mantra of the NIVAL aficionado, was available
received the inaugural dlr Concourse Award and is working
can never be trusted to stand still long enough to provide a definitive
nowhere else.
towards an exhibition of new work due to take place in Dun
solution to the problems of preservation and access. Attendees and
Laoghaire in association with the award in May 2013.
The Visual Artists’ News Sheet
July – August 2012
27
profile
'Double Vision: Young Curators' opening night, image courtesy of Andy Parsons
Model Youth Marianne O'Kane Boal profiles a recent project at the model, sligo, in which young people curated an interactive exhibition for the gallery.
The Niland Collection, image courtesy of Linda Hayden
The Talk Wall, image courtesy of Linda Hayden
‘Double Vision: Young Curators’ was a multivalent exhibition
objects, a Rotary Telephone, (1975) from the Mid-Antrim Museum, in
man in a woman’s arms, her head lifted, neck elongated and teeth bared
recently hosted by The Model (11 Feb – 6 May) that saw two groups of
red on a plinth under a perspex box, and the audio (earphones) of
in despair. The background features naively rendered houses, railings
young people from Sligo and Ballymena curate an interactive
different phones ringing amid a cacophony of voices answering “hello”.
and a car. The accompanying objects were a canon ball placed beneath
exhibition. The project resulted from a two-year funded partnership
The Disco Room was next in sequence and this space was modelled on
on a plinth and, alongside, the painting First World War Soldier’s Great
between the groups, who worked with curators at The Model and the
the Flamingo Ballroom. Visitors took a headset at the door with music
Coat (1916). The eighth work had fewer elements and featured Sean
Mid-Antrim Museum to further understand the collections and the
playing and the word ‘dance’ flashes on the floor to invite a response.
Keating’s William and Mary (pastel on paper). This head study of an
role of the curator. According to The Model, the primary aim of the
Inside a stage-like setting beyond the dance floor was another group of
elderly couple appeared on the wall alongside Charles and Diana
initiative has been realised:
objects: a painting by Jack B Yeats, posters on the wall advertising the
(1981, tea towel on linen). The accompanying audio featured applause.
“Through the development of critical thinking and visual literacy
Rolling Stones and the Undertones and an old fashioned record player
The ninth work was an audio of a mix of voices mimicking the sound
skills, the project has assisted both groups in understanding each
alongside. Again, outside in the main gallery was Jack B Yeats’
of the wind and of ghosts. A voice with a French accent followed these
other’s political geographies and discovered shared histories.”
Communicating with Prisoners (1924, oil on canvas) from the Niland
sounds with the words “c’est d’accord” and muffled comments in
The title reflects the two-group approach to the project, carried
Collection. This is an intriguing painting in a cut-off composition of
English. Alongside the headset stood a set of two postcards in a stand:
out by 15 – 20 year-olds from Young Model, Sligo and Dunclug Youth
eight women featured largely from behind, with some in profile. The
Forum, Ballymena. It is also the title of a song by Rory Gallagher who
women look up to the prisoners in the tower on the right and the
Jack B Yeats’ Cartoon for Figure of Christ (1903) (gouache on paper) and Erin Playing her Harp (1905) NPO, Belfast. The final suite in the
played in the Flamingo Ballroom, Ballymena in 1971. The combination
composition is balanced with posters and placards featured on the wall
exhibition was placed in the centre of the floor and featured the well-
of music and art is an important aspect of this project as it is of primary
to the right.
known conceptual sculpture by Dorothy Cross, Stilletto II (1994, leather
interest to the young people participating in the curation, and they
The next grouping was dominated by a huge photo of a painting
shoes and cows teats) from the Graeve Collection, placed on the floor
wished to translate this preoccupation into the final exhibition. At the
by Paul Henry, The Lake of Tears of the Sorrowing Women, (oil on canvas)
under a perspex lid. Above this was a ‘Mod Coat’ from 1965. The audio
launch in February, The Model filled with the young people, their
from the Niland Collection. Upon this, in contrast, is hung Rita Duffy’s,
directly referenced the companion pieces – stilettos walking on wood,
friends and families; this assembly coupled with The Model’s regular
Siege II (1989, oil on gesso panel) which examines the social unrest
a zip noise and then a collection of voices pretending to ‘moo’ like
attendees, made for a unique audience. To complement the Silent
connected with the marching season. In front of these works are two
cows. Finally, The Talk Wall, was a highly successful element of the
Disco, a rock concert was also hosted with milkshakes and hotdogs
doll figures presented like sculptures, on plinths under perspex boxes.
exhibition, in that it received a multitude of responses to its series of
served at the reception. It is likely that this was one of the best-attended
These are ‘Orangeman Doll’, (2000) on the right and ‘Order of St Louis
questions that included, ‘Do you identify?’ ‘Where are you from?’
previews in a regional institution for some time.
Doll’, (2005) on the left. This strange assemblage could be considered a
‘What do you think?’ ‘What music do you like?’ Comments were
contemporary, conceptual revisiting of the traditional altarpiece
written on hundreds of multicoloured post-it notes that were stuck to
painting, with the dolls acting as the winged panels.
the wall and littered the floor beneath. The wall itself was covered with
The young curators adopted a combination of traditional approaches to curation and presentation as well as including elements
drawings and comments.
that are primarily associated with youth culture. The result was an
The fifth work was a group of six objects and wall works (including
exhibition that prompts nostalgia, engagement, reflection and audience
an audio headset). The audio was presented first and featured the sound
The juxtaposition of objects, each with their own history and
commentary on relative experience(s). While it is, overall, a small-scale
of a vacuum cleaner and a wood saw cutting. This was followed by
potential significance: paintings, largely by Jack B Yeats from the
show, the amount of work to experience and view was substantial due
another work by Jack B Yeats, Untitled (Interior of a Shop), (1905, pen and
Niland collection; sculpture, implied or actual; audio compiled by the
to the various invitations to direct engagement: paintings combined
ink) from the Niland Collection, an unusual work for Yeats and very
participating curator; interactive spaces; The Disco Room and
with museum artefacts; discernable audio emanating from individual
illustrative. On a shelf alongside it was ‘Woollen Mill Shuttle’, (1975)
interactive response area; The Talk Wall, all combined to provide a
headsets that accompany the various collective works on display; The
from the Mid-Antrim Museum. Another painting appears, Paul Henry’s
unique viewing and participatory experience. The suites of artworks
Talk Wall, where questions were posed for the audience to answer; a
Dublin Customs House, followed by a Friction Vacuum Cleaner, (1940)
were carefully composed and yet not all connections and possible
Silent Disco (with individual headsets) where the audience danced to
again on a shelf. The final work in this suite is a painting by George
interpretations were obvious, which allowed the viewer to consider a
the music they heard.
(AE) Russell, The Sower (oil on board). The general significance of this
range of responses and analyses, heightening his / her general understanding.
The word ‘curation’ comes from the Latin ‘curare’ ‘to care for,’
assembly of objects and artworks surrounds work, trade and commerce
pointing to the traditional notion of ‘curator’ as a person acting as
and invited us to look at the paintings again afresh in light of their
‘Double Vision: Young Curators’ was a process-based project that
custodian of a given collection. In a more contemporary interpretation
companion pieces. The sixth work built on this somewhat but
clearly benefited from sustained collective engagement over the two-
it could also suggest the idea of a group aesthetic of curatorial process
introduces politics into the exhibition. The initial audio was sinister,
year period. It demonstrated a clarity and coherence that can only
and discussion. There was care shown for the artworks selected for
featuring snoring and laboured heavy breathing. This was followed by
come from a well-conceived concept. The exhibition was one designed
display and also due care shown to each other in the ongoing dialogue.
a ‘Mayor’s Chair’ (1928, mahogany and leather) also from the Mid-
to appeal to all ages and its multidisciplinary facets further enforced
The camaraderie of the collective approach was clear, and the
Antrim Museum, with a coat of arms that includes seven castle towers
this intention.
participating young people stimulated peer interest in each other’s
and the words “Post Praelia Praemia”. Set upon the chair was a print, on
work and ideas.
foamex, of Sean Keating’s Head of the Turf Gatherer (oil on canvas). The
Marianne O'Kane Boal is a curator and critic on art and architecture.
theme of work is continued through inclusion of the print at the end of
She writes for the Irish Arts Review, Perspective, living Design and
this group.
VAN. She is a member of AICA.
The selected works featured surreal elements and a range of museum artefacts. The first grouping focused on a painting, Jack B Yeats’ Red Hanrahan’s Vision, (1896 – 7, monochrome watercolour
The seventh work centred on the theme of conflict. Again, it
wash) from Sligo County Library. This painting shows a man in ragged
began with audio, this time of heart-wrenching crying and sobbing.
clothes, hands extended upwards in a beseeching manner, on a cliff top
This was followed by another work by Rita Duffy, Belfast Pieta (1991, oil
overlooking the landscape. Accompanying this painting were two
and charcoal on wax paper). This well known painting shows a dead
28
The Visual Artists’ News Sheet
Opportunities funding / awards / Funding / awards bursaries culture ireland Culture Ireland is planning a cultural
programme
to
mark
Ireland’s presidency of the Council of the European Union which spans the first six months of 2013. Proposals are invited from Irish artists and companies, and European presenters. Tours to multiple locations are welcome. The aim is to engage with citizens around Europe and beyond through this programme. The Presidency coincides with
guarantee to assess applications received less than six weeks before a course or work programme begins. There are three strands to this award. The principal strand is Travel and Training Outbound, for which the majority of funding is available; the secondary strand is Travel and Training Inbound; a third strand is the CCP International Award. Deadline Ongoing Web www.artscouncil.ie
opportunities ireopportunities land ireland
the 40th anniversary of Ireland’s accession to the EU and 2013 is also likely to be designated as the European Year of Citizens. The cultural programme offers the opportunity to expand the reach of Irish culture to new audiences and to build on the presence of Irish artists at key European festivals and venues. It is intended to present a range of artistic events across the EU with a special focus on France and Germany. Projects should be submitted online here as part of our Special Initiatives programme. Large-scale significant projects, that may require early confirmation for contract purposes, should be signaled as early as possible. Deadline 15 August Website www.cultureireland.ie/funding/ schemes/special-initiatives arts and disability Grant scheme for deaf or disabled artists, managed by the Arts and Disability Forum on behalf or the two Arts Council’s of this island. Individuals can apply for a bursary of up to £5,000. Scheme opens 13 June. Deadline 15 August Web www.idf.ie Arts Council travel and training award Artform and practices: architecture, arts participation, circus, dance, film, literature (English language), music, opera, spectacle, street arts, traditional arts, venues, visual arts, young people children and the arts. Maximum awarded: €8000. There are no formal deadlines for the Travel and Training Award. Applications are accepted on an ongoing basis. Applicants seeking support for formal courses (postgraduate or equivalent) and for other eligible opportunities must submit their application at least six weeks before their course or work programme begins. You are advised that the Arts Council cannot
contemporary clay Open call for emerging artists whose practice is actively engaged or informed by elements of contemporary clay. This is a broad theme where material and process, concept and content in the forming and expressing of artistic ideas may be explored. Some key themes to consider are: transformation, material and conversation. Curators will consider installation based, new media and performance as well as working drawings. The exhibition aims to challenge conventional thinking behind the practice and exhibition modes of contemporary ceramics. Curators envisage the presentation of three international artists (tbc) alongside three emerging artists. The Exhibition is scheduled for September / October 2013 in Galway, venue tbc. This is a follow on project from the curators of the successful ‘3 x 2 Exhibition of Contemporary Clay’ in 2011 where the work of Clare Twomey (England), Andrew Livingstone (England) and Claire Curneen (Wales) was exhibited alongside three emerging Irish Artists. motion Deadline 30 July Email contemporaryclay@gmail.com Web http://vimeo.com/32979142. royal ulster academy The Royal Ulster Academy’s 131st Annual Exhibition, which aims to highlight the best in contemporary and traditional visual arts practice, will take place from 19 October – 18 November 2012 at the Ulster Museum, Belfast. Artists are invited to submit a maximum of three works in any medium for consideration. Deadline 5pm Friday 27 July Web www.royalulsteracademy.org
poddle publications Poddle Publications uses screenprinting to produce unique, hand-printed and hand-bound books, containing the work of Irish and international artists. We currently invite submissions of illustration and creative writing of any genre for our next project, following the theme of ‘Small Lives’. Please send a maximum of three small preview files (JPEG, under 5MB). Please only send black and white images, and landscape images are preferred for this project. Deadline 31 August Email poddlepublications@gmail.com Web www.poddlepublications.com impressions ‘Impressions’ is Ireland’s longest running open submission print exhibition. It encourages, promotes and showcases the best of printmaking in Ireland. It will take place from 13 September 11 – October 2012 in Galway Arts Centre. All original works in any print medium, including digital, are welcome. This year’s adjudicator, Norman Ackroyd, will select the works for display and award the prizes. Selected works will have to be framed by the artist and will be collected and returned by Galway Arts Centre. This year, the format has changed: applicants are asked to send a CD with images of their prints for adjudication to Galway Arts Centre. The 100 selected prints will then be collected at drop off points around the country. Applicants may submit up to three prints in any print medium on disc, accompanied by this completed application form and the submission fee of €10 per print. Deadline 5pm Monday 16 July Email gac@galwayartscentre.ie Web www.galwayartscentre.ie Contact John Twomey Telephone 091 565 886 blow Blow is celebrating positivity and potential with its new project – a photography exhibition titled ‘BLOW Your Mind…’ taking place in Berlin, Germany. The editorial team at BLOW Photo Magazine would like to invite all emerging Ireland based photographers to submit their work for the ‘BLOW Your Mind…’ exhibition planned for November 2012 during the European Month of Photography Berlin. Applicants might be any nationality but must have resided in Ireland for a minimum 12-month period. Submissions
should be emailed and include the following: an up to date CV and a statement about your work detailing themes, working methods and medium (300-word limit). Entrants are requested to limit their submission to a maximum of two sets with each set consisting of not more than five photographs. Please save each JPEG image with the following details: artist name and title, the medium, dimensions and date of the work. Photographs must be not greater than 1 MB in size. Photographs must be submitted in jpg format. The successful applicants will be notified by email by the end of August 2012. The major theme of the 2012 European Month of Photography Berlin is ‘The view of the other’, which is a very general guideline and should be treated as such. Deadline 31 July Web www.blowphotomagazine.com Email exhibition@blowphotomagazine.com kilmainham arts club Kilmainham Arts Club is a free, monthly arts event held in the Patriots Inn, Kilmainham. Set up in September 2009, it is a showcase for all artists, both local and from further afield, to present their work, be it music, visual art, film, dance, poetry, in a relaxed and engaging atmosphere. The night runs on the first Monday of each month and there is no cover charge. Visual artists are encouraged to get involved in promoting their work through the club and the upcoming festival. If you would like to contribute to the arts club and the festival, please get in touch. The festival will be held on 25 – 26 August. Email eileenferguson5@gmail.com Web www.neilgreig.com Telephone 087 620 7967 the arthouse and library The Arthouse and Library are calling for workshop proposals from creative individuals to submit a proposal for a workshop to run for 2 – 3 hours a week over a 6 – 7 week period, suitable for adults. Workshops can be diverse.
The Arthouse and Library, Stradbally, Co Laois are also looking to encourage groups and individuals, both established and early career artists, to submit proposals. We would like to see ideas that will introduce, capture and appeal to our regular visitors and encourage new audiences. Artists are advised to visit the space prior to making a submission. Deadline 5 August Contact Details As above Re-possession Faber Studios (Caelan Bristow, Marie Connole and Aaron Lawless) have proposed the project ‘Re-possession’, a multipart work that addresses the idea of object identity, particularly the stolen or confiscated objects that are found in the lost and found storage of Garda Stations, train and bus stations, airports and other public institutions. The project structure parallels the archetypal story of tragedy leading to recovery and growth. ‘Re-possession’ explores the psychological impact of loss through personal stories (tragedy), the methodical documentation of objects (taking inventory), and the rehabilitation of the object by the craftsperson (resurrection). ‘Re-possession’ promotes the value of reuse and a culture of exchange in the community. In the first part of the project, we are collecting stories about people’s experience of loss or theft. Please contact us with your stories by email or post. Audio recordings are very welcome. During the course of eva International, we will be giving any collected objects new life by re-imagining and recreating them in an ongoing workshop space in our studio. Please let us know if you would like to participate in these workshops. The primary concern of ‘Re-possession’ is to promote the value of reuse and the culture of exchange in the community. Deadline Ongoing Web http://faberstudioslimerick.blogspot.com Email faberstudios@gmail.com Address Faber Studios, 19 Henry St, Limerick
Arthouse want to offer new and exciting opportunities to the public and would like you to help. Deadline 16 September Web www.thearthouseandlibrary. wordpress.com Email cbyrne@laoiscoco.ie Address Arts Co-ordinator and Administrator, The Arthouse and Library, Stradbally, Co Laois
July – August 2012
image. Please also include an indication of price points you currently sell at, and an indication of the time required to get a show together if successful. It is vital that you also include a selfaddressed, stamped envelope for the return of submissions. Deadline 28 September Contact Peter Murphy, Front of House Co-ordinator Address The Cockleshell Gallery, Duncannon Fort, Duncannon, New Ross, Co Wexford source magazine As part of our research for future issues, Source Magazine regularly organizes meetings with photographers and artists to view new photographic projects for consideration for publication and to provide feedback on work. We will be arranging meetings at: Gallery of Photography Dublin Saturday 15th September, Submission deadline 2nd September, Belfast Source Office Saturday 22nd September, Submission Deadline Sunday 9th September. Full submission guidelines to book for these venues on the Source website. Web www.source.ie
Studio space studios / space battletown gallery Battletown Gallery offers studio spaces with free parking. Our studio is adjoining to a wellestablished art gallery that showcases quality Irish art. The aim is to let out the studio spaces (six in total) to establish a collective who could exhibit work in the gallery periodically. The six artists renting the studio spaces
will
have
possible
opportunities to get involved in other
art
events
run
at
Battletown. Deadline 31 July Web www.thebattletowngallery.com Email alison@thebattletowngallery. com Telephone 02891822626 Address
cockleshell gallery The Cockleshell Gallery in Duncannon’s Elizabethan Fort, Co Wexford is now inviting submissions from artists in the media of painting, sculpture and photography for consideration in our 2013 Visual Arts Programme. Portfolios should include four copies of an artist’s statement, four copies of the artist’s CV, 6 –12 good-quality photographs of your recent works detailing the title, price and medium of each
Battletown Farm, 90 Bowtown Rd, Newtownards, Co Down
courses / workcourses / training / shops / training workshops drawing from nature The Olivier Cornet Gallery is delighted to present ‘Drawing from Nature’, a workshop with gallery artist Yanny Petters. Saturday 21 July 2012, 2pm – 5pm at Exchange Dublin.
The Visual Artists’ News sheet
July – August 2012
29
OPPORTUNITIES Botanical drawing has been an important art since man began using plants for medicinal purposes. Yanny Petters will give a workshop exploring botanical drawing including a brief history of illustrative techniques used by the old masters. See nature with new eyes through simple drawing methods. This workshop aims to help participants hone their observation skills and awaken the joys of drawing. Suitable for all levels. This workshop organised by the Olivier Cornet Gallery is not a public event and advanced booking is necessary. Participation fee: ˆ 25 per person. Exchange Dublin is located just next door to the gallery. web www.oliviercornetgallery.com email info@oliviercornetgallery.com t telephone 01 677 0280
plein air painters available at ˆ 30
and will be accessible through
per
workshop.
IMMA’s website with supporting
Maximum 12 people at full or
application guidelines. Successful
half-day workshops. web www.artintheopen.org
applications will be scheduled to
three-hour
participate
on
the
email education@nationalprintmuseumie CouRses gAlwA lwA lwA Ay y / keRRy A unique experience working in the open environment in the Bogland at Oughteraard, Galway or in the private garden of artist Pieter Koning in Co Kerry. Dates in Caherciveen Co Kerry: 23 July – 27 July and September (Dates not known yet) Dates Oughteraard Co Galway: 9 July – 12 July and 6 – 9 August, 1 – 4 October. All materials and tools are provided. Contact Pieter Koning (Cahersiveen) / Kathleen O`'Sullivan (Oughteraard) email peterkonig2004@yahoo.co.uk ARt iN the oPeN From the 30 July – 3 August a series of four studio workshops (Monday, Tuesday, Wednesday
Haeckel # 1 from World Riddle, David Bickley and Slavek Kwi
Artists’
Residency Programme in 2013
CoNteMPoRARy ARt CouRse Contemporary Art and Ancient Methods runs from 13 – 15 July. This three-day course provides a unique opportunity to explore
when it resumes fully at IMMA, web www.imma.ie
iINTERNATIONAl n t e r n at i o n a l OPPORTUNITIES
contemporary art and ancient bronze casting techniques. The
this is Not A gAtew AtewA Atew tewAy Ay
course will run at the same time
Please submit your films for the
as Kinsale Arts Week and will
2nd round open call for This Is
involve visits to exhibitions and
Not A Gateway London.
artists’ studios. This will be mixed
deadline 30 July
with ancient bronze casting using charcoal fired furnaces made by the participants. Subjects covered will be: wax work, ancient mould
web http://thisisnotagateway.squarespace.com/2012-open-call
making, furnace building, crucible making and casting. Cost is ˆ 295. This course is suitable for
Saturday 21 July – Saturday 11 August Gallery 1
Time...and again and The Dance of Making - Mary Wycherley
Time…and Again, a short film and The Dance of Making, a three screen video installation, both informed by contemporary dance’s deep awareness of the body and movement.
lECTURES / TAlkS
Gallery 2 Yellow - Paddy Cahill and Amanda Coogan
all levels and gives an in depth PRiNt MuseuM Collagraph Printmaking Workshop runs from 28 – 29 July with tutor Debra Bowden. Cost: ˆ 115 (maximum 8 people). Candlemaking Workshop takes place on the 22 – July 2012. Tutor: Bláithín Quinn. Cost: ˆ 60 (maximum 12 people). Calligraphy Workshop: From Script to Scroll takes place on 8 July. Tutor: Frances Breen. Cost: ˆ 60 (maximum 12 people). web www.nationalprintmuseum.ie
West Cork Arts Centre, North Street, Skibbereen, Co. Cork. t: + 353 28 22090 e: info@westcorkartscentre.com www.westcorkartscentre.com
An experimental feature film by documentary director Paddy Cahill, in collaboration with performance artist Amanda Coogan.
understanding of ancient casting used while also exploring con-
ARt foRM
Gallery 3
temporary art. Early booking
The RHA is delighted to present a
advisable, maximum 4 – 6 people
series of exciting Art Form
An immersive installation by multimedia artist David Bickley and composer and sound artist Slavek Kwi. World Riddle draws together elements of Victorian science, etching, digital video, ambient music and 3D glasswork.
per course. Deposit ˆ 50. web www.h2artstudio.com
Evenings as part of the 182nd
Tuesday 31 July 6.00pm Softday - Live sound performance
RHA Annual Exhibition. RHA
An art-science multimedia collaboration between artist Sean Taylor and computer scientist Mikael Fernström.
Members, in conversation with
email hellehelsner@gmail.com
exhibiting artists, will lead each
These projects are presented by WCAC in association with Skibbereen Arts Festival Sound + Vision, which incorporates the spoken word, music, sound installations, radio, the natural environment, art film and live sound events. www.skibbereenartsfestivalcom
t telephone 0238849223 0863256689
insight into each category of art
of these talks and tours, giving an
World Riddle - David Bickley and Slavek Kwi
represented within the wider context of this large group exhibition.
CoRk PRiNtMAkeRs Cork Printmakers Adult Education Programme for June – December 2012 is now available. There are a range of courses to offer in evening, weekend and four-day block workshops. Highly skilled printmakers and practicing artists teach all courses. Techniques covered range from mono screenprint, etching, waterbased photo screen print on paper and on fabric, book-making, stone lithography and much more.
Art
Form
Evenings:
Wednesday 4 July – Photography, in conjunction with PhotoIreland Festival 2012, tour and talk with Amelia Stein RHA; Wednesday, 11 July – Sculpture. Tour and talk with Vivienne Roche RHA; Wednesday, 18 July – Print. Tour and talk with Joe Dunne RHA; Wednesday,
1
August
–
Des McMahon RHA. The Art Form evenings are open to the public and will be starting at 5.30pm. The talks are free and
web www.corkprintmakers.ie
Members every Thursday at
t telephone 021 432 2422
tion. email info@rhagallery.ie
booking is not required. There are also free lunchtime tours of the Annual Exhibition with RHA 1.10pm throughout the exhibi-
Address Cork Printmakers, Wandesford Quay, Clarke’s Bridge, Cork City
-
and Friday) given by Natalia Dik (St Petersburg), Matthew Daub
iMMA
(University of Pennsylvania),
During 2012 the Irish Museum of
Grahame Booth (PPUWS Belfast),
Modern Art is introducing a new
Greg Moore (Glasgow) in con-
online application process for
junction with Art in the Open
those applying to the Artists’
Plein Air Festival 2012 (30 July – 7
Residency
August) will take place. Each
online system will be open to
workshop costs ˆ 80. There are
prospective
also nine half-day, on location
Tuesday 12 June until 13:00 GMT
workshops by these and other
/ Irish Time, Tuesday 24 July 2012
Programme. applicants
VAI
Art Connect
Architecture. Tour and talk with
Contact Andrea Fitzpatrick email info@corkprintmakers.ie
RESIDENCIES / STUDIOS
available now in the App Store
web www.rhagallery.ie/html/exhibitions/exhibit_annual.html. t telephone 01 661 2558
Designed with visual artists, arts organisations, local authorities, curators, cultural practitioners, and the Irish public in mind, this free app lets you know whats going on all around the island of Ireland and internationally.
The from
Developed by Mayo County Council Arts Office, CISNET, artist Aideen Barry and Visual Artists Ireland.
30
The Visual Artists’ News Sheet
July – August 2012
profile
Frieze Art Fair New York, 2012, both images courtesy of Frieze
Frieze Art Fair New York 2012
Fair Game
its founders, Darren Flook, of Hotel, London, points out the difference between now and 10 years ago, “If you have an interest in art and the resources there are so many opportunities – advisors, auctions, more fairs, online – they keep inventing new platforms for the distribution
kathleen madden reports from the first frieze, new york, which took place in may 2012.
of art, but not inventing more collectors. Those are a finite group.” Appealing to those who attend these shows is vital for the career of an artist, as well as for the gallery that support and promote the artists. The importance of being visible dominates the art market and feeds the art
Uncertainty permeated the days before the first iteration of
visual exhaustion induced by spaces like the Hudson River piers where
the Frieze Art Fair, New York. (Magazine publishers Amanda Sharpe
the Armory takes place. Instead, the atmosphere catered to the eye and
The major increase in art fair activity over the past two decades
and Matthew Slotover started the London version in 2003.) The
made the art look good, while exceptional food from The Fat Radish on
has resulted in art that is tamer rather than more daring. 'Art-fair art'
Armory has been New York’s most significant contemporary art fair
the Lower East Side, Sant Ambroese from the Upper East Side and The
has been ridiculed and deemed unproductive for the art eco-system; it
since its inception in 1994 but for years, complaints have been lodged
Standard Biergarten from the Meatpacking District, as well as a SoHo
is commodity art, it fits in a crate and isn’t necessarily part of an artist’s
concerning viewing conditions, which are far from ideal due to
House pop-up space, catered to the palette. Additional comforts
coherent conceptualisation for an exhibition. In the past, artists might
congestion on the relentlessly long and doggedly uninteresting piers.
included posh porta-loos arranged around an outdoor courtyard and
have a major solo show each year with a primary dealer, perhaps
Poor food service and dismal facilities further hinder the experience
adequate space for people to meet and relax between viewings. New
another solo show somewhere else, but now artists are constantly
and the Armory has struggled with retention rates for participating
York gallerist David Nolan praised the “democratic” range, noting that
being solicited for work to send to art fairs. This constant marketing for
galleries. This year, the number was reduced from 270 to 220. Frieze is
the gallery selection was “better balanced than most fairs, and the
work at art fairs has caused many galleries to expand their staff, which
considered a direct challenge to the Armory. After the inaugural Frieze
atmosphere was great”. The power of the selection committee at art
comes at a cost. Since the business tends to intimate and idiosyncratic,
weekend, 4 – 7 May 2012, during which “180 of the most exciting
fairs is more prominent now than ever before. Choosing who gets in
artists are not able to bond with gallery personnel. Losing time in the
contemporary art galleries in the world” assembled, the uncertainty
and ultimately what art is shown is vitally important to producing a
gallery – to nurture artists – seems problematic for gallerists, but in the
was laid to rest, as Frieze proved a great success. Tickets sold out for
well-balanced selection.
current market it is absolutely necessary. To be missing from the
fair model.
both Saturday and Sunday. For the first time, Gagosian Gallery
Two sections, Focus and Frame, enhanced this sense of balance:
participated in a New York art fair, reportedly selling out their booth –
Focus was introduced at the New York fair and was dedicated to
Perhaps due to the proliferation of activity within the art world,
paintings by Rudolf Stingel – very early on in the proceedings. Now, the
galleries opened in or after 2001 which presented up to three gallery
the art fair is a self-fulfilling cycle of reassurance. They are vital for
question is whether New York will sustain both Frieze and the Armory.
artists; Frame was dedicated to galleries under six years old showing
networking. London gallerist, Kate MacGarry was really excited about
New Yorkers love a competition!
solo presentations. Along with the outdoor sculpture park and Frieze
the fair and said she “felt like an export to America!” Some worried the
Talks, these innovative approaches made Frieze an outstanding
British invasion threw up culture clashes. Perhaps the worst offense
experience that catered to the intellectual viewer.
being the British resistance to extending themselves as readily as
One of the most uncertain aspects of Frieze was whether people would go. Held off Manhattan Island in a place many had never heard
international art fair circuit is a larger problem.
of, Frieze landed just across the East River on Randall’s Island Park in a
Despite this, several participating galleries did not fare as well.
Americans do, elitism brushing up against the scrappy democratic
luminous white tent that snaked about a mile in length. However,
Some attendees noted that the middle-range collectors, especially
spirit of most Americans . There was a noticeable culture shift as many
getting there was not a problem, with water ferries running from
those from Europe, were missing, perhaps kept away in anticipation of
of the American art workers – the press, art advisors, artists etc –
Midtown and yellow school buses from 125th St connecting to the
Basel, which takes place just over a month after Frieze, New York. To do
eschewed the fair, feeling neglected by the administration, not extended
subway (the 4 / 5 / 6), as well as car traffic over the Triborough Bridge
well at the fair, gallerists have to be remarkably well-organised, which
invites or obstructed from access. The British don’t always extend
for which both private and taxi services were available. Foot-traffic can
is challenging when galleries are doing, on average, seven fairs a year or
invites to encourage mid-level players, which would help sustain the
access the island and The Gallerist section of The New York Observer
more. Many spent the following week in Hong Kong for the fair there.
sales for the smaller, more risky galleries of Frame and Focus. But
recently published a mocking article about the newly renovated 103rd
Of course, the gallerists must also travel to their artists’ shows all over
hopefully the overall success of the fair this year will help and
Street footbridge that will appear just in time for Frieze 2013. Europeans
the world and to the major group shows such as Documenta, the
improvements will be made to the 2013 version, which takes place
delighted in taking the yellow school bus, though some Americans felt
Venice Biennale, Dublin Contemporary and the Istanbul Biennial,
from 10 –13 May. The question remains, with a full art schedule, does
rather demoralised, recalling childhood bullying. Getting to and from
among dozens of others. The art calendar is becoming more and more
New York need another fair? Or will Frieze survive to supplant its
the island proved manageable and 45,000 people attended Frieze 2012.
crowded with art fairs and this is taking its toll.
predecessors?
Some collectors reportedly made repeat visits and sales were made
Some have said too many galleries were included at Frieze, and a
after the VIP opening when clients returned to finalise discussions.
smaller selection would be advantageous. Though not, perhaps, as few
Kathleen Madden is an art historian living in New York City. She
Monday was a particularly brisk day for sales in advance of the spring
as Independent, the forum for art of 40 – 45 exhibitors, who install
teaches at Sotheby's Institute and Barnard College, Columbia
auctions.
contemporary artwork in the former Dia Building on 22nd Street as if
University and is currently producing a book and project on /with
The bespoke 250,000 sq ft temporary tent housed over 1,000
it were in an extensive group show rather than in booths that break-up
/ about Carolee Schneemann for Ridinghouse, London.
artists’ works. Designed by Brooklyn architects SO–IL, it was as tall as a
the space. Independent positions itself as an anti-art fair selling event.
cathedral and its undulating serpentine curves meant the viewer never
It has taken place for the past three years during Armory Week, one of
saw more than 50 feet in front of themselves, thus eliminating the
a dozen or so fairs that take place during that week in March. One of
The Visual Artists’ News Sheet
July – August 2012
31
interview
Mary Cloake at the Bluecoat
Marcus Coates, Blue Footed Booby, 2008, shown a part of 'Galapagos' at the Bluecoat, 2012
Dublin to Liverpool
Regarding the on-going connections, there is a very good annual Irish festival in Liverpool, for example. Another connection exists through the partnership between the National Sculpture Factory in Cork and Static Gallery in Liverpool: a relationship which led to the creation of
Artist david jacques talks to Mary Cloake about her role as director of the bluecoat, liverpool.
the Terminal Convention project at Cork Airport and has resulted in a commission for Static Gallery to coincide with the European Presidency in Ireland next year. We’re hoping to find ways to support these types of collaborations so that they can continue, extend and deepen, to create a ‘Liverpool – Ireland Cultural Corridor’. On 13
Davis Jacques: How has the move from Dublin to Liverpool gone
MC: Yes, it is a centre with a vibrant mix of activity, and this gives it a
September 2012 we are hosting a seminar here at the Bluecoat to
for you?
very special energy. Artistically, it embraces a radical ethos and
explore these ideas. I’m hoping that people will come from Ireland and
although rooted in the visual arts is a multi-disciplinary venue with a
stay on for the impressive Liverpool Biennial programme, the first
Mary Cloake: It’s gone really well, everybody has made me very
unique reputation for showing work that is edgy and different. The
under the new Artistic Director, Sally Tallant.
welcome. I’m just delighted to be here. Over the last few years I’d been
Bluecoat has always seemed to have an alternative voice. It was one of
making visits to Liverpool and felt there was a dynamic or a frisson
the first places to have a meaningful engagement with black artists,
DJ: Anything else in the offing regards Bluecoat’s forthcoming
that’s really exciting. It’s like Ireland was on the cusp of the Celtic Tiger
and the inter-disciplinary nature of its programme has kept it at the
programme?
when people were confident about their identity and there was an
forefront in the development of live arts practice.
upsurge of interaction between artists across different art forms,
MC: Well, we’re working as far ahead as 2017. We’ll be looking back at
creating a scene through music, literature, dance and the visual arts. I
Its influence on the arts environment of Liverpool is extensive, serving
how the gallery has made an impact on the city, including the Picasso
feel that same excitement here in Liverpool. Given the size of the city
as an incubation centre for arts organisations, for new and diverse
exhibition that took place here in 1911 and was so radical at the time,
there is an extensive range of arts activity, particularly in the visual arts
artistic practice. Past successes here include the Liverpool Arabic Arts
and the contributions of arts groups involved with the building
– the Tate, the Biennial, Open Eye Gallery, the Museums including the
Festival, which started off in the Bluecoat and also DADA Fest (the
through its history.
Walker Art Gallery – and a fantastic independent scene with Royal
Disability and Deaf Arts platform). FACT (the Foundation for Art and
Standard, METAL at Edge Hill Station and Static Gallery.
Creative Technology) had its origins at the Bluecoat. Artists
We also have three major exhibitions planned, each of which will
experimented here with ideas about digital art, film and video before
inspire a parallel programme of activity across a range of art forms.
DJ: Looking back, how do you view your time spent with the
we even had the terminology for this work. What the Bluecoat does is
There’s a retrospective of Keith Piper’s work linking with the Bluecoat’s
Arts Council of Ireland?
foster the nascent expression of artists’ work with them, which I
advocacy of black arts. We’re currently speaking with Jo Stockham
believe helps in developing confidence. The experienced curatorial
about a show titled ‘Scan’ about how digitization has impacted upon
MC: It was a great privilege to work with the Arts Council. There were
staff here, which includes Sara-Jayne Parsons and Bryan Biggs, have this
print. Print is really important to the Bluecoat: the talented printmaker
definite phases that can be identified clearly which, at the time, would
arts development role as a major component of their work.
Emma Gregory runs our studio and has been instrumental in
have been difficult to see. There was a huge resurgence in confidence
popularizing print here.
and growth in the 1990s when regional development really took off.
The Bluecoat also helps communities through participation
Michael D Higgins was appointed Minister for the Arts in 1993 and
programmes to develop independent cultural expression, and has
We’re also hosting the William Kentridge touring exhibition from the
initiated major investment in Capital Development. Access to the arts,
undertaken groundbreaking work with groups of people who are
Hayward that looks critically at the whole tradition of print, its
particularly the visual arts, grew significantly in the following decade.
facing major challenges in life.
accessibility and political importance.
consistently showing work of an international standard, despite the
There’s also the building itself: in the heart of Liverpool, juxtaposed
The first of our three major events is a show curated by Angela
good work on the ground. Local Authorities started to contribute
with a major retail shopping area on the one hand and yet steeped in
Kingston called ‘3 A.M.’ which draws its inspiration from all those
funding and venues such as the Model in Sligo, Limerick City Gallery
heritage. We have plans for a major festival in 2017 to celebrate its
elements of human experience that relate to that particular time of the
and Triskel in Cork benefited from development funds and gained in
history.
morning. These could be as diverse as a contemplation of the ‘dark
At that stage we didn’t have a comprehensive network of venues
confidence. The next phase saw institutions develop – the investment
night of the soul’, the frenetic energy of the nightclub, waking up to
in IMMA comes to mind – and networks began to thrive. In the third
DJ: Given the proximity and the civic links between Dublin and
feed the baby, writers who are at their most creative at this time. We’re
phase, the economy started to contract and public funding became less
Liverpool, do you think there are opportunities for more
hoping to get artists across all art forms to respond to the show, which
available. But what was encouraging then was seeing the arts
reciprocal activity between our arts organisations?
is very much in the Bluecoat tradition – something different or out of
community band together, to make the case for the arts, share resources
the ordinary.
and keep the arts vibrant. Even in these last few years, though the
MC: Yes, and that’s a priority at the moment. Together with Patrick Fox,
economy is shrinking, the arts community is still strong.
who is at CREATE now after moving from FACT in Liverpool, we’ve
David Jacques is a Liverpool based artist. He was a previous
commissioned a piece of work to document the many current and
recipient of the ‘Artist in the Community’ award at the Firestation
DJ: Was there anything in particular that attracted you to the
active artistic connections between Liverpool and Ireland. Informally,
Artists Studios, Dublin.
opportunity to work with the Bluecoat?
Wes Wilkie, who was previously with CREATE but is back here in Liverpool, has been really helpful with his insights too.
www.davidjacques.co.uk
32
The Visual Artists’ News Sheet
July – August 2012
education
The Willow Wall inside Castle Park
National Drawing Day with The Butler Gallery at Castle Park, Kilkenny
The Drawing Garden inside Castle Park
Drawing Conclusions Bairbre-ann harkin takes a look at the development of national drawing day in ireland, and profiles some of the 2012 events. On an (unsurprisingly) cold Saturday in May
response to the day was extremely positive, leading
to encourage different generations to come, draw
this year, over 350 people gathered in the grounds of
then Education Curator Louise Allen to consider
together and exchange stories. This year’s workshop,
Examining the world around us, with a view to
Kilkenny Castle to challenge the familiar old
what other possibilities could be found in the
entitled ‘Silhouette’, was led by artist Gypsy Ray,
interpreting it through drawing, compels us to look
chestnut ‘I can’t draw’. People of all ages came, at the
gallery’s surroundings. Allen was particularly
who invited children to come with their grandparents
more closely. Last year, the University of Limerick
invitation of Butler Gallery, to celebrate National
inspired by a trip to The Drawing Centre, New York,
and ‘grand-friends’, draw their silhouettes and fill
Medical School became the first medical school in
Drawing Day 2012. This has proved an extremely
where she learned of an outdoor drawing event that
them in with stories of each others’ lives.
Ireland to appoint an artist-in-residence. Taking
popular event in the gallery’s calendar and is
took place there. Upon consultation with Arts
Participating venues have the freedom to
inspiration from US medical schools in prestigious
celebrated nationwide by other galleries, museums
Officer Mary Butler, who had experienced the UK
design their National Drawing Day events to best
universities such as Harvard, Yale and Cornell,
and libraries wishing to encourage participants to
festival of drawing, The Big Draw, Allen was
suit both their organisation and audience. The
Professor Daniel Duffy was appointed to conduct a
explore the joy spoken of by Paul Klee as “taking a
encouraged to explore the grounds of Kilkenny
individual approach taken by museums, libraries
three-week compulsory module on fine art for third
line for a walk”.
Castle Park as a venue for Butler Gallery’s celebration
and galleries around the country has added to the
year students. The module includes drawing
of National Drawing Day.
diversity of events on offer. This year at The Hugh
workshops, which Professor Duffy hopes will
National Drawing Day was initiated in 2004 by
to create something that is distinctly their own.
Dr Marie Bourke (Keeper and Head of Education)
With the support of the Office of Public Works,
Lane, artist Joe Coveney created an interactive
improve students’ visual acumen. “Studies of
and her team at the National Gallery of Ireland. The
Butler Gallery, usually located in the basement of
drawing trail between The Lab and The Hugh Lane
medical students who have participated in such
aim was to provide an opportunity for people of all
Kilkenny Castle, now migrates above ground each
on Parnell Square, where artist Felicity Clear hosted
programmes in the United States found that they
ages to try their hand at drawing, under the guidance
year for this event. Participants are invited to use the
a drop-in family workshop, during which
improved in their diagnostic skills by about 10 per
of professional tutors. Having noted a remarkable
castle park as an enormous sketchpad. Each year, a
participants collaborated to create a constructed
cent,” said Prof Duffy.
increase in public interest in the NGI’s drawing
selection of workshops engage people of all ages,
cityscape. In Sligo, The Model hosted a day of
The Campaign for Drawing runs the
courses, which took place twice a year; Bourke felt
encouraging them to think of drawing in different
drawing events for adults – one off-site at the old
aforementioned Big Draw, a similar festival of
that the public were displaying a renewed interest
ways, using a variety of materials; all under the
Abbey, led by artist Aine O’Gara. Participants were
drawing in the UK. This charity advocates drawing
in mark-making. At the same time, the increase in
guidance of professional artists.
presented with a drawing kit and an old map of the
as a basic human skill, useful in all walks of life. The
popularity of the NGI Family Programme also
Popular workshops over the years have
Abbey and invited to respond to the atmospheric
popularity of National Drawing Day throughout its
indicated a desire for a participatory experience
included ‘Bounce’, led by artist Maree Hensey which
ruins of the Abbey through the evocative medium
eight-year existence certainly indicates that people
during museum visits. This interest, she felt, should
used the sloped landscape of the Castle Park to full
of drawing.
value the opportunity to explore, develop and
be acknowledged and responded to.
effect, creating canvases dappled with colour applied
Back at the gallery in the afternoon, those
In its first year, National Drawing Day took
by paint-covered tennis balls which had been rolled
hungry for more could take part in Michael Wann’s
So, what is next for National Drawing Day? The
place within the NGI and the National History
down the hill by willing participants. Willow artists
drawing workshop. Responding to black and white
event’s founder Marie Bourke believes that it will
Museum but it was always Bourke’s intention that
Jean Conroy and Jenny Dunne have, for a number of
photographic images of the landscape, participants
“develop organically”. Once the refurbishments at
the event be hosted county and indeed countrywide.
years, facilitated the creation of various, large-scale
created large-scale drawings, using charcoal, pencil
NGI are completed in 2015, a wealth of possibilities
In 2005, other Dublin institutions such as the
sculptural installations, exploring marks that can be
and water. Meanwhile, the Highlanes Gallery,
will open up within the birthplace of the event. In
National Library, IMMA, Dublin City Gallery The
made on the landscape with willow and fabric. This
Drogheda encouraged participants to create
Kilkenny, Butler Gallery will certainly continue to
Hugh Lane and the Royal Hibernian Academy also
year, a number of workshops were specifically
something special with the doodles and squiggles
explore the nooks, crannies and wide-open spaces
hosted Drawing Day events. As the popularity of
focused on engaging with adults who, perhaps
often made when not concentrating in their
available in the castle park. Not only will we take
this endeavour became clear, more and more
accompanying their children, may not previously
facilitated, age-appropriate workshops for children
our lines for a walk, but on an adventure.
institutions approached the NGI with a view to
have seen themselves as drawing enthusiasts. One
and young people, ‘Family Fun’ (3 – 6 years), Doodle-
hosting events of their own. In 2008, the NGI
such workshop, ‘Focus on the Negative’, led by artist Alan Raggett, encouraged participants to increase
Do (5 – 10 years) and ‘Dark Materials’ (teens). These are but a few examples of the 38 National Drawing
The artists who participated in National Drawing
produced guidelines advising organisations of different sizes on how to maximise their participation
their awareness of the space between objects. One
Day celebrations that took place around the
Park were: Steve Aylin, Jean Conroy, Julie Cusack,
in the event, taking into consideration ever-present
participant who had been reluctant to participate
country.
Jenny Dunne, Deirdre Kelleghan, Roisin
budgetary concerns. By 2010, the scale of National
himself, explaining that he was merely there to
Anyone who has witnessed the proud look on
Leadbetter, Liselott Olofsson, Renata Pekowska,
Drawing Day had grown incrementally, with 56
watch his daughter, eventually decided to pick up a
a child’s face as they hand over their latest creation
Alan Raggett, Gypsy Ray, Caroline Schofield,
museums and galleries North and South of the
pencil and exclaimed “I get it now!” as he left,
to go on the classroom wall, will be familiar with the
Tunde Toth.
border hosting events.
drawing in hand.
feelings of satisfaction which result from making
engage with this skill.
Day 2012 at Butler Gallery in Kilkenny Castle
The month of May also plays host to Age and
your mark. Although it can be harder to approach
Bairbre-Ann Harkin is Education Curator at the
been hosted in Kilkenny by Butler Gallery. Butler
Opportunity’s Bealtaine Festival, which celebrates
the blank page as an adult, these feelings of
Butler Gallery, Kilkenny.
Gallery responded to a call-out by the NGI in 2008
creativity as we age. A popular feature of Butler
satisfaction are certainly still accessible to us.
with two artist-led drawing workshops held in the
Gallery’s programming for the Bealtaine Festival in
National Drawing Day provides a prompt and an
gallery, encouraging drawing enthusiasts and
the last two years has been the inclusion of a
opportunity for adults: those with experience,
novices of all ages to come and make marks. The
workshop that takes place on National Drawing Day
beginners and everyone in between, to take the time
For four years now, National Drawing Day has
The Visual Artists’ News Sheet
July – August 2012
33
Art in Public
Art in Public public art commissions; site-specific works; socially-engaged practices; and various other forms of 'art outside the gallery'. In this issue, the public art section focus on mayo county council's recent large-scale project, 'landmark'. more information can be found at www. landmarkpublicart.com subtlety and sensitivity to the environment. The concept of the works being almost hidden, or having to actively search them out, appealed to the judging panel and the clever way some may work with the natural landscape, such as a flower which will blend in with the natural flowers throughout spring and summer and be left standing alone and clearly visible during winter.
Mayo – 'Landmark' on sight
www.elainegriffin.net
Unveiled: 20 April 2012 Budget: €15,000 Description: ‘Lough Lannagh Ripples’ was an interactive performance involving light by the side of the lake. The artists worked with students from St Gerald’s school, Davitt college and members of the Mayo Concert Orchestra in Castlebar to choreograph this special once off performance. It was filmed and will also feature in the programme as an outdoor projection..
across the lough
www.robvale.co.uk
still life in green and red Title: Still Life in Green and Red Artist: Ian Wilson Location: Lough Lannagh, Castlebar Commissioner: Mayo County Council Commission Type: Per Cent for Art Scheme Date: Summer 2010 Title: On Sight
Unveiled: 20 April 2012
Artist: Cleary + Connolly
Budget: €30,000
Location: Lough Lannagh, Castlebar
Description: Wilson’s residency for ‘Landmark’ involved working with and meeting people from the local community. The purpose of the residency was to document how people are dealing with the current economic climate – looking particularly positive and pro-active responses – and to create a large-scale piece of music which clearly reflects this notion and gives a snapshot of Mayo. The input from the schools and all the interviews made with people during the residency period form a soundtrack which is the basis of a 40-minute work for the ConTempo Quartet. A free limited edition CD has been produced. ‘Still Life in Green and Red’ was performed at Knock Shrine, Mount St Michael Secondary School in Claremorris, at Lough Lannagh and Ballintubber Abbey.
Commissioner: Mayo County Council Commission Type: Per Cent for Art Scheme Date: Summer 2010 Unveiled: 20 April 2012 Budget: €45,000 Description: A series of special, discreet viewing posts, the type usually seen on seafront promenades, were positioned in four locations around Lough Lannagh. Instead of being presented with a magnified
Title: Across the Lough
view of the scene in front, as you would expect, the artists have
Artist: The Performance Corporation
developed works which challenge our stereo vision. Two films of the
Location: Lough Lannagh, Castlebar
view are presented, one for each eye, but depicting different activities
Commissioner: Mayo County Council
within the scenes, times of day or different seasons. They have worked
Commission Type: Per Cent for Art Scheme
closely with the Perceptive Science Laboratory at CNRS Paris and
Date: Summer 2010
CLARITY, Centre of Sensory Web technologies in Dublin to develop
Unveiled: 20 April 2012
the technology. Local children from St Joseph’s school, Castlebar and
Budget: €10,000
Castlebar Youth Group worked closely with the artists to devise and
Description: In 'Across the Lough', an audience of just three people were ferried across the lake in a wooden rowing boat by a boatman/ performer. He engaged with the audience, offering stories, songs and revelations about the challenges and opportunities of life – from youth to old age to our final encounter with ‘the other side’. The work is written by award-winning playwright Tom Swift and directed by critically acclaimed director Louise Lowe.
then film scenes for the locations which are shown on a continuous loop in the installations. www.connolly-cleary.com
landmarks
www.theperformancecorporation.net
the known world Title: The Known World Artist: Jennifer Brady Location: Logh Lannagh, Castlebar Commissioner: Mayo County Council Commission Type: Per Cent for Art Scheme Date: Summer 2010
bridging sounds
Unveiled: 20 April 2012
Title: Bridging Sounds
Budget: €5,000
Artist: Elaine Griffin
Description: ‘The Known World’ is an experimental nature documentary, with voiceover, tracing the relationship of the Swan to notions of uncertainty and doubt. Concerned with the fragility of knowledge, the video presents a natural history of transition and change. Using images of Lough Lannagh and the family of Mute Swans that live on it, the work operates in the space between documentary and fiction. Its protagonist reveals a world where reality is a constantly
Location: Lough Lannagh, Castlebar
evolving set of ideas.
Title: Landmarks
www.jennifer-brady.com
Commissioner: Mayo County Council Commission Type: Per Cent for Art Scheme Date: Summer 2010 Unveiled: 20 April 2012 Budget: €30,000 Description: ‘Landmarks’ is a sculpture trail of permanent bronze artworks, specifically related to the area, positioned around Lough Lannagh. Unlike the huge number of applications proposing single large-scale sculptural works, Elaine’s idea was selected because of its
lough lannagh ripples Title: Lough Lannagh Ripples Artist: Rob and Matt Vale Location: Lough Lannagh, Castlebar Commissioner: Mayo County Council Commission Type: Per Cent for Art Scheme Date: Summer 2010
Artists: Fionnuala Hanahoe Location: Lough Lannagh, Castlebar Commissioner: Mayo County Council Commission Type: Per Cent for Art Scheme Date: Summer 2010 Budget: €5,000 Unveiled: 20 April 2012 Description: Fionualla’a starting point was taken from the title ‘Landmark’. She considered mark making: in early civilization, in childhood, the lasting physical marks made in history by our built environment, the marks made by architecture, in our memories and our artistic and expressive mark-making processes. 'Bridging Sounds' was a temporary installation of sound-making devices activated by passers-by as they crossed the new bridge at Lough Lannagh. They allowed an ephemeral and immersive expression by participants. The work explores the expressive marks we leave on the landscape, both permanent and temporary and how these may alter our perception of place.
34
The Visual Artists’ News sheet
July – August 2012
REGIONAl CONTACT
ISSUE
Regional Contact
hEA Review
Northern Ireland: Feargal O'Malley
NOEl kEllY llY, llY Y, DISCUSSES ThE hIGhER EDUCATION AUThORITY'S RECENT ANNOUNCEMENT ON CREATIVE ARTS AND MEDIA PROGRAMMES.
lIKE anything new, finding one’s feet takes
both to regular gallery-goers and to those who are
THE Higher Education Authority (HEA)
time. Some say that it takes six months to get to
experiencing the visual arts for the very first time.
announced today (24th May) that it is to appoint an
grips with it and another six months to figure out
There is something on offer for everyone in each of
international panel to review the provision of
what you’re going to do with it! Things just don’t go
our three stunning galleries.”
creative arts programmes in the Dublin region. It is
“…At the moment we are discussing with our editorial team coverage of the review process. In particular, our first question that will guide subsequent matters is the unique placement of Art
ping like a Duchampian ready-meal. Wouldn’t that
The future, and particularly the MAC’s position
expected to be completed in September. The review
be something! Alas, alchemy of this kind is hard to
in it, are undefined and possibly uncharted in
forms part of the agenda of reform of higher
come by. I am, of course, speaking about my new
Northern Ireland; it is an arts venue with a multi-
education set out in the ‘Programme for Government’
role as VAI Northern Ireland Manager, so why not
tier audience, elements of the contemporary and
and in the ‘National Strategy for Higher Education’.
The question is: Art forms such as theatre
drop me a line and let me know what’s happening in
the historical that doesn’t reside in a conventional
There are ten state funded art, design and
studies, acting, creative writing, etc sit with unique
your own part of Northern Ireland.
& Design in third level provision and the equal placement of all art forms.
museum context. With the current financial climate
media education institutions in the Dublin region
departments within the University model. As Art
One of the biggest events in the cultural
I think it is more important than ever that galleries
with a further ten or so nationally. Many of these
and Design do not sit with departments within the
calendar, if not the biggest to happen in the Visual
work closely on projects and have their own
providers have long established and internationally
university system, and are represented by colleges
Arts in Northern Ireland for quite some time, is the
distinctive identity and artistic programmes.
renowned reputations. The ‘National Strategy for
such as NCAD at that level, what process is in place
opening of The MAC or the Metropolitan Arts
One element of The MAC I think deserves
Higher Education’ identified the need for globally-
to ensure that all art forms are equally represented at
Centre (whichever you prefer as their website states).
particular praise is the customer care. I know what
oriented and internationally competitive higher
the University level? This obviously raises the
10 years in the making, The MAC has always seemed
you’re thinking, what a fascinating and riveting area
education institutions with better coherence, greater
question of either removing theatre studies, acting,
like an abstract presence, one that has caused
of discussion, but I will continue. Rarely have I spent
complementarity
operational
creative writing, etc from universities such as TCD
considerable rumination over funding allocations
so much time freely chatting with a Gallery
efficiency during a time of increased demand and
and UCD, OR ensuring that Art and Design is also
and conflicting programmes adnauseam.
Navigator (I think they are also called MACtivists –
contracting resources. In the review, the HEA will
placed at that level. We see this specific matter as
Located at the heart of Belfast’s culturally
wrong on multiple levels!) about the art on display
require that particular attention is paid to the added
outside of the rationalisation of education provision
important Cathedral Quarter, the MAC is Northern
without thinking that I was listening to pre-
value, educational and financial, and the synergies
within the sector, but one that is vital in terms of the
Ireland’s brand new arts venue comprising three art
rehearsed lines about ideas held together by thought
that can be achieved from greater levels of
academic consideration being given to some and
galleries, including a closed control gallery, within
bubbles. This is something I think other venues
collaboration and consolidation of provision.
potentially not to other art forms.
the impressive six-storey building designed by
should take note of, I can think of nothing more off
Belfast’s Hackett
putting to a first timer or a frequent flyer.
Hall McKnight. The first
and
stronger
The review will also consider the scope for
We can understand that this matter is in an
enhanced collaboration and synergies with further
early stage, but it would be useful to understand
programme of exhibitions might not be to all arts
It’s not for me to position the MAC in relation
education providers of creative arts education in the
what guidance is being offer in the consideration of
aficionados’ tastes, but it has certainly pulled in a
to other arts venues in the province, but if arts
Dublin region. Commenting on the review, Tom
this matter, and what the HEA policy is regarding
crowd. At the heart of the MAC’s opening season is
organisations and partners can get behind the things
Boland, Chief Executive of the HEA said, “More
the equal consideration of the varied art forms and
‘A People Observed’, an exhibition that brings
that unify them and focus on making the sector
effective collaboration in the provision of courses in
their provision at University level?”
together, for the first time, two of our most popular
more productive and resilient, we will all benefit,
the creative arts and media has great potential to
artists: LS Lowry and Belfast-born William Conor, as
helping to build the cultural infrastructure of
create critical mass in the Dublin region and put
part of the ‘Our Time, Our Place’ celebrations of
Northern Ireland as a whole. The MAC has the
Dublin more firmly on the international map,
Northern Ireland’s heritage and talent. The
potential to establish itself as an important cultural
attracting students and, crucially, creative industries.
exhibition draws on Belfast’s industrial heritage and
centre in Northern Ireland, as a major cultural
This is an opportunity to build on our already strong
celebrates the labour which contributed to the
tourism facility where some of he most exciting
international reputation in these disciplines and
historical significance of cities such as Belfast,
large-scale contemporary visual art and international
make a strong impact on job creation in related
Manchester and Salford. It features alongside
touring exhibitions are held. Something I think we
industries”.
contemporary artists exhibited in the MAC’s other
will all be watching closely and looking forward to
two galleries including LA-based artist Robert
seeing, and to all the aficionados out there, who can
Therrien, and local artists Nicholas Keogh and Maria
really argue with encountering more international
Visual Artists Ireland hosted a discussion on
McKinney. Anne McReynolds, Chief Executive of
art in person rather than through the detached
the matter during Get Together 2012. We have sent
the MAC, commented,
medium of the internet?
initial questions to the HEA asking for the following
“The MAC will showcase the work of our
We have received no response to our question from the HEA. Noel Kelly is the Director / CEO of Visual Artists Ireland.
Visual Artists Ireland’s current position
clarification. feargal@visualartists-ni.org
extremely talented local artists alongside those of international reputation which we hope will appeal
s @ IADT
Programme Postgraduate tions g applica
members benefits
Now acceptin
n o and Televisio uction for Radi od Pr t as dc oa MA in Br and Television riting for Film MA in Screenw ts Practices MA in Visual Ar lture Studies MA in Public Cu sychology ement MSc in Cyberp l Event Manag ess in Cultura sin Bu in a om Dipl Postgraduate l ficates (Specia credited certi nology. of part-time ac ch e Te ng d ra an e g id w tin rs a , Compu IADT also offe s, Humanities ds) in Busines Purpose Awar
Take part in the Artelier international studio exchange programme for professional artists, run in partnership with Artquest. Institute of Art Design and Technology Kill Avenue, Dun Laoghaire, Co. Dublin, Ireland t: (01) 239 4621 e: admissions@iadt.ie www.iadt.ie
become a member visualartists.ie
The Visual Artists’ News Sheet
July – August 2012
35
profile
He instead forms a team including his associate curators, Joanna Warsza and the Voina group, and travels or connects with various areas of conflict (Poland, Hungary, Russia, Ukraine, Belarus, Spain, Colombia, Mexico) to interview and write about what certain activists are doing to counter the related crisises happening globally. The catalogue, Forget Fear, is a 415-page exhaustive record of these interviews and manifestos.4 “This publication is a report on the process of arriving at real action within culture, at an artistic pragmatism. What interested us were concrete activities leading to visible effects. We were interested in finding answers, not asking questions…We were interested neither in preserving artistic immunity nor distancing ourselves from society. We consider politics to be among the most complex and difficult of human activities. We met artists, activists, and politicians who engage in substantive politics through art. The book is the result of our encounters with those people.”5 As a result, the book is the biennale in your hand. Zmijewski highlights political corruption, radicalisation, extreme non-violence, the Holocaust, capitalism and drug wars to name but a few. The resulting detailed essays are very impressive and within the book are Milada Bacik, Japanese Plants No. 12, ink, pencil, and watercolour, 2011
many telling examples of institutional hypocrisy (how they are funded
Joanna Rajkowska, Born in Berlin, 2012, image by Marta Gornicka
and how they relate to artists) and hubris in attempts to include activism or hip street art in their programming. So what was it like to visit this exhibition? How does the curator affect real change? Well, as I said at the beginning, Zmijewski gets to the point very quickly and this became clear at the press conference. He announced that, for the first time, the biennale would be free of charge (so much for my hard-won press card) and after a rather reluctant monosyllabic reading of the key elements of the press release, the press conference was handed over to the occupy movement, who had, we were told, arranged the seating configuration of the press conference.6 This was pure Zmijewski, known for bringing you into uncomfortable situations and sitting back as things develop. Zmijewski’s tactic is fairly
Video still from Arthur Zmijewski
'Breaking the News', image by Maciek Kalinski, 2012
impenetrable as he incorporates weakness (of artwork and person), vulnerability, and the anti-aesthetic into the weaponary of effective art
Forget Fear
and actions. I say this because what ensued was a rather pathetic if not embarrassing example of how a very serious subject can fall flat if not matched with the right audience or situation. After taking turns to read
jonathan carroll describes his experience of the 2012 berlin biennale.
out the demands of the occupy movement and taking a moment to hold up placards for the release of members of the Russian Pussy Riots Group the focus was turned to us, the ‘journalists’. You can see some of
“The concept of the 7th Berlin Biennale is quite straightforward
Poverty (2009) in her exhibition. Zmijewski, aware that Marten’s work
this documented on the Berlin Biennale website, but basically asking
and can be condensed into a single sentence: we present art that
was the most impactful of the 6th Biennale, invites the artist himself to
the assembled “do art writers earn too much money?” (shake your arms
actually works, makes its mark on reality, and opens a space where
be part of his exhibition. What we get is Marten’s launch of his new
over your head if you agree) was enough to clear the room and boded
politics can be performed.”
organisation, the Institute for Human Activities (www.humanactivities.
ill for what was to come. If you cannot ask the right questions what
“It is not enough to have art that only fights to keep its position,
org) of which the artist is the “Manager Artistic Program”. The artist
hope is there of finding any worthwhile answers?
which just makes claims on public funds and participates in sharing
invites those interested to come to the Congo for a gentrification
There was nobody in the position of opposition visible in this
the economic profits which it creates. That’s fine; but it would also be
program seminar (they will cover costs of travel and visa). This may
biennale. Germans, generally speaking, are terribly good hosts. Berlin is
useful to have art that is smart and creative enough to take part in
seem a little chaotic but if anyone can pull it off and make it seem
united after that great success of ‘people-power’, the fall of the Berlin
transformative social processes.”1 Taking a leaf out of the curator of the 7th Berlin Biennale’s book I
coherent it is Zmijewski. He is rather uniquely, in the contemporary art
Wall, and therefore it would take something very powerful to impress
world, able to act simultaneously as both insider and outsider, without
the morals of real political action upon this audience. All Zmijewski
will set my stall out early and not attempt to seduce you with elegantly
rocking the boat.
could offer was a weak zoetrope, that is, an active turn, the illusion of
chosen words to introduce the thinking behind this art event, nor
motion or change.
prepare you for the wondrous art you will encounter. Why do that
However, there are many examples of the perils of flirting with activism and politics in contemporary art.2 The problem with
when in reality (and reality is the concept here) there is no mystery in
Zmijewski, and inevitably with this biennale, is that he is an accepted
research and thought was put in. While the effectiveness of its
the thinking behind this exhibition and little if any ‘art’ on show.
This is an important biennale where an enormous amount of
double agent. There are no real surprises here, nothing to shock but
argument was weakened by a reluctance to completely do away with
To best appreciate the genesis of this biennale you must look at its
more to shrug your shoulders at and file away with all the other global
display, it will be talked about as a seminal exhibition of art and
immediate predecessor, the 6th Berlin Biennale, ‘What is waiting out
problems you have heard about. So while much art about politics is
politics.
there’, curated by Kathrin Rhomberg in 2010. Here, Rhomberg provided
viewed at a safe distance (consumed as entertainment) Zmijewski takes
a smorgasbord of artwork that had, as its subject, the conflicts of the
it a step closer, much closer. He uses political actions and his position
Jonathan Carroll is an independent curator based in Dublin.
world (art about politics). Rhomberg stated the following,
as an activist to focus on the Berlin location itself and on action being
He is one of the curators for the Return at the Goethe-Institut
“The works presented in the show reject the tendency –
taken across multiple conflict zones by individuals and groups of
Irland. He has worked for Project Arts Centre and The St Patrick’s
increasingly observable in art – to turn away from reality and toward
ordinary people. He attempts to aggitate his German hosts as an
Festival. Jonathan is a regular columnist for the Visual Artists’
art-immanent and formal problems. They counter this tendency by
integral message that nobody should be comfortable in their distance
News Sheet.
insisting on a stringent view of our present and its reality.”
Notes
Arthur Zmijewski, curator of the 2012 Biennale, featured in the
from politics (past and present). We should all be aware of our political selves and artists should be explicit in declaring their politics.3 How
catalogue of ‘What is waiting out there’ and it is from this insider
does he do this? Well, Zmijewski has thought of every facet of curating
position that he was lined up to curate the following Berlin Biennale.
an exhibition. He takes on the role of curator and examines curatorial
Rather than be distracted by the pressure of improving on the spectacle
tasks and their attendant political baggage, using these as constitutional
of previous biennales, Zmijewski takes the core theory behind the idea
elements in the exhibition. The act of curating this work, and what that
of an art biennale itself and turns it on its head.
entails, becomes the exhibition. For starters he renames the whole
Zmijewski rejects ‘art about politics’ in favour of ‘political art’ that is, in reality, a rejection of art as object or art as a representation of
project ‘7th Berlin Biennale for Contemporary Politics’ (7. Berlin Biennale Fur Zeitgenossische Politik).
politics (produced exclusively by artists) in favour of political actions
He then has to come up with a way of freeing himself from having
by anyone and everyone. The best illustration of the difference between
to visit pesky artists' studios and dealing with those over-eager open
these related exhibitions is their respective inclusion of the artist Renzo
submissions. He eschews the act of gathering interesting art and
Martens. Rhomberg displayed Marten’s powerful film Episode 3, Enjoy
having to spend needlessly on transporting art from around the world.
1. Press release for the 7th Berlin Biennale. 2. John Jordan ‘On refusing to pretend to do politics in a museum’, (what happened when Tate programmed a workshop on disobedience), Art Monthly 334, March 2010 3. The open call for the exhibition insists on the artists not being neutral they are asked to inform about their “political inclination (eg rightist, leftist, liberal, nationalist, anarchist, feminist, masculinist, or whatever you identify yourself with) or whether you are not interested in politics at all” 4. Joanna Warsza provides an essay in the press pack called ‘Doing things with art’ and states that they “followed the logic of journalism. We focused on political and social events and art’s response to them […] This form of curatorial research does not involve deadlines, hunting for interesting portfolios. Or studio visits. We searched for art in civil disobedience, in politics, in representative state art, in the politics of memory, in capitalist appropriation” 5. Foreword to Forget Fear by Arthur Zmijewski 6. The Occupy movement were also offered the ground floor space of the KW, the headquarters of the Biennale, to camp and act as they do while occupying the various cities they are from. To ‘invite’ a movement that ‘occupies’ seemed a bit of a mismatch and in my opinion was the weakest element of the Biennale. But weakness is a powerful tool in Zmijewski’s vocabulary
Forthcoming exhibitions in Enniskillenn:
Micky Donnelly R E C E N T PAIN TIN GS A N D WORKS ON PAPER 29 June – 28 July The Higher Bridges Gallery
Bronze Art, Fine art Foundry Happy Days: Enniskillen International Beckett Festival Art Trail
ST E E N B E C K E T T Atom Egoyan
BEC KETT B UCKETT Floating World Books
11 – 27 August
23 – 27 August
The Higher Bridges Gallery
Festival Centre, Enniskillen Castle
T H E G O D OT T R EE Anthony Gormley
KRA PP ’S LAST TAPE Jason Sumray
16 July – 13 September
11 - 27 August
The Grand Yard, Coole Castle
Entrance Hall & Cloisters Gallery, Portora Royal
T EXTS FO R N OT HIN G Joseph Kosuth
A COUNTRY ROAD. A TREE. EVENING.
11 – 27 August
Jeremy Henderson
School
Cooper Wilkinson Building, Queen Elizabeth Rd
3 – 31 August Waterways Ireland Headquarters, Sligo Rd DIA RMUID DELAR GY Hub 7 – 29 September
The Higher Bridges Gallery The Clinton Cntre Belmore St Enniskillen Co Fermanagh Northern Ireland BT74 6AA
For further information contact Arts Officer / Curator Diane Henshaw at diane.henshaw@fermanagh.gov.uk
The Higher Bridges Gallery
Accept no compromise in the quality of your work, come work with the specialists.Best quality guaranteed everytime at competitive prices. For your next project contact: David O’Brien or Ciaran Patterson Unit 3, Gaelic St, Dublin 3, Ireland. Tel: 353-1-8552452 Fax: 353-1-8552453 Email: bronzeartireland@hotmail.com
www.bronzeart.ie
Image by Seoidín O’Sullivan
Red Stables invites you to participate in its inaugural Summer School:
A series of talks, workshops, films, field trips and explorations of the places where art and nature meet
with: Seoidín O’Sullivan, Geraldine O’Reilly, Veronica Forsgren, Christine Mackey, Dr Declan Doogue, Dr Jenni Roche, Andy Goldsworthy, David Nash, HerbBís and more
July – August Red Stables Studios and St Anne’s park
To take part and share your ideas, get in touch!
The Red Stables St Anne’s Park Dublin 3 T: 01 222 7843 W:www.facebook.com/RedStablesStudios E: red.stables@dublincity.ie
VISUAL ARTS TRAIL rd th Fri 3
- Fri 10
August 2012
Underwater Dream Emma Barone
Visual Arts Trail throughout the beautiful Georgian Heritage Town of Birr. Solo and group shows of new work by Irish & International artists. Audio visual installations, photography, paintings, sculpture, drawings, craftwork and interactive experiences – and a wide variety of vintage themed events & modern entertainment throughout the Festival.
Rachel Coyle Stranger 2; Mark Henderson Street Portraits (Sth Wm St); Hazel Greene Happy Tears; George Dempsey Origami Wonderland.
Theatre • Dance • Film • Festival Parade Artisan & Craft Market • Fly In & Air Show Street Entertainment • Antique & Fine Art Fair Family Workshops & Childrens Activities PROGRAMME AVAILABLE MID JULY
www.birrvintageweek.com TO PARTICIPATE CONTACT
FESTIVAL INFO LINE 087 922 6961
‘The European Agricultural Fund for Rural Development: Europe investing in rural areas’.
50% DISCOUNT OFF ANNUAL SUBSCRIPTIONS TO THE IRISH ARTS REVIEW FOR VAI MEMBERS! One-year subscription costs €28 inc. p&p within Ireland! Subscribe to the Irish Arts Review by phone or online and quote your VAI membership number. Tel: +353 1 6793525 Online: www.irishartsreview.com
Custom House Studios Helen O’Leary, Cormac O’Leary 26 June – 29 July Luisne Art Project 6 – 30 September
Image: Cormac O’Leary, An Tra Ban
Arts Council of Northern Ireland Developing the arts in Northern Ireland
Jill Madden, 2 August – 2 September Ron Rosenstock 28 August – 23 September Dermot Seymour 4 – 28 October
are now inviting submissions from artists and curators for exhibitions and studio space in 2013 – 2014 Closing date: 26 october 2012 The Custom House Studios The Quay, Westport, Co. Mayo T: (00353) 98 28735 W: www.customhousestudios.ie E: info@customhousestudios.ie
become a part of something Visual Artists Ireland is the sum of its parts: Artists. Visual Artists Ireland represents a diverse membership base of artists working in all visual arts mediums; in every part of Ireland; and representing a rich generational mix.
Join Visual Artists Ireland today http://visualartists.ie listings / news / resources / training / advocacy / opportunities / information
Image: NSK, Ljubljana, 1986
Arts Council of Northern Ireland, MacNeice House, 77 Malone Road, Belfast BT9 6AQ. T: +44 (28) 9038 5200. W: www.artscouncil-ni.org. E: info@artscouncil-ni.org
Image: Brendan Jamison, Green JCB bucket with holes. Arts Council Collection
Join us
irish bronze Dedicated to the faithful reproduction of the sculptor’s vision
T: 01 454 2032 E: irishbronze@eircom.net W: www.irishbronze.ie
Willie Malone: casting sculpture for over two decades Kilmainham Art Foundry Ltd. t/a Irish Bronze, Inchicore Rd and Griffith College, Dublin 8
members benefits
Rent cameras, projectors and other equipment at reduced rates.
become a member visualartists.ie
Strange Attractor Experiments in a quinary landscape and other fields Performances and installations at Mobius (Boston), Studio Soto (Boston) and Harvestworks (New York) 3 – 31 August 2012
Anthony Kelly Danny McCarthy Irene Murphy Mick O’Shea David Stalling
A dynamic multi-dimensional series of collaborative ventures between five artists, using improvisational sound and experiments with technology and combined media, with guest artists including: Jed Speare, James Coleman, Derek Hoffend, Tom Plsek, Jane Wang, Max Lord, Liz Roncka and Sara June of the Mobius Artists Group; Ernst Karel, Stephen Vitiello and others. Mobius (Boston) www.mobius.org Studio Soto (Boston) www.studiosoto.org Harvestworks (New York) www.harvestworks.org
Structure A full colour book and DVD about the Strange Attractor project is now available from the Crawford Gallery bookshop and www.farpointrecordings.com
farpoint
recordings
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Three Residential Studios available in 2013
Skills Programme 2012
Fire Station Artists’ Studios offers city centre subsidised residential studios for professional visual artists. Two residencies will be offered from June 2013, and one from December 2013 (Studios 1, 5 and 6).
18 & 19 October Workshop with sculptor Mariele Neudecker — Digital Media Workshops:
The studios are let from a period of between one year and two years nine months. International artists may apply for shorter periods. Resident artists have free access to high end computers, software, WiFi, technical expertise & support and also subsidised access to digital equipment. This is a competitive selection process. — Closing Date for applications: Thursday 6th September 2012, 3pm — We are now accepting applications online. Full details on applying for a studio are outlined on our website www.firestation.ie/studios
17–21 September Glass workshop with Jiyong Lee
7 & 8 September HD Video Production and Post Production 5 & 6 October Introduction to Audio Recording & Editing for Moving Image — Further information and booking form on www.firestation.ie/skills or email artadmin@firestation.ie Fire Station’s Skills Programme is continuously updated. Check our website, follow us on Facebook or get in touch if you would like to be on our mailing list.
Further information: www.firestation.ie / email – artadmin@firestation.ie / phone – +353 1 8069010