Visual Artists' News Sheet - 2010 March April

The Visual Artists’ News Sheet ISSUE 2 2010 March – April Published by Visual Artists Ireland Ealaíontóirí Radharcacha Éire

2

The Visual Artists’ News Sheet

Introduction

March – April 2010

Contents

Contents

Introduction

1. Cover Image. Stephanie Syjuco, 'Unsolicited Fabrications: Shareware Sculptures', 2009. Installation

Welcome to the March / April edition of the Visual Artists News Sheet.

Visual Artists Ireland has appointed three new regional contacts: Mo McDevitt (Armagh / Co. Down); Laura Graham (Antrim); Damien Duffy (Fermanagh, Tyrone, Derry), who join our longstanding West of Ireland contact Aideen Barry.

A new on-line VAI initiative, The Common Room – a social network for the visual arts, has just been launched www.thecommonroom.net The Common Room offers the ability to connect with people that share common interests or affiliations, upload or stream live videos, and hold discussions in forums. The Common Room makes it easier to keep in touch and to share experiences with contacts both locally and around the world.

Later in March the VAI will be launching an entirely new website, that will feature a modern userfriendly look, along with up-to-date information, including news and activities. The new site will offer a wider resource section providing FAQs, useful articles, top tips and advice.

This issue sees some changes in the columns section. Eamonn Maxwell joins the VAN as a regular columnist, while Alison Pilkington and Adam Stoneman kick off a series of one-off columns by guest writers. Joining the humorous diversion of our problem page, is ‘Laughism’ a new series of art-world related cartoons by one Borislav Byrne.

Two conference / seminar events are covered in this issue. Saoirse Higgins reports on seminar focusing on art and business collaborations. Áine Phillips offers an overview of a discussion event focussing on the curation of live art. Isobel Nolan and Amanda Coogan discuss the making and thinking processes behind their work in ‘How is it Made? Articles. County Clare is the subject of this issues regional focus. This issues residency profile looks at the experience of Australian artists Pat Foster and Jen Berean, who were based at the Fire Station Artists Studios, Dublin and presented an exhibition at Pallas Contemporary Projects, as part of their residency New developments in the legal frameworks and contexts for professional visual art practice are outllined in Alex Davis’s article on Northern Ireland’s new charities regulation. Arthur Duignan profiels the new Garda vetting procedures for artists working with young people, children and vulnerable adults.

A range of artist-led projects and initiatives are profiled in this issue. Fiona Fulham writes about ArtTrail 2009; James Hepburn introduces the ADHOC Collective, a Belfast based studio facility; while the Dublin based gallery, Pallas Contemporary Projects, is profiled by Seán O Sullivan.

While no doubt our readers enjoy the inky feel of the VAN between their fingers, on-line journals and blogs are of course becoming a significant source of information and comment on contemporary visual art.

In light of this, the VAN invited Damien McGlynn to survey the recent upsurge of on-line forums and discussion sites addressing Irish contemporary art.

All this and the usual ‘more’ – listings of all the latest opportunities along with news and roundups of recent projects, events and exhibitions.

view. Pallas Contemporary Projects, Dublin. (2 – 30 May 2009)

3. Roundup. Recent exhibitions and projects of note.

3. Column. Eamonn Maxwell. Rural and International Contexts.

4. Column. Adam Stoneman. Art Shock.

5. Column. Alison Pilkington. How Do We Know Non-Knowledge?

8. News. The latest developments in the arts sector.

10. Regional Profile. Visual Arts Resources and Activity in Co. Clare.

12. Artists Books. Recently published monographs and artists' books.

13. Conference Report. Culture Clash? Not Really Saoirse Higgins reports on ‘Transforming Organisations

with the Arts’, Brussels (9 – 10 Dec 2009) – a seminar focusing on art and business collaborations.

14. Resources. Tweets, Blogs & Art. Damien McGlynn surveys the recent upsurge of on-line forums and

discussion sites addressing Irish contemporary art

15. Residency Profile. Responding to Dublin. Australian artists Pat Foster and Jen Berean discuss the outcome

of their participation in a residency exchange between Pallas Contemporary projects; the Fire Station

Artists Studios, Dublin and Gertrude Contemporary Art Space, Melbourne.

16. Seminar Report. Live Reflection. Áine Phillips offers an overview of her seminar project ‘Performing

Curation’ held in collaboration the Live Art Development Agency, London (November 2009).

17. Project Profile. Trails, Paths, Mapping. Fiona FulLam profiles ArtTrail 2009, Cork (12 – 22 November).

18. How is it Made? Closing the Loop. Edel Horan talks to Amanda Coogan about ‘Accumulator’ a

performance based exhibition curated by the artist at Visual, Carlow (24 Sept 2009 – 16 Jan 2010)

19. Gallery Profile. PCP. Seán O Sullivan profiles Pallas Contemporary Projects.

22. How is it Made? Apparent Meaningfulness. Isabel Nolan discusses the role of intuition in her studio

practice.

23. Opportunities. All the lastest grants, awards, exhibition calls and commissions.

28. Problems. The Problem Page. Our consierge / curator of agony responds to artworld dilemas 28. Laughism. Laughism. Cartoons by Borislav Byrne.

29. Professional. NI Charities Regulation. Alex Davis reports on the launch of the Charity Commission for Northern Ireland and some of the practical implications for arts organisations.

30. Studio Profile. Constitutional Creativity. James Hepburn profiles ADHOC Collective, Belfast.

31. Art in Public: Roundup. Recent public art commissions, site-specific works, socially engaged practice

and other forms of art outside the gallery.

32. Proffessional. Garda Vetting & The Arts Arthur Duignan, Create’s Authorised Signatory, explains the

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Aideen Barry (West of Ireland)

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aideenbarry@gmail.com Mo McDevitt (Armagh / Co. Down) mo@visualartists.ie Laura Graham (Antrim) laura@visualartists.ie Damien Duffy (Fermanagh, Tyrone, Derry) damien@visualartists.ie

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The Visual Artists’ News Sheet

3

March – April 2010

COLUMN

Roundup

Eamonn Maxwell

Roundup

Rural and International Contexts When programming a major exhibition space like Lismore Castle Arts, it is

KENNEDY BROWNE

INVISIBLE

As part of 'Blue-Collar Blues', Kunsthalle Tallinn & Gallery of Kunsthalle, Sarah Browne and Gareth Kennedy, presented

DAMIEN FLOOD

167, their film and installation work that

imperative to achieve a balance between something that is internationally

was originally shown as part of their

significant, yet locally relevant. That is more challenging than it may at first

representation of The Republic of Ireland

appear. Over the past five years Lismore has staged some truly great exhibitions,

last year at the Venice Biennale. (22 Dec –

supported by a series of intellectually stimulating talks and events involving

31 Jan). The press release explained that

curators, writers, academics and architects. Audiences outside Ireland have an

167 addresses Dublin as ‘the city Google

appreciation for the contextualisation that these activities afford the exhibition

chose’, home to over 167 languages and

programme.

what Facebook – another recent corporate

Yet there have been occasions where the physical audience in the room is

arrival to the city – has termed a

embarrassingly small. This is not because of any lack of promotion of these

‘multilingual pool’. The work includes a

events, through print and electronic materials. It appears to be due to two key

performance work that forms a gestural

factors – those who want to come may not be able to because of the dire lack of

riposte to a monologue dating from 1980

public transport in Ireland outside the major conurbations (driving is the only

by economist Milton Friedman in which

feasible way of getting to Lismore) and because local audiences are unlikely to

he discusses a pencil as an exemplary

have the critical framework necessary to engage in conceptual, contemporary

Damien Flood, Green Vortex, work from 'Counter Earth'

‘Invisible’, an open and invited exhibition

product of globalism.

visual arts practice. Therefore an event, which could command substantial

www.kennedybrowne.com

audience numbers in a city, is left with many an empty seat. So does one dumb

The Green On Red Gallery, Dublin recently

down and only stage events that will attract local people at the expense of

presented Damien Flood’s inaugural solo

curatorial content? That is not an option that I want to pursue.

exhibition, ‘Counter Earth’ (28 Jan – 6

Now, the whole definition of local audiences in a Lismore context may

Mar). The gallery described Flood as “a

seem strange to artists, curators and administrators in urban areas of Ireland. It’s

painter whose work breeds more questions

best summed up in a review by esteemed restaurant critic and broadcaster, Tom

than answers. His settings are carefully

Doorley (1), when he was reviewing a new local restaurant. “Some of us who live

incomplete, […] we are not sure what time

in the country, well beyond the towns and the cities, define neighbours in a way

period we are in, what place we are facing

that is quite foreign to townies. Neighbours, for us at any rate, mean people you

or even what planet we are on, such are his

know pretty well and who live within about a 30-mile radius”. (Irish Times,

inventions of unpeopled mountains and

Saturday 12 September 2009). As Doorley points out, locals may live 30 miles

valleys, microworlds and firmaments.”

away, but they are still the key audience for institutions like Lismore Castle Arts.

THE PROBLEM WITH STABILITY

Art, Temple Bar Gallery and Studios, The Project Arts Centre, Original Print Gallery, The Digital Hub, The Back Loft, Independent Studio Artists, Dublin Institute of Technology and The National Gallery of Ireland. Contributors included Hannah Breslin, Gerard Byrne, Martina Cleary, Janine Davidson, Brian Duggan, Clodagh Emoe Mary Fitzgarald and Marc

www.greenonredgallery.com

Reilly, John Graham, Cliona Harmey, Martin Healy, Catherine Hehir, Mark Joyce,

KATIE HOLTEN

Sofie

Looking to international models of the promotion of visual arts practice in

Pierce, Naomi Sex and Manuel Vermeire. www.print.ie

rural locations.

venerable institutions are primarily about giving artists the space to make new work away from public view, there is a strong sense of existing within a local community and endeavouring to engage with these audiences on some level.

Maybe it’s not always successful and indeed can lead to tense relationships. For example in 2002, following much local antagonism, the artists’ project billboard at Grizedale was ceremoniously burned – these programmes continue to try and balance the needs of artists, with the immediate communities.

So what is the solution and how can this impact on other arts institutions outside the major towns and cities in Ireland? For me, I try to ensure that events have a direct connection to the main curatorial perspectives of the exhibition, whilst trying to establish a local relevance – be that Ireland, Lismore and its rich history or rural existences. I have partnered with colleges in Cork and Waterford

Pallas Contemprary Projects, in association Katie Holden, an image from 'The Golden Bough'

Dublin City Gallery The Hugh Lane is currently

showing

Katie

Holten’s

contribution to the venue’s ‘Golden Bough’ series of exibitions (28 Jan – 2 Apr). The gallery notes outlined that “the artist combines drawing, sculpture and text […] her work continues an exploration and ongoing interest in organic processes and

with Fire Station Artists’ Studios and

object.”

Previously on show was ‘Francis

Melbourne presented ‘The Problem With Stability’, an exhibition by Australian artists Pat Foster and Jen Berean (30 Jan – 13 Mar). The press release noted that Foster and Berean have collaborated on sitespecific installation, photography and sculpture since 2001.” www.pallasprojects.org

Work from Nevan Lahart's 'A Lively Start To A Dead End'

126 Gallery, Galway, in association with

SHYNESS SILENCE

the RHA, Dublin presented its third annual

Bacon: A Terrible Beauty’ an exhibition

members show ‘Video Killed The Radio

exploring the artist's work and working

Star’ (15 Jan – 27 Feb). The show was part

methods (28 Oct – 7 March). This

of an artist-curated series at the RHA. The

exhibition is presented as part of the Hugh

exhibitors were Paul Murnaghan, Dominic

Lane's centenary year.

Thorpe, Angela Darby, Fiona Chambers,

www.hughlane.ie

Jim Ricks, David Finn, Padraig Robinson,

them. Often events will be staged in collaboration with a local pub, so people

Kevin Mooney, Austin Ivers, Nina Amazing,

can indulge in cultural activities for an hour or two, and then head off for a nice

THINGAMAJIG

bit to eat. Technology hasn’t really helped. Paying for the recording of a lecture

In celebration of its fifth year and its

for a podcast to be downloaded from the Lismore Castle Arts website has proved

reopening after suffering flood damage,

to be an expensive waste of time. Sharing audiences or speakers may work, but

The Lewis Glucksman Gallery, Cork is

it relies on a lot of organisation, primarily around the challenging issue of

currently showing ‘Thingamajig: The

transport in rural areas.

Secret Life of Objects’ (22 Jan – 9 May). As

Ultimately, it comes down to educating people and endeavouring to break

the press release noted the show studies

down barriers that many people may have. Contemporary art doesn’t have to be

“curiosities and oddities drawn from local,

some rarefied edifice that only an intellectual elite can partake of. We all need

private and public collections.” President

to engage audiences, near and far. Without them we only talk to ourselves.

Mary McAleese officially opened the exhibition.

Note (1) Tom Doorley lives eight miles from Lismore Castle Arts.

126 CURATES THE RHA

Gertrude Contemporary Art Spaces,

in the relationship between drawing and

to ensure students are aware of the events and encourage their participation in

Eamonn Maxwell is the Director of Lismore Castle Arts.

Susan

Liam O’Callaghan, Yvonne O’Reilly, Sarah Jen Berean & Pat Foster, Untitled

inspired practitioners from across the world to embrace the isolation of their

relative, rural isolation away from busy metropolises. Even though these two

Lynch,

Nolan, Paul Nugent, Margaret O’Brien,

Cumbria, England to Banff in Alberta, Canada these entities have engaged and

traditional practitioners, but artists who decide to immerse themselves in

Seán

Jim McCrackin, Lorraine Neeson, Isabel

of the amazing residency programmes around the world. From Grizedale in

Kutluğ Ataman, Thomas Demand and Silke Otto-Knapp. Not what you’d call

Loscher,

MacWilliam, Colin Martin, Peter Maybury,

rural locations, the closest comparison for Lismore Castle Arts would be some

Artists at Grizedale have included Jeremy Deller, Jonathan Meese and

Black Church Print Studio, the show occupied The Irish Museum of Modern

How does one then promote and engage these local audiences?

William Pope L, whilst artists recently associated with Banff have included

was recently on display in galleries around Dublin (11 Feb – 4 Mar). Organised by The

This means that the potential audience for events, talks or performances is large in a geographical sense, but may actually only number a few thousand people.

Sofie Loscher, Untitled at Temple Bar Gallery & Studios

www.glucksman.org

Timothy Acheson & Jennifer Cunningham, Kathryn Maguire, James Merrigan and

Andrzej Mazur, Trains Balls

Breda Lynch.

Riverbank Arts Centre, Kildare presents

Also on show at the RHA was, Nevan

‘Shyness Silence’, an exhibition of mixed

Lahart’s ‘A Lively Start To A Dead End’ (15

media print works by Andrzej Mazur (21

Jan – 27 Feb). Lahart’s publicity materials

Jan – 14 Feb). The press release described

noted, “Press releases for exhibitions

Mazur’s work as “studying the human

consist of making references to the

being and all the complexities of human

references found in the work. To avoid

relationships

communication;

disappointment I will list some things that

conceptual relations between cognitive

you will not find in the exhibition:

processes, languages and cultures.”

understanding, meaning or a new lifestyle

and

www.riverbank.ie

choice.” www.126.ie www.royalhibernianacademy.ie

4

Column

Adam Stoneman

The Visual Artists’ News Sheet

Roundup THE GREAT REDUNDANT

PAULETTE PHILLIPS

Notes (1) Aftershock by Kieran Cashell. I. B. Tauris, London, 2009. 272 pp., paperback.

THE MASTER THIEF'S SECRET LAIR

NCAD Gallery, Dublin recently hosted

Art Shock

Transgression in art is not a new phenomenon. From Manet’s Olympia in 1863 to Duchamp’s Fountain in 1917, art has long had the capacity to disrupt bourgeois moral values and engender controversy. Recently however, ‘transgression’ has become institutionalised as a persistent post-modern practice in itself. Kieran Cashell’s new book Aftershock (1), systematically addresses the ethics of transgressive art. Selecting a number of controversial works from the ‘Young British Artists’ and drawing on a diverse range of philosophical ideas, Cashell defends this contemporary art on ethical grounds.

Cashell suggests that the YBA moment was characterised by a ‘let the viewer decide’ ethos, often presenting the spectator with seemingly objectionable material, while withholding a perspective that could be seen to either condemn or endorse it, leaving the viewer in the uncomfortable position of deciding whether the art is, as John Molyneux commented, “fundamentally, a work of solidarity and sympathy or a work of exposure and exploitation”. In arguing for the importance of these works, Cashell has to contend with the criticism that viewers more often end up with the latter impression than the former. Backed by advertising guru Charles Saatchi, the YBA group became well known through the popular media that feed on the publicity generated from outrage and soon gained a reputation for their shameless self-promotion rather than their social conscience.

Like a seasoned defence lawyer, Cashell deploys a number of discursive manoeuvres to counter this criticism: first he suggests that it is part of a legitimate strategy to intentionally protect art against interpretative reduction to single meanings and this may result in moral ambiguity. This seems less credible when we look at the number of historical works which carry rich and complex meanings while still demonstrating real political engagement. In Picasso’s Guernica, the symbolic meanings of many of its elements are left open to interpretation, but we need not ask ourselves whether or not it was painted in solidarity with the Spanish Republican cause. Equally, in Pontecorvo’s celebrated film, Battle of Algiers, we find moral complexity is in no way incompatible with political commitment; the same music plays over two scenes of carnage – one in a Kasbah bombed by the French OAS, the other in a milk bar blown apart by Algerian FLN fighters; human suffering is recognised, but the film is not ambiguous in its overall political support for Algerian independence.

The second defence proposed by Cashell is that these artworks encourage what he terms “ethical practice”, ie that when faced with a problematic image “we have to work it out for ourselves” rather than being prescribed a certain moral attitude. While it is true that ambiguity in a work can be understood as empowering the viewer as interpreter, when artists are dealing with extremely complex and sensitive issues such as the sexual abuse of children, it can also be seen as a way of avoiding moral responsibility. Is it possible, as Julian Stallabrass has suggested, that “this art took as its subject issues of great seriousness and that the 'Sensation' artists were not of a quality to tackle them”?

At the core of Aftershock is a confusing paradox; the value of these works, Cashell suggests, lies in them being understood as unethical which then triggers a subsequent ethical process. He argues that Marcus Harvey’s infamous portrait of Myra Hindley (comprised of hundreds of children’s handprints) actually compels identification with the victims of her crimes. This not only grossly simplifies the process of identification, but seems questionable given it was those closest to the victims of the crimes who opposed the work most angrily. According to Cashell, the Chapmans’ prepubescent children replete with adult genitalia and Hirst’s sliced animals provoke our thought and compassion.

Cashell’s ‘ethical practice’ defence appears inadequate when we consider that in most cases the viewer’s reaction may never move beyond initial outrage to reach serious reflection. Is shock an effective tactic for socially productive art when typical audience reactions are of revulsion, distress or even anger?

Though provocative works can occasionally bring about a healthy debate in the public domain, here shock seems to polarise public opinion, reinforcing existing attitudes rather than challenging them.

If we compare the transgressive works Cashell discusses with provocations from a time when many artists understood their work in political terms, for example Carolee Schneeman’s Interior Scroll or Judy Chicago’s The Dinner Party, we can see that the transgressive aspect of these works – the open depiction of female genitalia – can be understood as part of a wider attempt by feminists to encourage women’s self-representation and exploration of their own bodies.

Viewed next to the transgressive art practices of the 1960s and 1970s it becomes evident that the YBA works discussed by Cashell are devoid of any political effect. Cashell’s omission of the relationship between transgression, publicity and commercial value is curious in a book that claims to concern itself with the ethics of an art practice that was so commercially successful; Damien Hirst is now reputedly one of the world’s richest living artists.

Despite the book’s significant weaknesses it does achieve something by drawing attention to the ethics of contemporary art practice and its relation to society. Cashell is of course right in taking ethical considerations seriously, going beyond many other writers who have focused entirely on the aesthetic.

Hopefully this will be seen as a starting point for a more engaged and critical look at the ethics of recent transgressive work.

March – April 2010

Paulette Phillips’ exhibition of film and sculpture ‘History Appears Twice, The First Time As Tragedy, The Second Time As Farce’, (29 Jan – 6 Mar). The press materials described Phillips’ work as focusing on “tense, humorous and uncanny explorations of the phenomena of conflicting energies”. www.ncad.ie/gallery Seán O Sullivan, Come, Gentle Night;

EXCHANGE MECHANISM The Sebastian Guinness Gallery, Dublin presented ‘The Great Redundant’, an exhibition of “drawing in the widest possible sense” (10 Dec 2009 – 23 Jan 2010). The selected artists were asked to contribute a work, which had been discarded in the studio, and later revived.

The exhibitors were Peter Cábocky, Nuala Clarke, Jason Dunne, Nicolas Feldmeyer, Daragh Hughes, Bryan Keane, Sam Keogh,

Paul McGonagle, 999.9, as featured in ‘A Mapping.’

Surveillance, part of the Belfast Exposed programme.

The Master Thief’s Secret Lair, Dublin

Vanessa Donosa Lopez, David Eager Maher, Enda Mac Nally, Meadhbh O Connor, Seán

Currently running at Belfast Exposed is

recently presented ‘A Mapping’, the first in

O Sullivan, Meabh Redmond and Audrey

‘Exchange Mechanism’ (12 Feb – 9 April) a

its series of emerging artist exhibitions (18

Reilly. Artists John Kenny and Jennie

project curated by Raimi Gbadamosi that

– 22 Feb). The exhibitors were Fergal

Taylor curated the show.

features the work artists Acitore Z

Dunne, Adrian Duncan, Heather Gray,

Artizione, Gail Ritchie and Joanna

Niamh McCooey, Shane McCarthy, Paul

Karolini.

McGonagle and Darina Meagher. The

www.sebastianguinnessgallery.com

Over eight weeks, the gallery has

AT NO. 10

been transformed into an alternative

exhibition was curated by Rebecca O Dwyer and Seán O Sullivan.

political space, where activists, artists,

Previously at MTSL, ‘Your Pretty Face

campaign groups and interested citizens

Is Going To Hell’, a collection of drawing,

are free to meet to exchange ideas. As the

print and installation by Enda Mac Nally

press release notes “Exchange Mechanism

(21 – 28 Jan).

is an exhibition that questions the

www.mtsl.ie

demands and denials of freedom in contemporary life, alongside artists’

PAUL WOODS

responsibility to actively engage with the political. The starting point for the Work by William Scott, currently on loan to No. 10

exhibition is the increasing regulation of public life, restrictions on travel, censorship

A series of paintings from the Ulster

and self censorship, routine invasions of

Museum are currently being displayed at

personal privacy, amidst a general sense of

10 Downing Street. The works are being

public disengagement from political

exhibited in the British Prime Minister’s

process and debate”.

official residence until September. The

As part of the exhibition programme

nine paintings in the collection include

screenings are being held of documentary

noted pieces by Sir John Lavery, James

films from the UTV archive. In addition a

Humbert Craig, George William Russell,

new work made by curator Raimi

William

Colin

Gbadamosi using photographic images

Middleton, Eric Hesketh Hubbard, Frank

from Belfast Exposed’s political archive

McKelvey and Jack Butler Yeats. The

will be premiered.

Scott,

Paul

Henry,

paintings were not previously on public

Paul Woods, Ruhr City www.belfastexposed.org

The Alley Arts Centre, Tyrone exhibited

display. www.nmni.com www.number10.gov.uk

WHAT HAPPENS NEXT IS A SECRET The Irish Museum of Modern Art, Dublin is currently showing ‘What Happens Next Is A Secret’, an exhibition of works taken from the museum collection (26 Jan – 18 Apr). As press release outlines the show seeks to “question what happens when artworks become part of a museum collection and are subsequently shown in many different contexts.” Over the course of the exhibition a publication will be produced, being printedw in four stages— the second directly on top of the first, and so on.

ARTISTS PROOF

Paul Woods’ collection of paintings

Draíocht, Dublin is currently showing

‘Visions of Wars’ (24 Oct – 20 Nov 2009).

‘Artists Proof’, an exhibition of print works

The press materials describe Woods’

presented in collaboration with Graphic

inspiration as being “derived from selected

Studio Dublin (28 Jan – 27 Mar). The

photographic war images, which function

exhibitors are Norman Ackroyd RA,

as a source motif, […] the intention is to

Christopher Le Brun RA, Arno Kramer,

filter war imagery through the medium of

Elaine Leader, David Lilburn, Mary

paint”.

Modeen, Lars Nyberg,Barbara Rae, Hayashi Cliona Doyle, Niamh Flanagan, Desmond

STEPHEN GUNNING

Kenny, Brian Lalor, Jennifer Lane, Stephen

Mother’s Tankstation, Dublin recently

Lawlor, Sharon Lee, James McCreary, Niall

presented ‘Journeyman’, an exhibition of

Naessens, Ruth O’Donnell, Tom Phelan,

video and sound by Stephen Gunning (13

Robert Russell and Katherine Van

Jan – 13 Feb). The press realease explained

Uytrecht.

that Gunning “works through the www.draiocht.ie

www.imma.ie

www.alley-theatre.com

Takahiko, Gerard Cox, Grainne Cuffe,

combined mediums of video and sound, independently shaping them into an integrated experience to produce works of subtly unfolding human narratives. www.motherstankstation.com

5

The Visual Artists’ News Sheet

Roundup SEAN LYNCH

TALLENTIRE AT IMMA

Column

Alison Pilkington

IN LIGHT OF DARK MATTER

‘This, and other things, 1999-2010’ a survey

How Do We Know Non-Knowledge?

exhibition of key works by Irish artist Anne Tallentire, created over the last ten years, is now on show at the Irish Museum of Modern Art, Dublin (18 Feb – 3 May).

The show features two of Tallentire’s earlier works as well as four of her most recent pieces, created in response to the environment at IMMA. A fully-illustrated catalogue, with a foreword by IMMA Director, Enrique Juncosa and new texts by Charles Esche, Director of the Van Abbemuseum, Eindhoven; Vaari Claffey, independent

Sean Lynch, work from DeLorean: Progress Report

curator; Rachael Thomas, and an interview The Kevin Kavanagh Gallery, Dublin

with the artist by Hans Ulrich Obrist,

hosted ‘DeLorean: Progress Report’, a

Co-Director, Exhibitions and Programmes

collection of photography, installation

and Director of International Projects at

The National Sculpture Factory presented

and publication by Sean Lynch. Lynch’s

the

‘In Light of Dark Matter’, a group show

exhibition is described in the press release

accompanies

The

featuring Irish and international artists

as studying the “bankruptcy of the

exhibition is supported by Central Saint

hosted at the former Fenton Gallery

DeLorean car factory, which operated

Martins, University of the Arts, London,

premises (23 Jan –19 Feb). This group

outside Belfast from 1981. […] Lynch located

and the British Council.

exhibition featured artists Jone Kvie, Brian

Serpentine the

Gallery,

London,

exhibition.

the tooling once used to make the body of

www.imma.ie

Bay fishermen.”

Brian Walsh, Work from 'In Light Of Dark Matter'

Walsh and David O Brien. Ola Gustafsson curated the show.

the car, being used as anchors by Galway AIDEEN BARRY

www.nationalsculpturefactory.com

Previously shown was ‘Above The Fold’ (8 – 23 Dec 2009), a group exhibition

OCCUPY SPACE

that featured works by Sinéad Ní

Occupy Space, Limerick recently presented

Mhaoinagh, Sean Lynch, Mick O Dea,

‘I Always Find Art Galleries Hungry Work’,

Margaret Corcoran, Diana Copperwhite,

a group exhibition featuring Emmet

Gary Coyle, Mark Swords, Stephen

Kierans, Rory Prout, Donough McNamara,

Loughman, Robert Armstrong, Nevan

Alan Crowley and Ramon Kassam (15 Jan

Lahart, Geraldine O Neill and Tadhg

– 7 Feb).

McSweeney.

Previously on show was ‘Preoccupied’,

Aideen Barry, From 'The Morphology Of The Other

an exhibition featuring Limerick-based

www.kevinkavanaghgallery.ie

‘The Morphology Of The Other’, an

established and emerging artists (4 – 20

CATALYST ARTS

exhibition of mixed media by Aideen

Dec 2009). The exhibitors were Tom

Catalyst Arts, Belfast presented ‘Play &

Barry opened at The Butler Gallery,

Flanagan, Alan Keane, Laura McMorrow,

Skinned Knees’, an annual members show

Kilkenny (16 Jan – 28 Feb). The gallery

Sybil Montague, Eoin McCormack, Ann

(19 Jan – 6 Feb). Artists were asked to

described the exhibition as studying an

Mulcahy, Gareth Jenkins, Clive Maloney,

contribute one work. The contributors

“inherent rebellion targeted against the

Richard Slade, Aidan O Sullivan and Brian

included Catherine Neill, Colin McDonald,

society in which we live, challenging our

McMahon.

Nathan Crothers, Ryan Moffett, Charlotte

progress […] encouraging responsibility

occupy.space@gmail.com

Bosanquet, Brendan O’Neill, Catherine

towards a new world attitude. Barry’s work

Davison, Phil Hessian, Christopher

evokes the threat of what humans might

THE LITTLE PICTURE SHOW

Cunningham, Christopher J Campbell,

morph

The Crow Gallery, Dublin presented ‘The

Zoe Murdoch, Peter Surginor, Kim

compassion and empathy.

Little Picture Show’, in support of its

McAleese and Miguel Martin, Colm

www.butlergallery.com

continuing programme (4 Feb). The

into—creatures

devoid

of

Clarke, Jenny Keane, Ben Newell, Peter Richards, Catherine Devlin, Samantha

participating artists were Killian Dunne, David McDowell, Krzysiek Dabek, Sofie

JANET CRYMBLE

Ratanarat, Andrew Dunbar, Fionnuala

Loscher, Katie Blackwood, Stephen Nolan,

Doran, Triona Ryan, Mark de Conink, Jan

Joanne Boyle, Atoosa Pour Hosseini,

McNeill,

Mary

Miriam Sweeney, Louise Farrelly, Karl

McCaffrey, Grace McMurray, Janet Morris,

Burke, Aoife O’Brien, Blathnaid Ni

Sarah O’Gorman, Joanna Karolini, Stephen

Mhurchu,

Doyle, Deirdre McKenna, Alice Clarke,

O’Toole, Niamh Ni Mhaoilir, Niamh

Aideen Doran, Tonya McMullan, Martin

McCooey,

Carter, Sinead Bhreathnach-Cashell.

O’Beirne, John Busher, Philip Evans, John

Claire

Miskimmin,

Janet Crymble, Matter

www.catalystarts.org.uk

Sandra Maria

McCowen, O’Hanlon,

Mark Niamh

Murray, Dee O’Shea, Ewa Fornal, Harry Walsh and Eleanor Reilly.

AILBHE NÍ BHRIAIN

‘Fishing For Ghosts’, a collection of pen

A collection of composite and constructed

and ink drawings and mixed media by

digital imagery by Ailbhe Ní Bhriain was

Belfast artist Janet Crymble was recently

ADHOC BELFAST

recently exhibited at the Galway Arts

exhibited at The Higher Bridges Gallery,

Adhoc, Belfast presented ‘re:REM’, an

Centre (28 Jan – 27 Feb). Ní Bhriain’s

Enniskillen (8 Jan – 2 Feb). The press

exhibition of new installation by Sinead

practice was described as “taking the Irish

release noted that Crymble’s work “reflects

Conlon. Conlon’s work is described in the

landscape, and through intervention with

human relationships with the natural

exhibition materials as “exploring the

pictorial space, creating new ground—one

environment”, and is inspired by “the

possibilities

where the dimensions of time and place

discarded ‘real’ materials of society.”

re-appropriating public spaces, she looks

are out of joint. […] In conjuring a displaced-

www.culturenorthernireland.org

www.crowgallery.net

of

temporarily

for a potential democratic approach in her

present, the work looks to question our

practice, often offering participation in the

relationship to place and the recorded

process of her interventions.

image.”

adhocbelfast.co.uk www.galwayartscentre.ie

5 March – April 2010

Currently there is much debate and discussion in the emerging field of artistic research around the problematic academization process instigated by the Bologna agreement to standardise European higher education. Dieter Lesage in his essay A portrait of the artist as a researcher (1) has highlighted the quandary the Bologna process poses for contemporary art education – “whereas at universities the adjective ‘academic’ sounds like a generic quality label, at [art] academies, ‘academic’ has already for quite some time become an insult, a signifier of a lack of artistic quality. And so it happened that at the very moment when many European academies had become very anxious not to teach their students to produce ‘academic art’ they were told they had to ‘academize’ in order to get accreditations for their artistic study course”.

Fine art education has of course moved past prescriptive models of teaching, instead it concerns itself with wider questions around what art is and how; and why art is produced. None the less, the split between practice and theory; and between intellectual and non-intellectual sources of creativity is still a troubling issue that has been debated at least since the inception of conceptual art in the 1960s.

And where exactly does ‘practice’ end and ‘theory’ begin? Can there be too much practice and not enough theory or vice versa? A more pluralist approach that combines academic and artistic research is fast becoming the norm at most higher education fine art institutions. While this has its merits, it also needs to be critiqued this approach more often than not adopts a scientific approach to artistic research – one that favours a weighting and measuring system. As Dieter has suggested this is “as problematic for artistic research as it is for the arts and humanities”. (2) Clearly the role of academic research in fine art education continues to play a crucial role in the development of the student’s awareness and knowledge of critical debates – and the historical context that these debates can be situated in, most notably at undergraduate level. However, the specificity of artistic research must be properly acknowledged and defined if art education at postgraduate and doctorate level is to properly progress and not merely follow scientific methods and models.

Sarat Maharaj has discussed how “thinking through the visual” (3) needs to be distinguished as a specific form of knowledge – distinct from other forms of research and knowing. Maharaj notes that “the query that crops up right away with the idea of visual art as knowledge production is: ‘what sort of knowledge?’

Hard on its heels – ‘what marks out its difference, its otherness’? Should we not speak of ‘non-knowledge’ – an activity that is neither hard-nosed know-how nor its ostensible opposite, ignorance? The question is especially pertinent in today’s expanding knowledge economy, that we should not only see as ‘technological development’ but as an emerging overall condition of living that I prefer to speak of as the ‘grey matter’ environs”. Although on first glance Maharaj’s concept of ‘non-knowledge’ might seem obscure and even nonsensical – what he is really getting at is the notion of ‘potential’ knowledge – moreover, knowledge that is unconstrained by existing classifications and academic labels and structures.

The academic legitimising of artistic research is happening, but how this will finally take shape is still unclear – to paraphrase Maharaj, just because something remains unnameable, doesn’t mean it does not exist. As an artist currently undertaking a PhD through fine art practice, I acknowledge the importance of academic research and its place in the artistic process. Academic research can bring a degree of structure and a clarity to artistic research – with the authority of past knowledge of what has already been written on a subject.

But what it doesn’t give is original insight, the space to develop new knowledge.

Intelligent research demands precision, focus and a thorough research methodology. These are things that can be learned through an academically structured programme. However, what is at stake here is artistic knowledge – and how this form of knowledge can, or should be encompass academic knowledge and be able to make use of it as a means to an end, rather than an end in itself.

Michel Foucault wrote, “far from preventing knowledge, power produces it”, his central concern with ‘power knowledge’ being the ways in which the fields of knowledge are ordered and constituted (4). This very relevant to the notion of visual art knowledge production. The frameworks for artistic research need to be addressed. While artistic knowledge feeds academic research, through original insight – however, artistic research itself currently requires the legitimising structures of conventional academic research.

So can ‘non-knowledge’ emerge as a separate and legitimate form of research? Perhaps so. Maharaj sketches out a very rich seam of potential or ‘non’ knowledge embedded in visual art practices – as has suggested, what is at stake is; “not only about thinking by means of the visual… it is about unpacking it, taking apart its components, scouring its operations. A point that crops up at this juncture is what makes the texture of visual art thinking quite its own, its difference?” (5) Notes (1) Whose Afraid of Artistic Research? On Measuring artistic research output Lesage, Dieter – Art & Research Vol 2, 2009; (2) Ibid.; (3) Know-how and No-how: stopgap notes on ‘method’ in visual art as knowledge production Maharaj, Sarat – Art & Research Vol 2, 2009; (4) Michel Foucault Discipline and Punish 1980 P 59 (5) Know-how and No-how: stopgap notes on ‘method’ in visual art as knowledge production Maharaj, Sarat – Art & Research Vol 2, 2009.

6

The Visual Artists’ News Sheet

March – April 2010

Roundup THE BLACKBIRD GALLERY

THE GOLDEN THREAD

‘In Search Of The Other Crowd’, a new

CONTEXT GALLERY

SAVOIR FAIRE 212

The Blackbird Gallery, Kilkenny recently

The Golden Thread Gallery, Belfast

body of photography by Amy Russell

hosted ‘Traces: IMMA Limited Editions’,

recently presented André Stitt’s highly

was recently exhibited at Context

an exhibition of thirty-three prints by

charged

Gallery, Derry (15 Jan – 27 Feb). The

leading Irish and international artists (29

‘Substance’ (29 Jan – 6 Mar). The gallery

exhibition was described in the press

Jan – 28 Feb). Artists include Michael

described Stitt’s work as focusing “on

release as exploring “notions of the

Craig-Martin, Dorothy Cross, Gary

difficult and traumatic themes including

physical world versus the spirit world.

Hume, Isaac Julien, Barrie Cooke,

alienation, oppression, coercion and

Russell recently finished residencies in

Elizabeth Peyton, Jack Pierson, Patrick

conflict, [taken from] his experiences of

Scott and Sean Scully. Newly-created

Belfast in the 1970s and 1980s.” A short

New York, NY and Winnipeg, Canada.

Work presented as part of 'Savoir Faire 212'

performance

THE JOINERY

retrospective

Work presented in Colm Rooney's 'Land Poisened'.

Also on show was, Allan Hughes’

‘Savoir Faire 212’, an exhibition by artists

additions to the series by Ilya and Emilia

documentary by Lee Stitt, Finbar Maginn

‘Partial Drive 4’—a series of photographs

Ruth Lyons and Carl Giffney was

Kabakov and Louis le Brocquy were also

& Séan Kaluarachchi, in conversation

The Joinery, Dublin recently presented

considering

shown for the first time.

with Stitt, was shown during the

‘Land Poisened’, an exhibition of new

exhibition.

works by Colm Rooney (24 Feb – 1 Mar).

and

presented at Place, Gorey, Co. Wexford

inaccessible car parks. Hughes describes

(11 Dec 2009 – 15 Jan 2010). The press

the exhibition as studying “the last

materials explained that “through the

vestigial success of the modernist

use of water, commonplace utilitarian

architectural project—the living utopian

objects and communication devices, the

project of form after function.”

show creates an interactive situation

empty,

closed

www.contextgallery.co.uk www.allanhughes.com

that speaks of necessity, the global society and the storage and distribution of energy.”

BETH MOYSES

thegoodhatchery.wordpress.com

The Naughton Gallery at Queen’s University, Belfast presented ‘Altered Reality’, an exhibition of new work by Majella Clancy (12 Jan – 21 Feb). The exhibition also featured a talk by QUB

The

Sycamore,

‘Afterwards’,

an

Dublin

Art History Lecturer Amanda Croft (16

presented

exhibition

of

photography and video by Beth Moysés (Jan 27 – Feb 26). Moysés’ work was described in the press materials as

Jan). The gallery describes Clancy’s work as “combining digital imagery with various painting techniques, creating a

within their own homes, through live

Mermaid Arts Centre, Bray recently presented ‘Home’, a collection of new

completion of an artists commission by Wicklow County Council, and was

www.majellaclancy.com www.qub.ac.uk

THE WAY THINGS ARE

Queen Street Studios, Belfast recently works by Kevin Mooney (14 Jan – 20

currently a guest artist at Artspace studios, Galway. www.kevinmooney.org

Oonagh Young Gallery, Dublin presented SUZY O MULLANE

the recent criminalisation of blasphemy

Solstice Arts Centre, Navan presented

in Ireland (29 Jan – 27 Feb). Contributors

‘Your Hair Blows In The Same Way As

include David Godbold, Factotum, Nevan

Mine’, a body of work by Suzy O Mullane

Lennon. The press release explains, “The

already confronted censorship of their work.”

Way Things Are’, an exhibition of painting, video, drawing, assemblage and audio works (5 Dec 2009 – 31 Jan

www.oonaghyoung.com

2010). The press release noted, “The

THE MARKET STUDIOS The Market Studios, Dublin presented ‘Inside Out’, a group exhibition of drawing, painting, photography and installation (3 – 6 Dec 2009). The show featured Bernadette Clarke, Matt Cullen, Angela Mc Andrew and Eithne Roberts. themarketstudios.wordpress.com

exhibition brought together a group of approach and transform the materials and forms of the world we inhabit.” The exhibitors were Nina Canell/Robin Watkins, Blaise Drummond, Sarah Durcan, Fergus Feehily, Mark Joyce, Fergus Martin, Helen O Leary, Meabh Redmond and Jennifer Walshe.

DOMINIC THORPE hosted Dominic Thorpe’s performance exhibition ‘Life Area’ (11 Dec 2009 – 5 Feb 2010). The gallery describes Thorpe’s work as “using performance, video, photography and sculpture [to deal] with the importance of individual identity and personal experience.” www.tinahely-courthouse.ie www.dominicthorpe.net

piece[s] encapsulates the reactionary nature of the work, in which the process and finish are inter-mutual. Her themes of sorrow, empathy, connection and remembrance, form the focus of the

FRIARS GATE HOSTS IMMA WORKS Friars Gate Theatre, Kilmallock presented an exhibition featuring film works from the Collection of the Irish Museum of Modern Art (Dec 7). Artists featured in the exhibition included Paddy Jolley, Clare Langan, Brian Duggan and Isabel Nolan.

of sculptures, drawings and video work

by Daphne Wright (13 Jan – 27 Feb). As the press release notes “the central work in the exhibition is a full size cast of a dead horse, […] accompanying this animal

Orla de Brí, Thinking Lemon Heads

cast, Wright exhibits a series of male Solomon Fine Art, Dublin presented Orla

press release described de Brí as having created

“miniature

installations

combining elements from nature with highly polished bronze figures”. www.solomonfineart.ie

www.frithstreetgallery.com

Project Arts Centre, Dublin is currently hosting 'An Aion Experiment', organised general public. (12 Feb – 27 Mar). The press materials explain, “The experiment aims to develop a greater understanding of the phenomena of body-oriented energy […] the first such experiment took place in Northern Europe in the 1930s, and was instigated by a team of practitioners from disciplines including physics, chemistry, psychology and sociology.” www.projectartscentre.ie

www.solsticeartscentre.ie

126 Gallery, Galway presented ‘Just Works’, an exhibition of print and video

by German duo Handsome Boy Press (Samuel Seger and Patrick Wagner) and digital prints from Ivan Twohig’s ‘Clone Then Heal’ series (3 – 19 Dec 2009). The exhibition materials note that the artists’ collaboration considered “process based investigations and experiments in printmaking, resulting not just in the prints themselves but in videos and sculptures that form the body of research that is the heart of the work.” www.126.ie

‘Bouvard et Pécuchet’, a multi-format exhibition that featured nineteen artists.

(9 – 10 Dec 2009). The press materials noted that ‘Bouvard Et Pécuchet’ sought “a stratagem that questioned originality, authenticity and authorship.” The exhibitors were Ella Burke, Cayetana H. Cuyás, Carla Debs, Eleanor Duffin, Gerard Erraught, Michelle Hall, Tracy Hanna, Nicola Kirkaldy, Kevin Kirwan, Roos Mascini, James Merrigan, Sharon Murphy,

Joseph

Noonan

Signal Arts Centre, Bray will soon exhibit ‘Found Line’, a collection of linocuts and acrylic painting by Brian Gallagher (16 – 28 Mar). The press release notes that Gallagher is “especially drawn to using work is figurative, graphic and based on drawing. He begins with a blackboard and gradually removes parts of its thin dark surface to reveal the white china clay beneath.”

Currently at Signal, Andrea Spencer, Scott Benefield and Seán Campbell present ‘3 x 3’ (2 – 14 Mar). The press release explains that “each of the artists employs a different method of working with glass, […] collectively they cover a wide spectrum that is representative of the field as a whole.” www.signalartscentre.ie

NASHVILLE / BELFAST

BOUVARD ET PÉCUCHET The Light House Cinema, Dublin hosted

JUST WORKS

SIGNAL ARTS CENTRE

linocut and then scraperboard […] his

AN AION EXPERIMENT

Ganley,

Magnhild Opdøl, Bennie Reilly, Jenny Spain, Nicky Teegan, Serena Teehan and Ivan Twohig. www.lighthousecinema.ie

www.friarsgate.ie

portraits.”

de Brí’s exhibition of new paintings

work.”

ten artists concerned with how we

www.sno.org.au

The Courthouse Arts Centre, Wicklow

(21 Jan – 6 Mar). The press release noted, “The sweetness and accessibility of the

SNO, Sydney recently presented ‘The

presented ‘Traits of Sidney’, an exhibition

to Pádraic E. Moore, and open to the

‘Blasphemy’, an exhibition responding to

Work by Helen O Leary and Fergus Martin

Leslie Cullinan and Helena O Connor.

‘Elements of Sculpture’ (6 – 12 Feb). The

KEVIN MOONEY

BLASPHEMY

an

Frith Street Gallery, London recently

Miller, Lemn Sissay and Richard T. www.mermaidartscentre.ie

Today’,

DAPHNE WRIGHT

rural and urban landscapes featuring

Walker (13 Mar – 11 Apr).

Tomorrow

exhibition examining notions of time by www.thejoinery.org

Landscape’ is a group exhibition studying Jesse Jones, Aileen Lambert, Graeme

‘Yesterday’s

ELEMENTS OF SCULPTURE

Upcoming at Mermaid, ‘Voices in the

presented ‘Timeline’, a collection of new

www.afterwardsbybethmoyses.blogspot.com

practices—having

www.goldenthreadgallery.co.uk www.andrestitt.com www.lisamalone.net

awareness of political and social issues.”

College of Art and Design, Cork, and is

individual

The previous show at the space was

stylistic matters is balanced by an

and photography.”

their

mythology and photography.”

Malone (14 – 30 Jan).

“preoccupation with aesthetic and

Feb). Mooney is a graduate of Crawford

artists address the issue directly through

“drawing on personal and social histories,

interventions and monoprints by Lisa

Mar). The exhibition marked the

group performances recorded by video

Lehart, Paul Murnaghan and Peter

The gallery describes Rooney’s work as

‘Metronome’, comprising of sculptural

paintings by Brian Maguire (21 Jan – 6

dialogue between form and content.”

“approaching the theme of domestic abuse suffered by women, primarily

MERMAID ARTS CENTRE

The previous exhibition was

described as exploring the artist’s

MAJELLA CLANCY

Beth Moyses, Mosaico Branco Por 60 Mulheres

www.theblackbirdgallery.com www.immaeditions.com

Belfast based artist collective Creative Exchange presented ‘Nashville Inspired Compositions’ at the Waterfront Hall, Belfast (4 – 28 Feb). The show explored parallels between the cities of Nashville and

Belfast

and

featured

video

installations; acrylic and watercolour paintings and etchings and photographs.

The show featured work by all 9 members of Creative Exchange: Ray Duncan, Laura Maguire, Deirdre Robb, Colin Davis, Katie Blue, Ben Allen, Lesley Cherry, Geordie Robb, Ian Fleming. www.creativeexchange.org.uk

The Visual Artists’ News Sheet

7

March – April 2010

ROUNDUP SOUNDING OUT SPACE PS2, Belfast recently presented ‘Chaos Live Canadian Performance Art’ curated

by Sinéad O’Donnell (8 – 13 Feb). The show took place at PS2, Blackbox and Catalyst Arts and featured artists Judith Price, Irene Loughlin, Ed Johnson, Rachel Echenburg, Johanna Householder, Paul Couillard, Shannon Cochrane, John G Boehme and Sylvette Babin.

Currently exhibiting at PS2, Joanna Karolini’s ‘Sounding Out Space’ (15 Feb – 20 Mar). Karolini describes her work as “a series of explorative projects around aspects of architectural, emotional, historical and practical space.

HIBERNIUM

Dermot Seymor Hiberno Hare (2009) oil on canvas, www.pssquared.org

LIVE @ 8

Sarah Shamash, Security Guards (Video Still)

‘Hibernium: A Trip Across the Head of Ireland’, Dermot Seymour’s show of new paintings, was recently on presented at the Kevin Kavanagh Gallery, Dublin (4 – 27 Feb). As the press release outlined, the works in the exhibition “delve into his fascination with gazes, whether they are emanating from animals or the pages of newspapers and magazines”.

WEXFORD ARTS CENTRE Wexford Arts Centre, in association with Dublin City Gallery The Hugh Lane presented ‘Hugh Lane Centenary Print Collection’ (11 Jan – 6 Feb). Contributing printmakers included Dorothy Cross, Willie Doherty, Barry Flanagan and Keith Milow, Louis le Brocquy, Ciarán Lennon, Anne Madden, Elizabeth Magill, Brian Maguire, Brian O Doherty, Kathy Prendergast, Patrick Scott, Sean Scully and Seán Shanahan.

Also at Wexford Arts Centre, Julie Lequin’s ‘Move Over I Got Ants In My Leg’, a collection of video, performance, drawing and video. (11 Jan – 6 Feb). The gallery notes explained that Lequin “interweaves personal history with fictionalised events and circumstances”. www.wexfordartscentre.ie

PAPERPLANE

kevinkavanaghgallery.ie

Live @ 8, Galway presented a group exhibition of film, installation, multidisciplinary practice and experimental works (Jan 27). The bi-monthly event was described by its curators as “a showcase addressing notions of how place and location [in] everyday life are constructed and understood.” The artists were Jerrod Barker, Hugh Cooney, Amanda Gutiérrez and Sarah Shamash.

FIVE GOLDEN HAEMORRHOIDS

www.stonegallery.ie

JAKI IRVINE

Jorge Pardo, Oliver, Oliver, Oliver, 2004

The Irish Museum of Modern Art (IMMA), Dublin is currently showing the first Irish solo presentation by CubanAmerican artist Jorge Pardo (18 Feb – 3 May). Curated by Rachael Thomas, Senior Curator: Head of Exhibitions, IMMA, the exhibition is described “a challenging retrospective that uses the architecture of the Museum to embrace the world of swiftly changing technology and question how art can be innovative and relevant in the 21st century”. The exhibition, comprises a single work in the form of photomural wallpaper covering the walls of the entire East Wing Galleries – the piece depicts, in chronological order, all of the artist’s work since the late 1980s, ranging from sculpture and installations to design and architecture.

Paperplane – promotional image.

Noel Brennan, Five Golden Haemorrhoids

The Highlanes Municipal Art Gallery, Drogheda recently showed its first sitespecific exhibition, Noel Brennan’s ‘Five Golden Haemorrhoids’ (28 Jan – 2 Mar).

The press release explains “since 2008, Brennan has been developing a suite of new works that mine the historic location of Highlanes Gallery for latent missives and tensions. This led to a series of interventions and works which are positioned at coordinates within the space and its social function.”

‘Paperplane’ at the Joinery, Dublin presented works by Caline Aoun, Niall De Buitléar, Guestroom and Vera Klute (2 – 9 Feb). Curated by Mary Conlon, the exhibition was inspired by issues arising from an internet search engine’s endevour to digitise books. As the press release put it “Fears that the world’s ‘last library’ might be controlled as a commercial enterprise have sparked debate about the future of literature in light of the proliferation of virtual records as well as the simultaneous decline of readership”. www.thejoinery.org

MICHELE HORRIGAN Frankfurter Kunstverein, Germany presented ‘Conspiracy’, an exhibition of film and photography by Michelle Horrigan (4 Dec 2009 – 4 Jan 2010). The press release noted that “Horrigan plays with the ideas of sinister superstition surrounding birds, considering folklore that ravens represent lost souls and magpies cause foreboding and worry.” www.fvk.de

GUBU The Exchange Gallery, Temple Bar, Dublin, presented ‘Gubu’, an exhibition

www.dublincity.ie

T-SHIRT ART

NIGHT IN A CITY

WE’RE ALL THE SAME NOW The Old Crumlin Road Jail, Belfast, hosted ‘We’re All the Same Now’ an exhibition of site-specific artworks by two cross-disciplinary artists, Lisa Malone and Sam McKee (5 – 20 Dec 2009). As the press release noted the artists “came together in mutual fascination of the jail’s interior—the world within a world. The space has unique qualities and histories to address.

It is a consuming, intimidating atmosphere, which the artists accommodate and at times challenge.”

personal projection of Gallagher’s own experience with the Irish economy and Irish politics. He adopts the persona of

exchangedublin.ie/newsite

LEAN-TO at Commonplace Studio One, Dublin (13 – 27 Feb). As the press release outlined the exhibition / event considered “the resourcefulness of explorers, hermits and wanderers, with works varying from The Rubicon Gallery, Dublin is showing ‘Night In A City’, a collection of new paintings by Eithne Jordan (10 Feb – 20 Mar). The press release describes the exhibition as “the result of two working trips to Vienna, [one] in the dead of winter. Jordan’s handling of paint reveals an intimate portrait of a city left for a moment to be simply itself.” www.rubicongallery.ie

Pretty Vacant, an arts initiative set up in 2009 to repurpose vacant properties in Dublin recently held their premiere exhibition, entitled ‘Body Conscious’ featuring the work of Olive Barrett (15 – 17 Jan). Barrett created satirical T-shirts that re-used actual slogans and headlines cut from women’s publications “to examine the pressure for perfection placed on men and women by the fashion and media industries.” www.prettyvacantdublin.com

was described in the press release as “a

films”

Eithne Jordan Night Street XVI Oil on Canvas 2009

Olive Barrett - work for Pretty Vacant

Garvan Gallagher (5 – 14 Feb). The show

Lean-to’ took place over seven evenings

The LAB, in collaboration with Draíocht, presented Jaki Irvine’s ‘City of Women’ (14 Jan – 27 Feb). The work comprised of a short film shot on Dublin’s Foley Street, that presented “a diverse range of women, enacting twenty-nine gestures with intimate precision.” The exhibition is inspired by William Hogarth’s 1732 series of prints, A Harlot’s Progress.

www.kennethanger.org www.jdiff.comwww.ifi.ie

of new work by Dublin photographer

Gubu the clown in a series of short

www.highlanes.ie

Jaki Irvine City of Women (Still / Installation view)

ANGER SEASON A season of films by Kenneth Anger were presented during February by the Jameson Dublin International Film Festival and the IFI (21 – 27 Feb). The press materials for the season noted that “Anger’s work constitutes a radical critique of Hollywood, often evoking and referencing pop icons within occult settings and depicting youth counterculture in the midst of violence and eroticism”. The retrospective season featured three programs of Anger’s work including some of his most influential and experimental films such as Fireworks (1947), Scorpio Rising (1964) and Lucifer Rising (1972).

www.imma.ie

bar8.ie/liveat8.php

BIOGRAPHY The Stone Gallery, Dublin presented ‘Biography’, an exhibition by Gemma Gallagher and David Turner (4 Jan – 13 Feb). As the press release explained “Gallagher’s work explores the romanticism of conflict and war; [She uses] imagery of landscape and nature as a metaphor for cultural identity and nationalism. Turner’s practice stems from photographs used in the media when the violence was at its worst in Northern Ireland.”

JORGE PARDO AT IMMA

drawings,

projections,

vernacular

furniture, city farm solutions and gestures of hospitality. The show was curated by Rosie Lynch and featured the work of Sarah Lincoln, Jennie Moran, N55, Superfolk + Jo Anne Butler, Andrew Vickery, Jana Zitzmann. www.leantoproject.com

Get into The Roundup ■■ Simply e-mail text and images for

the roundup to the editor

(jason@visualartists.ie).

■■ Your text details / press release

should include: venue name,

location, dates and a brief

description of the work / event.

Inclusion is not guaranteed, but

we aim to give everyone a fair

chance.

■■ Our criteria is primarily to

ensure that the roundup

section has a good regional

spread and represents a

diversity of forms of practice,

from a range of artists at all

stages in their careers.

■■ Priority is given to events taking

place within Ireland, but do let

us know if you are taking part

in a significant international

event.

8

The Visual Artists’ News Sheet

March – April 2010

NEWS

News AC Projects Awards On Monday 9 February, the Arts Council made a preliminary announcement of a new series of Project Awards that will be made available to individuals and organisations for activities commencing in 2010. The Project Awards in Architecture, Arts Participation, Circus, Dance, Film, Literature, Music, Street Arts and Spectacle, Theatre and Visual Arts will replace the project awards that were previously known as New Work and Once-off.

Organisations in receipt of funding under any of the main Arts Council grant programmes (Regularly Funded Organisations, Annual Funding, Annual Programming Grant) will not be eligible to apply, with the exception of visual arts studio groups that have received funding under Annual Funding and Annual Programming Grant for 2010 and who have been specifically advised in writing that they should in future apply to the workspace/studio grant scheme. Organisations who have received funding for the first 4 months of 2010 but whose application for grant aid for 2010 was unsuccessful are eligible to apply.

The deadline for all the above awards will be 5.30pm on Thursday 1 April 2010 for applications that are submitted online. The deadline for applications submitted in hard copy will be 5.30pm on Thursday 25 March. From 26 February 2010 the Arts Council will make available on its website full information on each of the above awards.

Additional details are not available in advance of this date. www.artscouncil.ie

2010 Davy Portrait Awards The shortlist for the 2010 Davy Portrait Awards has been announced. From 300 submissions a total of 28 portraits were chosen by a judging panel comprising of Rosie Broadley, Associate Curator of Contemporary Collections at the National Portrait Gallery in London and Brenda McParland, curator and contemporary arts management professional. An exhibition of shortlisted works takes place at the Naughton Gallery at Queen’s University in Belfast from 26 February and at Farmleigh in Dublin in April 2010.

The Davy Portrait Awards, organised by Davy stockbroking, wealth management and financial advisory services in association with Arts & Business, is open to artists working in traditional and non-traditional media.

The winning artist will be announced at a special ceremony in Belfast on Thursday 25 February 2010, with a prize of £10,000/€11,750 being awarded to the winner.

Shortlisted artists include Michael Bell, Comhghall Casey, Carey Clarke, Con Cremin, Ian Cumberland, Daniel Mark Duffy, Carmel Fenlon, Graham Flack, Alan Freney, Aoife Hand, James Hanley, Emmet Kierans, Vera Klute, Miseon Lee, Eoin Mac Lochlainn, Cian

McLoughlin, Colin McMaster, Nick Miller, John Murphy, Mick O’Dea, Will O’Kane, Francis O’Toole, Bernie Prendergast, Oisin Roche, Neil Shawcross, Blaise Smith, Benita Stoney and Paul Wilson. www.davyportraitawards.com

Arts Council Funding 2010 The Arts Council (An Chomhairle Ealaíon) announced the allocation of its major grants for 2010 at the beginning of February. This year it has distributed more than €49 million to 354 organisations in the arts sector.

Organisations were officially informed of the outcome of their funding applications in correspondence distributed by the Arts Council on 29 January.

Budgetary cuts left the Arts Council with €9 million less to invest in the arts in 2010 than in 2009, and with result funding to the visual arts across the Council’s three major grants programmes (Regularly Funded Organisations, Annual Funding and Annual Programming Grants) dropped from €5,063,157 in 2009 to €4,209,700 in 2010. 313 organisations in the arts sector saw a decrease in funding for 2010 compared to 2009 while some will cease to receive funding, 24 were offered the same level of funding as in 2009 and 10 received an increase in funding. Overall, 410 organisations applied for funding and despite the decrease in the value of allocations across art forms, the relativity of allocation between art forms supported by the Arts Council remains similar to previous years.

The Arts Council has stated that in the allocation of funding for 2010 it sought to ensure that organisations could continue to maintain a standard of excellence in the provision of services to audiences, while also maintaining a regional balance and an emphasis on supporting artists in the creation of new work. The Aosdána cnuas, a stipend paid to qualifying Aosdána members, has been maintained at the current level. In addition, the Arts Council has allocated 20% of its direct funding to projects and awards and reduced its overall administrative budget by 30% from its 2008 level. www.artscouncil.ie

IMMA 2010 Programme On 27 January 2010, Dr Martin Mansergh TD, Minister of State with responsibility for the Arts, officially launched the Irish Museum of Modern Art’s programme for 2010. Highlights of the 2010 programme at IMMA in Kilmainham, Dublin 8 will include major solo exhibitions by Cuban-American artist Jorge Pardo, Irish artist Anne Tallentire, Belgian-born Francis Alys and Spanish painter Ferran GarcÌa Sevilla.

2010 will also feature an exhibition based on the work of American composer Morton Feldman and his circle, the exhibition of new donations to IMMA’s Collection and a special exhibition

promoting engagement in the visual arts by people with disabilities. A new initiative designed to enhance primary schools pupils’ enjoyment of the museum’s collection was also announced. IMMA’s ongoing programme of free guided tours, lectures, workshops, talks and seminars is set to continue, as well as the museum’s Artists Residency Programme and the National Programme which sees selected works from the IMMA Collection tour venues around the country.

The ‘Altered Images’ exhibition which allows groups and individuals with disabilities to access artworks through a variety of multi-sensory devices will also return to IMMA in 2010 following its presentation in Mayo and Tipperary in 2009. www.imma.ie

MAC Arts Centre In December 2009 The Arts Council of Northern Ireland announced that the construction of the new MAC arts centre in Belfast’s Cathedral Quarter was due to commence before Christmas and on 21 January 2010 an official breaking of ground ceremony took place. The new six-storey arts centre will house two theatres, dance and rehearsal studios, a large exhibition space for visual art, a café and public access areas.

Speaking at the event, Rosemary Kelly OBE, Chairman, Arts Council of Northern Ireland extended her congratulations to the Board and staff of the ACNI, one of the main public funders of the centre, on taking a crucial step forward in the development of the new arts venue. She highlighted the important position that MAC will have both in the regeneration of Belfast and to the arts infrastructure in Northern Ireland as a whole. Overall the project will cost £17.56 million. The principal public funders for the MAC arts centre are the Northern Ireland Executive’s Department for Culture, Arts and Leisure (£10.76 million), the Arts Council of Northern Ireland (£5.25 million), the Department for Social Development (£550,000) and Belfast City Council (£560,000). www.artscouncil-ni.org

Red Stables Website The Red Stables’ Artists in St. Anne’s Park, Raheny have launched a new website at to enhance communication and creative exchange between Red Stables’ artists past and present, and to provide a public platform for artists to profile current projects and work in progress. The website offers resident artists with an opportunity to develop a network of peers who have a shared experience of working in the studio spaces at The Red Stables and provides a platform to discuss and develop ideas within this network of support.

The Red Stables houses 9 artists’ day studios, an Irish Artists’ Residential Studio and an International Residential Studio. The provision of these studios is part of Dublin City Council Arts Service Plan 2006-2009, and was developed in response to the critical lack of working spaces for artists working in Dublin today. The work spaces are managed by Dublin City Council Arts Office. www.redstablesartists.com

Glucksman Re-opens President Mary McAleese officially re-opened the Lewis Glucksman Gallery in Cork to the public on Friday 22 January 2010 with the exhibition ‘Thingamajig’ marking the celebration of the gallery’s 5th birthday and its re-opening following flood damage in November 2009.

The gallery at UCC suffered extensive flood damage to the basement level on the evening of Thursday 17 November 2009 and has been closed to the public since then to allow for the reinstatement of gallery facilities including the art store in which over 200 artworks were housed at the time of the flooding. Many of these works required emergency conservation and several that have been successfully conserved will be exhibited at the Glucksman’s re-opening alongside information on the conservation process and a photographic slide show of the flooding damage and recovery operation.

In the past 5 years the Glucksman Gallery has established itself as a major cultural destination, with annual visitor

numbers exceeding 70,000. The Department of Arts, Sport and Tourism provided the Glucksman with a €75,000 grant for its recovery fund to enable the gallery to continue to provide access to the research, creation and exploration of the visual arts in Ireland. In addition, a number of fundraising projects will take place in 2010, including the production of a limited-edition print by Cork photographer Clare Keogh. Glucksman Director Fiona Kearney will present President McAleese with one of these prints at the launch on Friday. www.glucksman.org

Galerie Gruppe 11 Irish artist John Power has become one of the founder members of Galerie Gruppe 11 in Berlin’s Friedrichshain district along with fellow-artists Alexander Prokopiev (Russia) and Hendrik Voerkel (Germany). Galerie Gruppe 11 will open in Landsberger Allee at the end of April 2010. All three artists involved in establishing the new space belong to the Baumwollspinnerei group of artists based in Leipzig.

The Baumwollspinnerei, once the largest cotton mill in Europe, is famous as the base of various members of the Leipzig school of painting and galleries such as Eigen + Art. Galerie Gruppe 11 will exhibit the work of artists from Leipzig, Berlin and overseas. www.gruppe11.net

Cut to NI arts Budget The Arts Council of Northern Ireland announced that following the proposed budget announcement made on 11 January 2010 by the Minister of Finance of a £367 million budget cut across the Northern Ireland Executive’s government departments in April 2010, the Minister for Culture, Arts and Leisure, Nelson McCausland, has indicated that the ACNI should plan for a budget cut of approximately £1.1 million in 2010/11.

Based on the government’s 3-year budget projections announced in 2008, the Arts Council of Northern Ireland

The Visual Artists’ News Sheet

9

March – April 2010

NEWS had been expecting an increase of £1.55 million in funding in 2010/11. The ACNI’s parent department, the Department of Culture, Arts and Leisure (DCAL), is set to lose £25.9 million, making it the second hardest hit of Northern Ireland’s government departments in proportional terms.

The Chairman of the Arts Council, Rosemary Kelly OBE has said that the ACNI is disappointed at the prospect of the cut to the arts budget and the consequences that it will have on artists, arts organisations and venues in Northern Ireland. The ACNI stated that it would continue to campaign on behalf of the arts sector in the remaining 6-week consultation period that remains before the budget for 2010/2011 are finalised. www.artscouncil-ni.org

New Arts Council Publications The Arts Council of Ireland recently published two new research reports on visual artists’ workspaces and public engagement with architecture.

In December 2007 the Arts Council commissioned ‘A Review into Visual Artists’ Workspaces’ with a view to both assisting the Arts Council in its own approach to supporting the sector and to provide the Council with a platform to highlight the precarious position of visual artists’ workspaces and advocate for greater provisions in this area. The

report was completed by CHL Consulting Company Ltd in late 2009 and includes a survey of existing visual artists’ workspaces; their ownership, management and facilities; issues and challenges facing artists’ workspaces; a range of findings; and both national and international case studies. The review is now available to download from: www.artscouncil.ie/Publications/ ReviewVisualArtsWorkspaces.pdf In 2008 the Arts Council commissioned research into ‘Public Engagement with Architecture in the Republic of Ireland’. This report was commissioned with the intention of advancing the commitments set out for architecture in Partnership for the Arts.

Prepared and delivered by Mullan Consulting, the report includes a number of proposed options for enhancing support for public engagement with architecture which will be used to assist the Arts Council in identifying a number of ways in which it can contribute more significantly to public engagement with architecture in the future. The report is now available to download from:

Butler Gallery Relocation The Butler Gallery, in partnership with Kilkenny County Council and Kilkenny Borough Council, has announced the gallery’s relocation to the Evan’s Home on Barrack Lane, John Street, Kilkenny.

Following a competitive process through Public Procurement the gallery has announced that Dublin based firm McCullough Mulvin Architects is to oversee the Butler Gallery’s relocation to the Evan’s Home.

The project will involve the partial conservation of the existing Evan’s Home and the development of a new addition that will accommodate the Butler Gallery’s permanent collection as well as space for temporary exhibitions and education facilities. A gallery dedicated to the display of works donated by the estate of the late Kilkenny artist Tony O’Malley is also planned. The first phase of the development has been made possible by a grant provided by the Department of Arts, Sports and Tourism through ACCESS II funding 2007-2009 and the balance will be met by the Kilkenny County Council and Kilkenny Borough Council.

www.artscouncil.ie

www.butlergallery.com

DCC Bursary Awards 2009 Dublin City Council Arts Office has announced the recipients of its Arts Bursary Awards 2009 in five categories including Visual Arts, Music, Dance, Drama and Literature. Dublin City Council Arts Bursary Awards aim to support recipients in advanced studies and in the development of professional skills and projects with awards of up to €4,000.

Recipients were selected following an open call for applications from artists based in Dublin city. This year artist Tara Fitzgerald was selected for the DCC Arts Bursary Awards in the Visual Art category. Fitzgerald received €2,000 to assist her in her 3rd year of an Architecture degree at UCD, which she hopes will extend and inform her visual art practice.

Other bursaries were awarded to George Higgs and Brian Fleming for Music; Michelle Cahill for Dance; Robert Sinnott for Drama; and Claire Coughlan for Literature.

Deutsche Börse Prize Belfast born photographer Donovan Wylie has been nominated for the prestigious Deutsche Börse Photography Prize 2010 alongside Anna Fox, Zoe Leonard and Sophie Ristelhueber. Wylie has been shortlisted for his exhibition 'Maze 2007/8' which was on show at Belfast Exposed last year.

The Deutsche Börse Photography Prize 2010 is an annual award of £30,000 that rewards a living photographer of any nationality who has made the most significant contribution in exhibition or publication format to the medium of photography in Europe between October 2008 and September 2009. The 2010 Prize will be presented to the winner by The Photographer's Gallery in London on Wednesday 17 March 2010. An exhibition of work by the finalists is currently on show at the gallery and runs until 18 April 2010. Later in 2010 the exhibition will travel to the C/O Berlin and the Deutsche Börse Group headquarters in Frankfurt, Germany.

Donovan Wylie was born in 1971 and began his career as a photographer at the age of 16. In 1992 he become a nominee of Magnum Photos and in 1998 he became a the youngest full member in the history of the agency. Wylie’s work explores religious identity, history and the concept of territory in Northern Ireland and the architecture of conflict.

His work in the Maze prison was made between 2002 and 2003 when he was granted official and unlimited access to the Maze. www.photonet.org.uk

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Holly Dungan, Untitled, 26 x 18 cm, Ink on Watercolour Paper, 2010

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In association with The Crafts Council of Ireland 9 April– 29 May 2010

March 26th 2010 2.30 pm – 6 pm Stack Theatre CIT School of Music Union Quay Cork

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10

The Visual Artists’ News Sheet

March – April 2010

Regional

Profile

Visual Arts Resources & Activity in Co. Clare X-PO

Critical Attention

Fiona Woods Folly, event-based temporary public artwork – steel, wood, concrete, rope, anchor, ocean, North Clare, 2009.

X-Po Xmas party Christmas 2009. Photo Peter Rees

Fiona Woods Alignment. Maria Kerin in performance with study for Folly (stage 2), various materials suspended, Courthouse Gallery, 2009.

It is six years since the last VAN focus on Clare and during that time the visual arts here, as elsewhere, have experienced a rise and fall in fortunes. In 2004 I was still the Regional Arts Coordinator for North Clare with responsibility for Visual Arts; when I left in 2008 to take up another position, the post was not re-advertised, and further reductions in Clare Arts Office staff and resources have had an inevitable effect on visual arts programming in the county.

In 2008 I took a studio in the revamped Courthouse Gallery & Studios in Ennistymon. This facility adds a vibrant dimension to artistic practice in North Clare and I have benefited from the space that it creates for geographically dispersed artists to meet, work, socialise, network and collaborate. The gallery coordinator, Trudi van Elsen, recently initiated an exhibition programme called ‘Mutual Exchange’ in which the curated artists are asked to invite someone to collaborate with them on a work or exhibition for the upstairs project gallery. I recently worked with artist, curator and choreographer Maria Kerin on an experiment to bring our practices temporarily into alignment; the collaboration unfolded in unexpected ways that were interesting and challenging for both of us.

This kind of fresh approach to exhibition programming is good news for visual arts practice in the area.

I’m currently working on a self-initiated public art project, Folly, a series of temporary constructions and events exploring the idea of ‘public’ around where I live in North Clare. The works are acts of deliberate foolishness, both premeditated and unforeseen, which I began during a recent MA in Dublin. Spending time in Dublin reminded me again of the relative invisibility of artistic practices outside the capital. My interest in the theory and practice of art beyond the metropolis

Fiona Woods common. work in progress for poster – collection of minds (#1), 2010.

has led to my involvement in various projects and networks that bypass that relatively closed metropolitan art world. I am currently participating in Rhyzom, a European collaborative network for local cultural production and trans-local dissemination, carrying out a project titled collection of minds (#1). I am also involved in the European Art and Agriculture Network, a Littoral UK project.

In 2007, in response to the lack of critical attention for art outside the cities, I initiated a partnership project for Clare Arts Office which resulted in Verge, an occasional art journal. Just recently launched, Verge is intended as a platform for exploring alternatives to the prevailing discourse in contemporary visual arts in Ireland and internationally, and I hope it will stimulate some debate. This project followed logically from the Ground Up programme of art in rural contexts that I curated for Clare Arts Office; although that programme ended in 2008, the independent Ground Up artists’ collective (established to maintain creative networks formed during the programme) continues to flourish. It has 16 members and a new website under construction.

In spite of all this activity, I am currently making very little money from my practice! As funding and earning opportunities for artists are reduced, the necessity of being inventive and creative with next-to-nothing will present a real challenge. The advocacy role of Visual Artists Ireland has never been as crucial for artists as it is right now.

Fiona Woods www.fionawoods.net www.collectionofminds.net

Megs Morley Penning the Marts installation the X-PO November 2008.

Photo: Deirdre O'Mahony.

Deirdre O'Mahony. Mattie Rynne. Wall drawing. Soot on plaster, 2007.

Photo. Ben Geoghegan.

The X-PO project was set up to test ideas that emerged from my practice-led research in the rural west of Ireland. I wanted a long-term public exchange process that could allow for open discourse on notions of ‘belonging’ with / in rural communities in North Clare. I re-opened my local post office in Kilnaboy, North Clare in December 2007 with the aim of providing a space for public, collective reflection: a reviewing, recalling and renewal of core values and priorities. By re-activating the post office; a place with a history of being a site of exchange and social contact, the intention was to enable the articulation of community history(ies) from within and without.

The initial programme of context specific events and exhibitions dealt with a number of issues affecting rural communities; relations between locals and newcomers, the impact of tourism on small rural communities and the effects of regulation on agricultural practices and local ecology. These events ran in tandem with social clubs and groups that began to use the space in 2008. The artworks generated a dialogue around the cultural authority of public “exhibitions” and began an process whereby a mapping group and a local history research group used the space to publicly frame and represent alternative accounts of local knowledge which are now available for reference in the X-PO.(1) The primary objective was that X-PO becomes a self-sustaining social and cultural space. Public meetings were held with the intention of creating a structure that would actively involve newcomers and locals. Teams were set up in August 2008 and the responsibility for running the space passed to the community. Clubs are active and exhibitions continue to be held in the space though not on a continuous basis. The Mapping and Tracing group run a monthly gathering where different individuals bring specific local knowledge to the table, freely exchanging information on aspects of the area from caves to dry-stone walls, Cillíns and Holy wells.

The next exhibition in April 2010 is ‘Wise Ways Kilnaboy’ which follows the exhibition in March 2009 of ‘Wise Ways’ by visitors at Raheen

Day Hospital in East Clare. (2) ‘Wise Ways’ will consist of fired red clay relief works made in workshops facilitated by Terry O’Farrell and the Irish Museum of Modern Art, in Kilnaboy primary school and at the X-PO. These will be exhibited alongside the stories recalled in the works of ways of “making do” adding to the communal archive of rural knowledge.

X-PO continues to function, entirely run by volunteers. Like other local activities, the space is dependent on the generosity of the community and donations and fundraising by users covers the costs of rent, heating and insurance of the building. A collective decision was taken by the teams to close during the summer months (June to September) saving funds and acknowledging the busiest time of the farming year. X-PO re-opened in September 2009 and is presently in use four nights a week.

Re-opening the post office has stimulated discussion on how to maintain an active, inclusive, social community whilst remaining in contact with the knowledge and sense of place that comes from reflexive consideration and involvement with the locality. This discourse does not assume that all participants represent everyone in the area, nor that there is only one possible form of participation or organisation. Rather, the various groups have come to a provisional understanding; formed, articulated and made visible through connections and actions made within the space.

Deirdre O’Mahony http://x-po.ie/. xpo.community@gmail.com http://x-pokilnaboy.blogspot.com/ Notes (1) Four separate archives covering different aspects of local knowledge have been created and are kept on site. The Mattie Rynne archive of the former postmaster, the Rinnamona Research Group archive of new research on an authoritative anthropological study by Arnesberg and Kimball, much of which was based on a townland in Kilnaboy, Family and Community in Ireland. A Mapping Group archive naming and tracing the occupancy of every house and ruin in the parish of Kilnaboy and Peter Rees’ archive of over 27,000 photographs taken over 25 years which was curated and represented in an exhibition of community history.

(2) This work was made at the Raheen Day Hospital in East Clare in 2007, facilitated by artist Terry O’Farrell for The Iniscealtra Arts Festival and joint funded by the Irish Museum of Modern Art, The Iniscealtra Arts Festival and the Hospital Support Group. IMMA then funded the artist to run workshops in Kilnaboy National School and at the X-PO.

The Visual Artists’ News Sheet

11

March – April 2010

Regional Profile

BCA & Ground Up The most significant visual art institution in Clare is The Burren College of Art (BCA) in Ballyvaughan.

As well as providing undergraduate and postgraduate courses to an international community of students, it exists as a focal point for art activity in the North West of the county, and a couple of times a year it becomes a meeting point for an international artistic community when major exhibitions, seminars and festivals happen.

Founded and run by local people, it provides an original model for art education in Ireland. A notfor-profit charity, it derives its operational income from unsubsidized fees, being outside the state system of third level colleges and universities. Its courses are accredited by NUI Galway and operated in association with the Royal College of Art in London and the School of the Art Institute in Chicago. Many students benefit from the College’s merit-based scholarship fund and also receive grants and financial assistance from local authorities to attend the college. Students have an international profile – American, African, European and Irish artists come to live and work in the Burren for two years, mixing global with local cultures and establishing a rich community along with the BCA faculty, all local and practicing artists themselves.

BCA’s location in the Burren defines its identity and how it functions. The dramatic landscape provides a backcloth for the reformulation of contemporary understandings of place, land and rural identity. The international community ensures these debates and the art practices that derive from them remain globally relevant. BCA is not, however, exclusively a centre for landscape based art, we are a contemporary art college with a broad contemporary cultural Seven years ago, when the VAN last ran a Clare focus, we were instigating an MFA and Post Baccelaurate course at the college and the PhD in Studio Art has since been added. These courses have proved successful and we have seen dozens of students graduate. We enjoy strong undergraduate student numbers, 30 – 40 each semester from colleges all over the United States on study abroad programmes. We also have a popular programme of artist residencies alongside a series of visiting artists talks (open to the public) happening every

Staying for the People Wednesday. Information on these talks can be found on the website. www.burrencollege.ie BCA finds itself now in a vanguard position in Irish education as State institutions will be required to develop specialisms to function as ‘pockets of excellence’ in the future. BCA already exists as a highly concentrated academic organisation, focused on Fine Art practice and developing into new areas of creative studies. It aims to be a centre of creative learning for professional artists and creative people from every walk of life. It aims to exist as a community resource, one of its public facilities being the BCA Gallery, one of the largest exhibition spaces in the west of Ireland which hosts the international Burren Annual alongside student shows throughout the year. The Gallery hopes to see itself more in service of Irish art and public audiences for art in the future.

I have been working at BCA as Head of Sculpture since 1999. I am also involved with the Ground Up artists collective since 2003, and currently its chairperson. The Ground Up Artists Collective is an artists group set up to create and support contemporary art in rural contexts. The group promotes and advocates for rural based art projects and events, which engage with communities of place or communities of interest. Having enjoyed success with previous projects in recent years, GUAC is continuing to develop new projects based around counties Clare and Galway. We hope to further extend the GUAC artistic reach, as we have members around Ireland.

The advantages of involvement with an artists organisation like GUAC are many, especially for the recently graduated or those in their early careers.

Such an organization provides a readymade profile and platform for artists and can function as a buttress for those on the typically solo path of art.

This becomes even more important in the rural context as any ‘art world’ is generally a city away.

Urban centres offer instant communities, markets and media to artists. To survive and thrive in a rural place, we need to generate these communities and contexts for ourselves. For more information see www.groundupartists.com Dr Áine Phillips

Some Clare Contacts Siobhan Mulcahy, Arts Officer, Clare County Library, Mill Road, Ennis, Co. Clare.

T: 065-6821616 E: siobhan.mulcahy@clarelibrary.ie The Stables Studios, Tulla, Co. Clare T: 065 6846267 E: arts@clarelibrary.ie Glor, Causeway Link, Ennis, Co. Clare E: gallery@glor.ie www.glor.ie Ennistymon Courthouse Gallery and Studios, Ennistymon, County Clare.

T (0)65 707 1630, E: ennistymoncourthousegallery@gmail.com

Ground Up Artists Collective www.groundupartists.com Burren College of Art , Newtown Castle, Ballyvaughan, Co. Clare T: 065 7077200 E: admin@burrencollege.com www.burrencollege.com Courthouse Studios, Parliament Street, Ennistymon, Co. Clare.

T: 065 7071630 / 065 7072592

Mrua Gallery Bellharbour, Ennis, Co. Clare T: 061 713647.

E: mrua@indigo.ie

On The Verge of Verge

Shane Cullen. Cover Artwork for Verge.

Kathleen Moroney. Second Generation Public Art Commission by Clare County Council. Photo: Kathleen Moroney

Throughout the ages, the Clare landscape has inspired many artists, writers and musicians. The landscapes and seascapes of the West of Ireland are legendary; and Clare has some of the best. However, while many artists may come for the spectacular scenery, it is often for the people that they stay.

Many often allude to a sense of place, but it is more than that – it is a sense of people, a sense of time, a sense of the spiritual.

As Clare Arts Officer for the last decade, it is an interesting juncture to look at the development of the visual arts in the county. What has been achieved is quite staggering, and where we are going has the potential to be breathtaking. The immediate concerns of Clare artists as we entered the new millennium were based around opportunities to exhibit and access to work opportunities. Whilst these are still ongoing issues, the development of state of the art exhibition facilities in the county has opened up numerous possibilities for artists. In the last decade we have seen the opening of Glor in Ennis, the Ennistymon Courthouse Gallery and Studios and the gallery at the Burren College of Art. Work opportunities have arisen for artists through schemes such as the ‘Artist in Schools’ scheme and the ‘Embrace’ Scheme run by the Arts Office, as well as a plethora of initiatives which have arisen from community groups, festivals etc.

However, it is the nature of the work being undertaken that is so exciting. The complexities of living in a modern rural county in Ireland are being addressed. Significant inroads have been made in recent years in developing projects in the public realm that consider the ‘rural’; projects that have generated discourse, debate and some very fine artworks. ‘Ground Up’ was a major public art project that took place over almost five years in which the Arts Office, led by artist Fiona Woods, commissioned artists to develop insightful projects, that challenged perceptions (not least those of the participating artists themselves).

From this developed Shifting Ground, an ongoing partnership project with Galway Mayo Institute of Technology which was responsible for the Shifting Ground Conference in Ennis in 2006 and the Rural Arts Module, designed by Deirdre O’Mahony at GMIT. Furthermore, it has been instrumental in the development of VERGE, (see article by Suzanne O’Shea).

Whilst all these developments are exciting in their own right, it is the general influence that they have had over the last number of years on artists own work that will be their greatest legacy. The interests of local artists have expanded beyond what they thought was expected of them, to become what they expect of themselves. How they now comment through their work and the confidence that has emerged in their own work and how it sits locally, nationally and internationally is heart-warming.

Clare artists have a determined streak in terms of getting their work out there, and long may that continue, but be warned, it is now a determined streak to get their work out there on their own terms and I for one cannot wait for what the next decade will bring!

Siobhan Mulcahy

Verge is a partnership project with the support of the Arts Council of Ireland Local Authority Partnership Scheme. Emerging from the West of Ireland, it was initiated by Local Authority Arts Officers from counties Clare, North Tipperary, Galway, Mayo, Roscommon, Leitrim, Sligo and Donegal in association with the Shifting Ground project represented by the Galway-Mayo Institute Technology, Department of Creative Arts.

The publication arose from a sincere desire among its participants to make available an alternative to current visual arts publications. It seeks to redress an imbalance in the coverage of arts initiatives informed by the public and sited on the margins of a more centralised visual arts discourse.

Its stated aim is to function as “a critical platform for exploring alternatives to the prevailing discourse in contemporary visual arts practice in Ireland and internationally. It suggests an edge that is perhaps spatial but that is equally about transition, potential, emergence, as much as marginalisation and invisibility”.

It has taken a great deal of work to produce and has been over two years in the process and planning.

It is the brainchild of Project Co-ordinator Fiona Woods, who devised the project while working with Clare Arts Office. Following on from a number of successful rural arts initiatives, as well as a very successful conference at Glor Arts Centre in Ennis Co. Clare in 2006, it is envisaged that Verge could function as an ongoing critical platform for a variety of speaking and viewing positions around issues related to arts in a rural or ‘rurban’ context. Verge showcases the artistic and writing talents of a number of people who in coming together have collectively given an infinitely varying voice to the idea of a verge or edge of experience where balance and communication between different symbolic orders might just become possible.

From Alice Lyons’ luminous prose to the perceptive irreverence of Dominic Stevens’ comic strip, to Jo Slade’s poem Neutral and Christina Peppard’s 100 words on ‘Rural’, there is a sincere effort here to include, to move towards an openness of discourse and to, in Alice Lyon’s words, transcend the “obdurate, insidious boundary”, to search for an alternative to hegemonic discourse. Maja and Reuben Fowkes here search for an antidote in contemporary art while Lyon’s quotes the artist Krzysztof Wodiczko “The community can only be legitimate when it questions its own legitimacy” a strand teased out by John Mulloy in his article Anything – as long as it is not a sculpture!

Gaynor Seville gives a local authority perspective on public art, while Sarah Glennie asks the pertinent question What do we really need from Public Art? Littoral rethinks critical art practice in the context of EU agriculture reform and rural development policy while Tim Stott ponders the realities of remote learning. Framed within a new image from Shane Cullen and carefully and pleasingly designed by the excellent Dublin-based Language, the message of Verge is, as writer Jo Byrne states, that “the centre must always be found again, that much is certain”.

While Verge is currently a one-off publication in economically testing times, it is the hope of the team involved in Verge that more issues will follow.

Dr. Suzanne O’ Shea, Head of Creative Arts, GMIT, chaired the Editorial Panel of ‘Verge’.

12

Visual Artists Ireland Professional Development Training Workshops Spring 2010 Omagh, Belfast, Derry, Enniskillen, Newtownards Peer Critique – All Media 12 March 2010. 10 am - 4.00pm. VOID, Derry.

Fee £20 / £15 (VAI members). Places 6 .

This non media-specific workshop is intended to create dialogue and openness between artistic peers in a world where many are starved of feedback and thoughtful responses to their work. It is hoped this session will foster networking and continued peer support amongst participants. Those attending should be open and prepared to respond to others' work and should come prepared with a 10-minute presentation on their work (which will be followed by 20 minutes or so of discussion).

Artists can bring slides, CD ROMs or original artwork to show. The atmosphere will be constructive, supportive and positive. The artist facilitating this workshop will also present and discuss their own work and talk about their career development during the day.

Cross Generational & Reminiscence Work Mid / Late March 2010. 10.30am - 4.30pm. Belfast Exposed.

Fee £20 / £15 (VAI members). Places 10 This workshop will give an introduction to cross-generational and reminiscence work – in particular looking at the Age Exchange approach and model of working. It will focus on the benefits of reminiscence and how this approach can: connect the past with the present; people and communities together; see the other persons point of view; pass on heritage between generations; gives us a strong sense of who we are; helps to us look back and reflect on life and learn from other peoples experiences.

Money Matters for Visual Artists Sat 27 March. 4.45pm – 8.45pm. Higher Bridges Gallery, Enniskillen.

Fee £20 / £15 (VAI members) . Places 10 .

Whether selling your work, submitting a commission proposal or working to a project budget, it is essential to know how to calculate costs and to have confidence that the price you ask will be sufficient to cover expenses and generate an income and funds for future research and developments during the quiet times. This session is an introduction to basic financial accounting and is simplified into a structure that will assist artists with money matters. There are no complex equations; please bring a calculator or abacus.

Writing About Your Work

Fri 19 March 2010. 11am - 5pm. Belfast Exposed.

Fee £20 / £15 (VAI members). Places 10 .

Sat 20 March 2010. 11am - 5pm. Strule Arts Centre, Omagh.

Fee £20 / £15 (VAI members). Places 10.

This workshop will discuss talking and writing about your work in a range of professional situations and assist participants to develop a personal, accessible language around their work. It will also give some guidelines or feedback on proposals and applications that participants bring along on the day and may include feedback on artist statements, documentation and issues to consider when preparing visual packages, application forms etc Working with Public & Private Galleries Wednesday, 21 April 2010. Ards Arts Centre, Newtownards.

Fee £20 / £15 (VAI members). Places 10.

This training session is designed to give artists the confidence and knowledge to build strong relationships with curators and to get the most out of their experience when working with public or private spaces. It will look at: understanding the difference between private/commercial and public/ not-for-profit galleries; researching, targeting and approaching galleries; dos and don'ts in approaching and making proposals or presenting work to public or private galleries; understanding the elements involved in planning an exhibition: timeline, budget and production values; the expectations and motivations for an exhibition from both the gallery's and artist's perspectives.

BOOKINGS Kate Mc Loughlin, Education Assistant , Visual Artists Ireland, 37 Nth Great Georges Street, Dublin1 T: 00353 (0)1 8722296 E: kate@visualartists.ie Further details: http://www.visualartists.ie/Services/sfr_current_progspring10.html

The Visual Artists’ News Sheet

March – April 2010

ARTISTS BOOKS

Artists Books Two Video Works Artist: Angela Halliday. Published: 1 Nov 2009.

Title: Two Video Works. Dimensions: 8 x 10 inches/ 20 x 25 cm. Pages: 84. Format: Soft back.

Contributors: Angela Halliday. Description: A full-colour artist’s book published to coincide with ‘An Exhibition of Two Video Works’ in ADHOC, Belfast. Containing an original script and video stills of two works. Available: http://www. p h o t o g r a p h y b o o k n o w. c o m / b o o k s t o r e / detail/930322 Michele Horrigan Published: January 2009. Artist: Michele Horrigan.

Title: Michele Horrigan. Dimensions: 240 mm x 170mm. Pages: 40. Format: Bound, soft-back.

Contributors: Karen Normoyle-Haugh and John Logan. ISBN: 978-0-9558630-1-1 Description: A catalogue of 7 artworks completed between the years 2006 and 2009. This is Horrigan’s first catalogue. It was published in conjunction with a solo exhibition in Galway Arts Centre.

Residence Published: September 2009. Title: Residence February 2008 - September 2009 Dimensions: A5.

Pages: 38. Format: Soft-backed with hand cut sticker of our logo (house silhouette) on each cover.

Contributors: Written and complied by Sinéad and Sighle Bhreathnach-Cashell, Forward by Ray Cashell, written contributions by Charlotte Andrew, Christopher Burns, Jane Butler, Christopher Campbell, Gerard Carson, Ben Craig, Miguel Martin, Sarah Mc Bride, Catriona Patton, Caroline Pugh, (h) our 8&9, Janis Steadman, Peter Surginor, Nathalie Wuerth & Cecilia Nygren, Images from the artists and bands in residence. Description: This book is a taster of what happened when two sisters wanted to play house and make art with their friends. They formed ‘Residence’ using empty flats for happenings, gigs, residencies and workshops. A year later, and after moving house a few times, over forty artists, musicians and mess makers had been to join in the game. Available: http://residenceni.wordpress.com/ Between Truth & Fiction Artist: Vivienne Dick. Published: September 2009.

Title: Between Truth and Fiction: The Films of Vivienne Dick. Dimensions: 190x145mm. Pages: 100.

Format: (e.g. spiral, stitched perfect bound, hardback/soft-back, etc.): Slipcase containing softcover book and hardcover dvd case with DVD. Contributors: Treasa O’Brien (editor); Bev Zalcock, Rachel Garfield, Maeve Connolly (contributors).

ISBN: 13 978-0-9548569-8-4. Description: A 100 page full-colour publication, with newlycommissioned essays on Vivienne Dick’s work and a DVD of five selected filmsspanning the three decades of her practice. is an internationallycelebrated film-maker and artist. A key figure of the ‘No Wave’ movement in New York in the late 1970s and early 1980s, she has gone on to develop an extraordinary body of work, which has been shown in cinemas, films festivals and art galleries around the world.

Engage Publication: 2009. Title: Engage – three works on the IRA decommissioning of 2005. Author / Artist: Barry W. Hughes. Dimensions: A5. Pages: 30 colour / black-and-white. Format: Hard-back, stitched perfect bound. Print run: 300. Publisher: 411 Galleries, P.R. China. ISBN: 978-1-906713-03-4.

Description: This publications presents a three year project documenting the 2005 IRA decommissioning process – based largely on the language and media coverage at the time. The text comprises of a foreword, context and introduction to three bodies of work. It was produced to coincide with the public exhibition of the works in Jing An

District Culture Centre, Shanghai, China in 2009.

Supported by 411 Galleries, Culture Ireland, Consulate of Ireland in Shanghai and Jing An District Culture Bureau (Shanghai). Available: www.barrywhughes.com On Earth as it is in Heaven Artist: Michelle Rogers. Publication: Sept 2009.

Title: On Earth as it is in Heaven. Pages: 54. Format: Soft back. Contributors: Achille Bonito Oliva ,Ursula Hawlitschka. Description: Catalogue published to accompany exhibition in Aequalis gallery, Rome of solo show by Michelle Rogers.

One Size Fits All Artist: Carol Anne Connolly. Publication: September 2009. Title: One Size Fits All. Pages: 8.

Format: A3 sheet folded into A5 booklet.

Contributors: Richard Douthwaite. Description: A DIY Manual on how to build a SAD machine, a device created usually to combat the symptoms of depression brought on by lack of essential sunlight.

The pubication Connolly’s recent investigations into the current economic climate, focusing on producing art objects that can be utilized in everyday life and freely disseminated through publications.

Available: carolanneconnolly@gmail.com Taking Liberties Artist: Emmett Martin. Published: March 2009.

Title: Taking Liberties. Dimensions: 18cm x 18cm.

Pages: 40 pages. Format: soft-back. Description: A photographic essay taken over a year on the Liberties using the ‘decisive moment’ technique. Available: www.m2ifoto.com Dystopian Domestic Publication: December 2009. Title: Dystopian Domestic. Artist: Aideen Barry. Dimensions: 11 x8.5 inches / 28 x 21.5 cm Pages: 34. Format: Hardback.

Contributors: Dr. Julianne Nyhan, Garvan Gallagher, Aideen Barry, Clare Lymer. Description: A monograph of the artist’s work from 2008-2010.

The publications reflects the artist’s interest in the uncanny and the gothic in contemporary consumer culture. Available: www.aideenbarry.com GRIEF TOURIST Artist: Patrick Hogan.

Title: Grief Tourist: An Encounter with A Quiet Place. Published: January 2010 Dimensions: Available in two sizes (12 inch x 12 inch) and (7 inch x 7 inch). Pages: 80. Format: Double Matt Imagewrapped Hardback (no dust jacket).

Distribution: http://www.patrickhogan.ie Description: Drawing on influences from 19th century painting and American documentary photography, Patrick Hogan’s encounter with a small town in Iceland provides the foundation for a photographic book that weaves together a series of portraits, interior still lifes, images from the landscape and found drawings. The book was made possible with assistance from The Arts Council of Ireland.

YOUR BOOK LISTED HERE If you are an artist and have recently produced (in the last 12 months) a monographic publication, simply email the following details to jason@visualartists.ie – date of publication; title; dimensions; number of pages; format (eg: spiral, stitched perfect bound, hard-back / soft-back etc.); list of contributors; ISBN number (if relevant); short description (two or three lines).

The Visual Artists’ News Sheet

13

March – April 2010

CONFERENCE REPORT

Saoirse Higgins and Erlantz Liozaga from EUVE meeting the director of local Basque radio station Radio Nervion.

TGV hiphop band at UrbanPlaylist workshop in the Museum of Fine Art, Bilbao.

Culture Clash? Not Really ...

Saoirse Higgins reports on ‘Transforming organisations with the arts’, Brussels (9 – 10 Dec 2009) – a seminar focusing on art and business collaborations.

‘Creative Clash: Transforming organisations with the arts’ hosted in Brussels, (9 – 10 December, 2009) presented the results of a range of studies that measured the impact of artistic interventions in business and research fields. The seminar was run by TILLT Europe – a ‘policy grouping’ supported by the EU’s Culture Program Strand Two. The grouping consists of members from TILLT (Sweden) (1); Disonancias (Spain) and WZB Social Science Research Centre, Berlin (2).

I both attended and participated in the seminar. I delivered a presentation on my experience as an artist-in resident with EUVE (European Virtual Engineering) (3) based in Vittoria in the Basque country, Spain. The residency was organised by Disonancias, an organisation that partners artists and companies in Spain for nine months. Disonancias works on the premise that by definition artists are researchers. Myself and Erlantz Loizaga, a Basque engineer from EUVE, talked at the seminar about our experience working with EUVE and the Museum of Fine Art, Bilbao on our project Urbanplaylist – a mobile cultural museum for Bilbao.

The proceedings were opened by Vladimír Sucha, Director for Culture, Multilingualism and Communication and Director General for Education and Culture of the European Commission. Sucha spoke passionately about how the credit crunch and world’s problems were killing “spiritual thinking” in the EU policies. He advocated lateral, creative thinking and emphasised that Europe especially needs artists in these times. Sucha stressed the need for a “creative ecosystem”.

Pia Areblad, project manager of TILLT Europe emphasised that the seminar was concerned with artists’ impact on industry – in terms of research, innovation, competitiveness and productivity – rather than how artists’ practices had been enriched or influenced. As hardheaded and pragmatic as that might have sounded, I at least appreciated the clarity of this position. To my mind it is an obvious determining factor for host companies that they should consider how artists working with them will help their business flourish.

There were some questions from the floor regarding possible creative tensions or culture clashes between artists and their host companies and industries. Artists, for example, having concerns that their host companies have over-instrumentalised or have goalorientated expectations. However, to my mind these concerns were somewhat illusory and polarising, being based on a rather outmoded notion of how artists and companies operate. On the whole, contemporary artists, in terms of their research and problem-solving methodologies differ very little from any other professionals; as well as this most successful companies understand the dynamics of fostering creativity and innovation.

The discussion also touched upon the issue of the legacy of art / industry residencies. It was argued that it would be beneficial to build the means to access and record the impact of the residencies into organisation and funding structures. It was recognised that at the moment this facility was not in place. It was deemed crucial to recognise that a residency’s outcomes were not ‘complete’ merely at the end of the artist’s physical stay with a company, but instead projects should only be regarded as resolved after post-residency reflection and evaluation had taken place.

Pierre Godin, EU Commissioner for Regional Policy on Research and Innovation, stressed that creativity and innovation were essential for research and development. Godin believed that innovation was not limited to the “creative sectors or the high tech industry” but should be available for all in civil society. He posed some interesting questions around art / industry partnerships – “how are the objectives defined between artist and company?” “How do you convince the manager to experiment with the collaboration?” He noted that enlightened

managers were those who would need no convincing of the value of working with artists.

Godin raised the issue of creating a ‘common language’ of co-operation between artist and industry. Again, in my view this set up a false dichotomy between artists and the industrial sector. Artists, especially those who work in public contexts, are nowadays very experienced in negotiating between differing contexts and constituencies. Frustratingly, at times during this seminar, it almost seemed like an official lexicon or toolkit for working with artists was being called for – as if artists were some kind of exotic beings who require special treatment. Thankfully the closing summary address of the day, by Philippe Kern, director general of regional policy, dispelled all these groundless anxieties with great clarity. Kern simply concluded that companies who worked with artists demonstrated an inherent respect and understanding of artists; and that there could be no clearer signal of there appreciation of the value of artists in the risk they took in offering artists access to their processes and technologies.

On day two of the seminar Erlantz and myself made our presentation about our collaboration. Erlantz’s company, EUVE (European Virtual Engineering) specialises in virtual 3D applications for entertainment / television sectors and architectural modelling purposes. My residency research was aligned to their interest in exploring mobile applications for the ‘cultural market’. We noted how our collaboration developed through a love of fine food and good wine.

Indeed, we outlined our own ‘lexicon’ of collaborative terms and protocols based on our interest in eating well – we had all our initial meetings for the project over lunch. This is the typical Spanish way of doing business; and it certainly agreed with me. We were lucky in that we got on and enjoyed working together. I worked primarily with Erlantz on the project and then he translated our interactions into presentations for other EUVE staff.

We developed Urbanplaylist as a ‘test-pilot’ project – which included some aspects and interests of mine, which I wanted to work on from an artistic point of view, along with elements that EUVE wanted to test and explore. This type of combination of interests is what I would regard as typical for an art / industry placement project.

My ‘value’ to the company was as a creative catalyst, assisting them to develop ideas for their exploration of the mobile media market. As well as this, my work highlighted the need to develop further time and opportunities to properly define what they wanted to do in terms of artistic / cultural applications of their technologies.

Among the other artists’ presentations, one of the most interesting was by performance artist Malin Bellman, who worked with the Östra Sjukhuset Hospital Trauma Unit in Gothenburg, Sweden. Bellman’s long-term project was facilitated as part of the ARIAS artist in residency ran by TILLT. The artist worked for one year in the hospital with Daniel Johansson, the Head of the Trauma Unit. The Hospital had commissioned TILLT in 2009 to help them arrive at some new perspectives on the stressful daily life for staff and patients alike in the emergency room. Ballin used various techniques in implementing a creative break in perspective for the workers at the unit. For one exercise she got everyone working in ER – around 100 people – to lie on a stretcher in one of the corridors for one hour, dressed in civilian clothes; so they could understand what patients experience. The artist initiated a weaving project for the staff, utilizing also scrapped patientjournals as material and placing a small weaving loom between the photocopier and the printer in the staff office. These gleaned some interesting results with the staff incorporating other items, such as syringes into what became a collaborative staff tapestry. Both these exercises facilitated discussion around the subject of stress levels in the

Historic bilbainada paraphenalia, courtesy of Oier Etxeberria.

hospital environment and the patients’ perspective on their work – which all in all boosted the staffs’ energies and attitudes significantly.

In discussion relating to this presentation, Thomas Johnnsen, European Trade Federation, commented that art had the ability to truly focus on things in detail – “it was like a microscopic lens”.

Pie Areblad from TILLT reflected on broader policy issues.

Primarily she believed that the way forward was to build new sources of sustainable growth, with art as a catalyst. Arebald also set out three recommendations: For a shift of perspective concerning the role of the artist “we cannot afford to ignore the need for creative input in working life"; To define, develop and support the intermediary role –i.e. help the people assigned to mediate between companies and artists in residence, so both parties are satisfied with what they are getting into and what the will get in return; Conduct research, define value, collect cases.

A panel discussion featuring Vladimir Sucha; Henrik Selin from the Swedish ministry of culture and Jose Manuael Durao Barroso, from the Basque EU cultural delegation, also reflected on policy. Barroso stressed Europe’s need for economic and scientific creativity in order to both recover from the current global crisis; as well as to address the global issue of climate change. He made the point that artistic and cultural creativity and innovation inspire new thinking, which can bring about huge social progress, claiming along the way that artists helped bring down the Berlin Wall. Selin remarked on the fact that the EU spends much more on technical innovation, than cultural or human innovation. Sucha emphasised the need to pay attention to the ‘non-defined’ way of thinking that artists bring to the EU table. As such three panellists agreed that the ideas from the seminar had to be communicated to other sectors in the EU – and that innovation policies needed to be broadened.

Some of the most useful points and analysis offered at this seminar were provided by Ariane Berthoin Antal from WZB, Berlin.

Antal spoke about how the organisation had been looking at various ways the effects of artistic interventions permeate through organisations. WZB’s research had been prompted by a growing level of curiosity across many economic and industrial sections about how to stimulate innovation. Antal explained that their research was proving difficult – with ‘value’ being difficult to measure. In relation to this, the issue of finding a language to properly discuss art / industry collaborations again arose, but thankfully in more concrete terms. It was argued that key terms would arise from considering questions such as “where should attention be directed to find the kinds of value that artistic interventions add in organisations?” – as well as “how should the research be conducted?”.

Antal’s refreshingly simple conclusion was that the ways, in which artistic interventions generate value in organisations, depends to a large extent on the willingness of the diverse stakeholders to share their knowledge and experience. She suggested that the time is ripe for the enthusiasts of artistic interventions to engage in serious, selfcritical research into the effects of their projects. As she noted, engaging in artistic interventions is by its very nature an unpredictable process, thus the basic overall issue was “which kinds of values will emerge from what kinds of conditions?” Overall, in terms of the much discussed concerns about how artists and organisations could come to understand one another – Antal put it simply that the kind of research required was simply that which would provide guidance in how to create supportive conditions for artists; as well ensure industry stakeholders do not embark naively into such interventions.

Saoirse Higgins Notes 1. TILLT focuses on transferring the discourse of art into forums outside the reach of traditional artistic domains. www.tillt.se 2. The Wissenschaftszentrum Berlin für Sozialforschung (Social Science Research Centre Berlin) conducts basic social science research in selected problem areas. The WZB is the largest institution of its kind in Europe. Around 140 social scientists conduct research on the developmental trends, problems of adaptation, and possibilities for innovation in modern societies. www.wzb.eu 3. www.euve.org

The Visual Artists’ News Sheet

14

March – April 2010

REsources

Tweets, Blogs & Art

Damien McGlynn On the recent upsurge of ON Line forums & discussion sites addressing irish contemporary art

Passion is often said to be the driving force behind one’s decision to create art. Specifically it is a desire to produce something even if you are the only one who ever appreciates it, that drive to keep doing what you’re doing even with no remuneration and little or no praise. The same can be said of online blogging. While it is true that both artists and bloggers can and do earn a living – as well as praise – from their respective output, it is their passion that seems to bind them together.

There is a certain respect garnered by those who dedicate themselves to something without expecting anything in return – those that pursue these ventures for the right reasons usually produce the best work.

Despite the fact that many (1) have attempted (2) to pronounce blogging “dead”, the art of blogging – as with most online culture – can still be described as being in its infancy. Every time I type the word blog or blogging, Microsoft Word 2003 helpfully decorates the underbelly of each word with a red line to suggest a spelling correction. Clearly this is because the software’s dictionary pre-dates the boom in blogging around the world in 2004 and 2005, though I cannot swear that this has changed in newer versions. Simple blogging websites and software enabled anyone to produce and publish content with relative ease, allowing virtually everyone to have a platform for their views in the increasingly democratic world known as Web 2.0. This new dynamic for the online world focused on developing interactivity, connectivity, mobile internet and applications to facilitate user-generated content.

As the choir became the preachers the levelling of the playing field radically altered how discussions of many issues evolved.

Other industries and areas of interest such as music, sport, politics and technology, have been transformed by the growth of blogging in recent years. In 2010, a record label’s first port of call when promoting bands is not radio or newspapers but music blogs. The latest rumours, breaking stories and territorial arguments in sport first creep up online. The same can be said about most scandalous rumours and even more scandalous truths in the endlessly entertaining world of Irish politics. However, for whatever reason, the art industry has yet to fully embrace this model. The major players online, both in Ireland and internationally, are the established magazines and journals of old and the take-up of blogging has been a comparative crawl.

One of the names synonymous with critical art writing in Ireland over the past few decades is Circa Magazine (3). While producing their magazine over the past few years, the team behind Circa has also been carefully building up a nice little website on the side. In years gone by the site contained impressively comprehensive listings for exhibitions, as well as the ongoing archival of articles and online-only exhibition reviews. In late 2008, the site began hosting a series of blogs, first from the editor, Peter FitzGerald, and in the following year, several more artists, curators and writers who were invited to post their own thoughts and musings on a Circa-hosted blog. The topics have ranged from funding issues and exhibitions to industry restructuring and the recent posts on the redesign of the magazine and attempts to lure people to the site with nonsensical celebrity gossip. While Circa may have been slightly ahead of others in their field by embracing the internet and subsequently blogging, they have inevitably felt the pinch of these modern times as most in the printed media industry have.

While publishers and magazines try to find ways to make free online content financially viable, many bloggers are taking a more structured, professional route and mimicking the magazine format online. Greg Baxter, Editor of Some Blind Alleys (4), says he added visual art coverage to what was originally a literary journal because “publishing stories and exhibiting art was somehow a more complete

conversation about what is happening, and what is possible, in Ireland.” The site’s audience has been growing steadily and Baxter believes the variety of input from a team of contributors is key to this.

Niamh Dunphy, of the recently begun Paper Visual Art Journal (5), saw a need for coverage of work by lesser-known artists who may fall between the cracks. “I felt that there was a lack of dialogue and critique for emerging artists – between graduate and established art practice. There is a lot of good work happening out there that doesn’t get seen.” The site features articles and exhibition reviews as well as a Focus section which showcases artists’ work. Similarly, SuperMassiveBlackHole (6) magazine sought to present the work of photographers who were not getting exposure through the limited options available to them in Ireland. Founding Editor Barry W Hughes says, “I wanted to build a platform for introducing Irish photography to an international community and vice versa”. Hughes believes that maintaining an international outlook and focus with their downloadable PDF magazine will help them to grow and develop their reputation abroad. Regarding traditional media’s woes, he says “I think there has been a failing on the print media sector to identify what would give them the edge over the internet, but in the end there should really be a symbiosis in order to survive.”

We have more recently seen the somewhat overdue embracing of social networking by the art industry as many galleries now use these as promotional tools. At the height of MySpace’s domination of social networking, it struck me that they included tailored facilities for people to register not only as musicians or bands, but also as comedians and filmmakers. It seemed that artists were not as eager to climb aboard the bandwagon of 21st century self-promotion. There were, of course, numerous attempts to get a social networking site specifically for artists up and running, but none of these efforts ever came all that close to grabbing serious attention.

Blackletter (7) was a project initiated in 2004 by Alan Butler, Clíona Harmey and Niall Flaherty who saw the potential value in a centralised hub for Irish art activity online. When I spoke to Butler, he explained that their plan was to create a kind of communal resource that people could log into and contribute news and information. After building a suitable site using open source content management programs, Blackletter.ie was used regularly by those seeking either to promote a new exhibition or event and those looking for information and listings on such matters. They later utilised Google Maps technology to create ArtFinder, an interactive project which archives temporary public projects. As part of a major revamp of the site last year, new features allowed the site to act as a kind of aggregator, as well as becoming more integrated with other sites. Aside from retaining the useful ArtCal, allowing users to actively participate in Blackletter’s features using their Facebook accounts – as well as linking posts on their site to the Facebook fan page and Twitter – have helped to bring the process of engaging with Blackletter to other sites. The revamp also saw the addition of ArtDigest and ArtTweets as ways of collecting online art activity in Ireland into a stream of updates. ArtDigest takes over from a similar service on the old site and compiles the recent posts from a collection of blogs by artists and designers through their individual RSS feeds. ArtTweets recognises the rising influence of Twitter and presents a real-time feed of tweets from artists, institutions and websites relating to the arts in Ireland.

Whether Twitter is an incredibly useful communication tool or merely the latest service for the dissemination of banalities is a debate that is still going on today. If you have been reading any of the major newspapers, you may believe it must be the latter. The attitude of the mainstream media and traditional publishers towards the microblogging craze of Twitter has largely been similar to their negative attitude to blogging in the past few years.

In the past year however, quite a few galleries and institutions, as well as artists, sites and blogs have recognised the huge value in the instantaneous mass distribution of information that Twitter allows.

Those that adopted the service early, such as the RHA(8), have learned to use the technology not just to promote a new show once every month or so but to take part in a dialogue with others in the industry – responding to queries, promoting other art ventures and worthy causes to their audience. With more and more people joining up to the site and figuring out its many mobile applications, the relevance of Twitter to the industry is only likely to grow in the foreseeable future.

If the people behind the site achieve their goal of having one billion users by 2013 and becoming “the pulse of the planet”(9), the art world could hardly afford to be excluded from such a network. If nothing else, the dispersal of news and information regarding calls and opportunities for artists would surely be suited to the medium. Create have recently begun advertising opportunities from their InRes initiative (10) while the National Gallery (11) have been promoting free and family-friendly events through Twitter.

“To be honest, if I knew of really well-written, controversial, independent, take-no-s**t art bloggers (not linked to national newspapers), I’d be there all the time”, so says Greg Baxter of Some Blind Alleys. Few though they may be, there are a number of Irish art blogs out there that are worthy of at least a tiny bit of your time. As is befitting for the blogging world, each caters to a somewhat different area or angle of the art world and their style of discussion and coverage is unique in its often personalised manner. One of the troublesome issues for many artists attempting to begin blogging is avoiding being caught between the stools of self-promotion and critical discussion.

Of course, many happily marry the two and provide an interesting insight into the art, films and books that inform their own work, such as artist Jonathon Mayhew’s blog, Faint (12). Sara Baume’s schizophrenic introduction page (13) displays her original post with all the Who, What and Why one would expect from an art blog mission statement – but also includes the more recent, confessional post which retracts much of what she had originally purported. Her explanation of why she no longer felt comfortable promoting herself as an artist or critical writer is interesting reading for any artist who has questioned what it is they want to do. Self-Interest & Sympathy (14) has been running since a few tentative posts in the summer of 2007. The collection of links, essays and documentation of interesting work from around the world are shared as “a kind of experimental, public notebook”.

This kind of method is popular as it can serve as much of a purpose for the artist/author as it does for the potential audience.

Philip Kennedy started producing Fieldwork (15) – a kind of monthly blog magazine – as a way of keeping his artistic thoughts ticking over.

He explained to me that setting this monthly deadline also encourages him to maintain a “work ethic” or level of involvement with cultural practice. His monthly dispatches are slick and well-written guides to the art, architecture, design, music and cities that are currently putting a smile on his face. Kennedy says he is more interested in writing about things he loves – curating, in a way – rather than delving into the world of critique and scathing reviews. This area may well be the void that Shower of Kunst (16) was aiming to fill when the group appeared from the Galwegian mist last year with a more cut-throat style to their writing and the tagline “Let’s Get Critical!”. The writing here is not immature or amateur though, rather excellently researched and thoughtful responses to exhibitions in the Galway area and beyond.

The group of writers are refreshing in their clear intent to question everything from curation and the hidden meanings of artworks to arts administration and government policy.

A quick scan of the Irish Blog Directory (17) will show you that art is one of the most popular tags used in the nation’s registered blogs ahead of sport, music, literature and travel. A significant number of these may not be blogs in the truest sense but rather artists who have used the simple software to bypass a web designer’s fee in making their own portfolio website however it maintains a place at the forefront of the public’s consciousness. It is likely though that in time we will see a further and greater uptake of blogging and Twitter in the Irish art world and hopefully, as Blackletter’s Alan Butler said, “This is a really, really good opportunity to break open the visual arts to audiences that wouldn’t have had a doorway into what was going on beforehand”.

Damien McGlynn Notes Several of those interviewed for this article plan to post their thoughts in full on their sites, listed below, around about the time this piece is published. Hopefully the discussion surrounding the purpose and future of Irish art blogging may be continued there.

1. http://www.timesonline.co.uk/tol/news/world/ireland/article6962673.ece 2. http://twentymajor.net/2010/01/05/on-irish-blogging-being-over/ 3. http://www.recirca.com/ 4. http://www.someblindalleys.com/ 5. http://papervisualart.com/ 6. http://www.supermassiveblackholemag.com/ 7. http://www.blackletter.ie/ 8. http://twitter.com/rhagallery 9. http://www.techcrunch.com/2009/07/16/twitters-internal-strategy-laid-bare-to-be-thepulse-of-the-planet/ 10. http://twitter.com/CreateIreland 11. http://twitter.com/NGIreland 12. http://j-mayhew-faint.blogspot.com/ 13. http://sarabaume.wordpress.com/beginning/ 14. http://selfinterestandsympathy.wordpress.com/ 15. http://www.thisisfieldwork.net 16. http://www.showerofkunst.com/ 17. http://www.irishblogdirectory.com/

The Visual Artists’ News Sheet

15

March – April 2010

PROFILE

Pat Foster & Jen Berean ‘The Doing and Undoing of it All’, detail, 2009 Pat Foster & Jen Berean Untitled from the series ‘On Public’, Ryan Renshaw, 2009

prosperous times; along with somewhat derelict housing that alluded for us to both the areas past and possibly hinted at problems to come.

Within our research, we are also particularly interested in crime and how social behaviour shapes a city. It is interesting to consider how Dublin has been reshaped through planning, that has in part been concerned with attempting to remove or shift crime, violence and disobedience. This encompasses a broad field, ranging from minor delinquencies and acts of physical violence to collective forms of violent protest and disobedience such as foot riots, labour unrest, or protest marches and revolutionary uprisings. This is of course by no means unique to Dublin, but we found the city a very interesting case study.

The work we made for our exhibition ‘The Problem with Stability’ at Pallas Contemporary Projects (30 Jan – 13 March 2010) was both researched in Melbourne and in Dublin and produced during our stay at Fire Station. Over the past few years we have sought out images of

Pat Foster & Jen Berean ‘The Doing and Undoing of it All’, ACCA, 2009

Pat Foster & Jen Berean ‘Unwavering Support (for the first time, absolutely)’ Detail, Pallas Contemporary Projects 2010

Responding to Dublin Australian artists Pat Foster and Jen Berean discuss the outcome of their participation in A residency exchange between Pallas Contemporary projects; the Fire station Artists Studios, Dublin and Gertrude Contemporary Art Space, Melbourne.

aggressive and destructive acts, many of which include protest marches and riots found on the Internet, in newspapers and books. The actual motives behind the riots or scenes of political unrest are not specifically what interests us, rather it is the act in and of itself, as a pertinent example of the public interacting with and challenging the function of urban space. Although we do not actually use this imagery in our finished work, it often informs our sculptural work. The exhibition at PCP included the sculpture, Unwavering Support (for the last time, resolutely), (2009). The sculpture is based on steel crowd control

At the end of December 2009 we (Pat Foster and Jen Berean) began a

through this community that we were able to develop ambitious

barriers, continuing our use of objects that are universally recognizable

two-month residency at Fire Station Artist’s Studios in Dublin. Despite

projects and were invited to take part in many shows. Along with

urban forms. Splicing through the barrier is a plane of glass. The glass

the common reaction of the Irish people we have met – exclaiming we

exhibiting in many of Melbourne’s gallery and museum spaces, we

and the barrier appear entwined and reliant upon each other for

“must be crazy” to leave the heat of the Australian summer to come to

have also realised many projects outside of the traditional institutions,

support. On the wall at the rear of the gallery was a framed piece,

a city paralyzed by an unprecedented deep freeze – we were excited to

developing works in a range of spaces such as libraries, hotel rooms

Unwavering Support (for the first time, absolutely) (2009) within the frame

remove ourselves from the familiar territory of Melbourne. Our

and public areas.

rests a section of steel removed from the sculpture, partially covering

residency at the Fire Station was part of an ongoing exchange between

Regardless of the contexts within which our projects have been

two images, one being a black and white banal street scene, the other

Gertrude Contemporary Art Space and Pallas Contemporary Projects

presented, our ongoing and consistent concerns are with what cultural

a man walking across hot coals. The third work exhibited, Untitled

(PCP) – where we exhibited at the end of January.

theorist Mike Davis has referred to as “the architecture of anxiety”.

from the series The Problem with Stability (2009) is a pane of smashed

The focus of our work is the structures, both physical and

According to Davis, contemporary architecture is not solely concerned

safety glass that has been enamelled black on the rear, creating a

ideological, of the built environment. So we had very much looked

with the making of functional and utilizable space, but crucially, the

highly reflective and seductive surface. This work takes as its impetus

forward to having the opportunity to make work through researching

determination of how, and by whom such space is used and for what

the broken store windows that are ubiquitous in the urban environment

and responding to alternate yet related urban context of Dublin. Our

purpose. Our work aims to encourage audiences to question these

and attempts to reframe how they are read and understood as objects.

collaborative practice dates back to an exhibition at Bus Gallery, a

functions of architecture – in terms of both the physical environments

In relation to this it could be argued that, violence or a fear of

Melbourne based artist run initiative, in 2001. It is one of the many

and psychological structures buildings can represent.

‘misuse’ can be thought of as being embedded in the way that public

artist-run spaces in the city, which have played an important role in

As soon as we landed in Dublin we quickly started researching

spaces are designed and managed. Thus urban architecture can often

fostering an active and diverse art scene. Many of Australia’s established

the city; through walking around; talking to locals and digging

be read as concerned with facilitating particular functions, along with

artists have built their careers within the culture of similar initiatives.

through images – attempting to get a grasp on the dense and complex

protecting and upholding them. This might be seen as the dark side of

Similarly, the studio complex and gallery, Gertrude Contemporary Art

environment of the city and also its significant history. The Fire

notions of ‘collaborative’ planning – albeit one where the public is

Space, has played a vital role in so many artists’ careers. GCAS and Fire

Station connected us with Terry Fagan, a local historian who took us

taken into account, but only in terms of threat, fear and anxiety.

Station are very similar in terms of their commitment to supporting

on an insightful tour of the area that really helped us to start to

The aesthetics of crime and antisocial behaviour have both

artists and their ties to the community.

understand the layers of history relating to Dublin and specifically the

universal qualities and local idiosyncrasies. The exhibition at Pallas

The exchange programme began when the director of Fire

immediate area around Fire Station Studios. Unavoidably we were

projects was not an attempt to present work that is directly about

Station, Clodagh Kenny went to Melbourne and Sydney for a conference

drawn to the social and economic changes that have occurred in the

Dublin per se, but rather it was part of our broader research into the

organised by Res Artis in August 2004. Clodagh told us that Gertrude

city during recent times; along with the ways in which the boom times

understanding of the function of urban spaces. None the less in

Contemporary Art Spaces was one of the main venues that she visited

and economic downturns have shaped the physicality of the city.

Dublin, we found it had generated its own nuanced aesthetic – one

and straight away had drawn comparisons with Fire Station. Both

Developing this work in Dublin led us to an increased awareness

organisations subsequently agreed on a format of offering artists the

of how the depth of history shapes the built environment. Our time in

opportunity to meet and collaborate with their peers and develop

the city has furthered our researches into redevelopment and how

Our experience of working and exhibiting in Dublin has been

their practice in an international context. Alicia Frankovich was the

environments are reshaped, demolished or merged with the new. This

very positive and productive. Any concerns we had about sourcing

first artist to take part in the exchange programme at Fire Station in

type of layering was very apparent to us in Dublin – where we paid

materials and the logistics of exhibiting in a foreign city quickly

March 2008 for six weeks and Jesse Jones went to Gertrude

attention to the different architectures clustered together in relatively

disappeared when we met Gavin Murphy from PCP, Clodagh Kenny

Contemporary Art Spaces in Melbourne in June 2009 also for six

small areas. Indeed the city proved to be a perfect place for our

and all of the staff at the Fire Station. The support we received from

weeks. This year Pallas Projects joined the partnership and agreed to

research through photographic documentation. We only had to look

both organisations surpassed our expectations and made our

offer the visiting artists an exhibition, which gives great focus and

out our studio window; or walk a few minutes into the Docklands area,

experience in Dublin very rewarding.

networking opportunities to the visiting artists.

to see pertinent examples of significant social and physical shifts.

We had a studio at GCAS from 2007 – 2009. During this time we

What we could see from our studio was a view of the old washing

were introduced to countless influential curators and artists. It was

halls; bordered by the relatively new buildings indicating the recent

that reflects the specific socio-economic shifts that have taken place across the city.

Pat Foster & Jen Berean

16

The Visual Artists’ News Sheet

March – April 2010

seminar report

a traditional ‘working men’s club’ and a social art space.

I described how Live@8 in Galway (co-curated by Vivienne Dick, Maeve Mulrennan and myself) is a similar model, its intention is to establish a social space for experiencing art and it is collaborative in nature. We aim to share all aspects of decision making and work load so there is a mutual investment in the event from all the stake-holders including Jim Ricks who creates Live@8’s visual identity and Tom Sheridan the bar owner.

‘Performing Curation’ Live Art Development Agency, London. November 2009. Photo: A Phillips.

‘Performing Curation’ Live Art Development Agency, London. November 2009. Photo: A Phillips.

Live Reflection

Áine Phillips offers an overview of her seminar project ‘Performing Curation’ held in collaboration the Live Art Development Agency, London (November 2009) Wanting to affect and infect the discourses and production of Live Art, but wondering how we do it and why, Robert Pacitti and I in 2008 initiated the project 'Performing Curation: Live Artist as curator Exchange'. Andrew Mitchelson, Projects Manager at the Live Art Development Agency in London became involved and in November 2009 we organised one-day seminar at the agency. We brought together key individuals who work as artist-curators in the Live Art and performance art sector in the UK and Ireland. It was a gathering of a core group of active artist-curators who presented and promoted our work in performance art and curation to each other. We exchanged experiences, ideas and theoretical perspectives on the curation of Live Art from the distinctive position of being an artist who curates. The purpose of the day was to look at the ‘hows’ and ‘whys’ of being an artist-curator rather than a discussion of practical programming issues.

Robert Pacitti, Artistic Director of London’s unique SPILL Festival and I with my assorted curatorial projects in Ireland (Tulca Live 200507and Live@8 in Galway) were fascinated by both the problematics and rewards of the special context of being both an artist and curator in the arena of Live Art and performance. We also wanted to establish a community of peers, to build creative relationships, learn from each other and work together in the future on projects between the UK and Ireland.

In October 2009, Robert and I sat down with Andrew and Lois Keidan of the Agency at their offices in the East End of London and made a list of artist-curators we admired and another list of core themes and issues for discussion. This article is structured around these issues and the rich responses, observations and discussions that developed over the course of Friday the 20th November 2009, in the Live Art Development Agency’s Study Room, surrounded by some of the documentation of performance art’s histories and its myriad contemporary manifestations.

The Artist Curators The participants from Ireland (and funded by Culture Ireland) were Michelle Browne, Brian Patterson and myself. Michelle is an artist based in Dublin and is the founder and curator of OUT OF SITE, a festival of Live Art in public space in Dublin city centre. Brian founded Bbeyond in Belfast in 2001 and is currently working as administrator and co-ordinator of Bbeyond’s projects. He is an installation and performance artist. I have been performing in and out of the art world and exhibiting internationally since the late 1990s.

From the UK: Ilana Mitchell, curator of The Wunderbar Festival in Newcastle says “I make artistic and other creative endeavours happen: my own, other peoples and anything in between.” Artists Alexandra Zierle and Paul Carter based in Falmouth curate Live Art Falmouth 2007 (LAF07), Invigorate, LAF08, and more recently INSITE. They aim to create a mobile, fluid, site and context responsive space/ platform for Live Art. Artist and writer Cecilia Wee is co-director of the interdisciplinary art commissioning organisation Rational Rec, one of her projects was a monthly art event at Bethnal Green Working Men’s Club in London 2005-2008), co-curator of EMBEDDED ART Berlin 2009 and curator of a forthcoming Late at Tate event (April 2010).

Performance artist Ron Athey originally from Los Angeles now based in London is creator and curator of Visions of Excess, which has

been produced internationally. Robert Pacitti, director of both SPILL Festival and Pacitti Company has spent two decades producing and touring an award winning body of radical new performance works worldwide. Andrew Mitchelson, the chairperson for our seminar is also a practicing artist, curator and Project Manager at the Agency.

Curate as a Verb Each participant had circulated a statement of practice in advance of the seminar to provide a foundation for the discussion and from these writings I compiled a list of ‘doing’ words common to all. As artistcurators we described our work as “Developing, Framing, Experiencing, Discussing, Exploring, Embracing, Creating, Experimenting, Investigating, Invigorating, Supporting, Affecting, Infecting, Serving, Addressing, Engaging, Exchanging and Challenging”. These common terms reflect shared curatorial aims and methods that are active, generous and positive, primarily representing and promoting the work of fellow artists.

I opened the discussion by adding that we also educate and advocate, we aim to inspire artists and have the responsibility (the ability to respond) to answer and communicate on behalf of artists, to act as a mediator between artists, the art and audiences. I asked the group to talk about their intentions and strategies in curation.

Sideways Curation Robert introduced his concept of ‘sideways curation’, a non-hierarchical model of curation based in common sense and respect as fundamental principles. He described the motivation for SPILL Festival was to create a place where people feed each other artistically, to build audiences and to establish a space for his own genre of performance work. He characterized his curation as being ‘in service’ to artists.

Michelle concurred, stating how hard it was for her as an emerging artist to encounter the type of work she was making herself and so established OUT OF SITE as a public event, creating new audiences and making the work accessible to all. Ilana Mitchell told us she deliberately did not use the term ‘Live Art’ or ‘performance art’ which further opened up the Wunderbar Festival to new audiences and instigated new types of relationship between art and the public, challenging the familiar expectations and conventions of art encounters.

The facilitation of fresh experiences for audiences also motivated Alexandra and Paul to found Live Art Falmouth alongside answering the need for local Live Artists (including themselves) to show work.

Their principles included breaking down barriers to increase inclusivity, both for artists getting their work into the festival and for audiences engaging with the work and understanding it. They wanted to use the stunning scenic locations of Cornwall as sites for Live Art, redefining the traditional meanings of landscape art.

Collaborative Curation Cecilia Wee spoke about her productive experiences with collaborative curatorial practices and how sharing the work with others prevents hierarchical relationships developing with artists, equalizes the workload and avoids onerous responsibility falling on one person. She also told us about the motivation behind founding Rational Rec; she had wanted to break down cultural barriers between what goes on in

Producing Art & Producing Culture Brian Patterson described how he was developing exchanges and residencies for Bbeyond artists alongside exhibitions and festivals. He told us how performance events have flourished in Belfast with public audiences. A lively exchange followed on how the cultural saturation of huge cultural centres like London made generating the distinctive and singular nature of performance events difficult. Cecilia suggested there were more opportunities to cultivate audiences in a less congested market. The Irish contingent took hope from this observation.

I asked the group to consider the problematics of how the artist curator both produces the artwork and produces the culture in which that work must sit. Robert added that we are subverting traditional models of curation and inventing new ones. Paul and Alexander responded by explaining some subversive and guerrilla methods of curation and project management. They described strategic juggling of funding budgets, to benefit artists and finding legal ways of circumlocuting official regulations on nudity in public places.

Ilana described incidents where police bureaucracy prevented children selling hot chocolate (but not performing public hair cutting) and stopped performers asking if they were terrorists. Michelle thought it was important to get permission for any potentially troubling live public art because the possibility of it being interrupted halfway through devalued the work.

Managing Risk The discussion expanded into dealing with hazards and risk in curating performance art. We examined where responsibility falls in the event of potentially dangerous performance. Some contemporary Live Art uses body fluids as its material, or actions, which can challenge the limits of the performers physical endurance or bodily limits. Ron’s Visions of Excess has programmed much work of this nature and he commented on the need to educate technicians and venue managers. He pointed out the cultural hypocrisy of widely accepted blood sports such as boxing taking few precautions while body-based artists (who are usually rigorous with health and safety standards) are seen as edgy or dangerous. He considered this was a throwback from the audience-hostile radical work of the 1980s, and cultural perceptions have not yet caught up with contemporary practices. Ron said “…the work that is being created now is not really problematic at all.”

In terms of a different type of risk, Robert concluded that being an artist curator runs the risk of ruining your reputation in your own community of artists if you fail and let people down – all agreed that the stakes are high, but gains are higher. We noted that curating oneself into an event was fraught with difficulty, as curation requires that resources, energy and attention are bestowed upon the other artists, not on one’s own artwork. Loyalties become divided. Ron, interestingly, had found it productive to perform in his events and festivals. He told us how he deliberatively avoids putting himself as the headliner however. At one event, a form of ‘live archiving’ happened, where another artist performed echoes of one of Ron’s pieces, creating a parallel performative dialogue between their works.

Holding up Mirrors The discussion ranged over many aspects of artist’s experience of curation. We explored the ideological and philosophical basis of our practice and found many equivalents, articulating the beliefs and approaches we had been using intuitively. This seminar allowed us to reflect and hold up mirrors to each other.

By the end of the day Robert asked “If you could get something out of this day what would it be?” Answers included the establishment of a shared touring network, the building of a constructive community and the opportunity to learn from each other’s diverse approaches through further meetings and exchange. We have set up a ‘Basecamp’ group through the Live Art Development Agency’s website, to feedback/edit texts and continue the valuable and fascinating conversation. Our next meeting will take place in the context of a Live Art event, we hope this will be SPILL 2011, where the experience of viewing art will happen alongside the analysis of its curation.

Dr Áine Phillips, Head of Sculpture, Burren College of Art.

The Visual Artists’ News Sheet

17

March – April 2010

Project Profile

This type of layering of place upon place, was reflected in the design of catalogue maps, which were bereft of street names and printed on transparent paper, so that they could be superimposed on one another. Another walk by a group called Knee Jerk, took the form of an orienteering project. Participants traversed the city, as if taking part in a ramble through the countryside – again another kind of layering of experience and modes of navigation. Danny Holcroft, a Glasgow based artist, literally ‘got lost’ with his group of participants, all of whom were driven blindfolded to an unknown location in the city suburbs, from where they had to find their way back to the festival office. This was an uncomfortable, dislocating but enriching experience for many of the participants. Holcroft had spent the previous week collecting maps drawn for him by passers-by as he attempted to repeatedly lose himself in Cork. These walks were interesting attempts at a psychological dislocation, as participants grappled with the strangeness of being without or outside their locality.

Stephen McGlynn’s Mapping Office, curated by Sarah Iremonger for ArtTrail, attempted a temporal relocation and dislocation of place.

McGlynn’s specific interest was in the sense of dislocation, which people can experience when they encounter previously familiar places, and landscapes, which have changed beyond recognition.

Cartographic practices as well as astrological charts were referenced by Monique Besten, an Amsterdam based artist. Besten undertook a three week residency at Basement Project Space, a new artist-led-initiative and gallery / studios space. Her work charted the

David Blandy The Soul of Cork Pyschogeographical walk through Cork city on 19th November at ArtTrail ‘09. Photo: Fiona Fullam.

Combination City. It’s Not Where I Am That Stays With Me Various locations in Cork, Photo: Fiona Fullam

constellation-like patterns of chewing gum on the street, which she

Trails, Paths, Mapping

superimposed over maps of the city. Besten’s show also included video

Fiona FulLam profiles ArtTrail 2009, WHICH took place in Cork 12 – 22 November.

several ways at ArtTrail. Eva Maher’s project Guerilla Gardening

The ArtTrail Festival in Cork has been in existence since 1996, when

participate in cleaning up and replanting various spaces in Cork city.

it was founded by visual artists John Adams and Susan O’Mullane. To

Fiona Kelly’s and Amanda Rice’s The Kitchen Table employed the

an extent it was inspired by similar open studios events, which were

everyday rite of inviting viewers in for a cup of tea and a chat – the

taking place in London around that time. Adams and O’Mullane are

project taking place in one of the artists living rooms, which had been

now involved in Outlaw Studios in the Docklands in Cork, and were

redecorated to give the feel of an elderly person’s house.

footage of mapped walks.

The place of ritual in everyday Irish society was reflected in explored the notion of community forming, invited the public to

also involved in the Backwater Artists’ Group, where ArtTrail was

Language and sound were strongly represented at ArtTrail 2009.

based for its first few years. The original concept of ArtTrail was to be

At the Opening Party, Joanne Collins performed a hypnotic rendition

able to present the work of artists to the public directly, without the

of Kurt Schwitters’ 1922 Merz 24, which unpicks and combines sounds

mediation of a gallery – and to be able to show the work of many

of the German alphabet over four movements, lasting around 30

artists, rather than the few who might be selected and shown by

minutes. This rhythmic and repetitive chanting was echoed in the

galleries. The ArtTrail organisation remains directed and led by practising artists to this day and aims to be inclusive and supportive of the work of professional artists in all media.

ArtTrail is primarily funded by the Arts Council of Ireland, but also receives some funding from the City Council in Cork. The budget however continues to be small and the directors have to be resourceful in terms of raising additional sponsorship – much of which is ‘in kind’.

For example, rather than hiring out spaces in the city, ArtTrail receives support from its ‘venue partners’, by being given various exhibition or functional office spaces for the duration of the festival. ArtTrail also receive some sponsorship for special events, opening night parties and sound events, in the form of services or the use of specialised equipment. In some years they have received funding from institutions to sponsor an artist bringing work from abroad to the festival. In 2007 and 2008 The Goethe Institute sponsored the Salon Bruit artists to travel from Berlin. In 2009 some of the partners, who supported ArtTrail included Sirius Arts Centre in Cobh (which provided accommodation for artists and writers who were not based in Cork); Cork Film Centre; The Lewis Glucksman Gallery; Triskel Arts Centre and the Savoy Cinema. Students from the Crawford College of Art & Design also volunteered to work at the festival centre and invigilate exhibitions.

There is no doubt that budgetary constraints affect the selection of work to a degree. Artworks which would be expensive to ship from abroad for instance, could soak up quite a lot of the budget and result in less work being shown. Potentially high transport costs have to be balanced with the short duration of the festival, which in 2009 ran over only ten days. The travel of artists is also a big cost. The ArtTrail committee therefore is always faced with difficult decisions around what and whom they can afford to bring to the festival, along with issues around the logistics of transporting and installing work. In 2009 there were a number of works, which were made in situ, or process based.

The board of directors of ArtTrail is made up of seven members, chaired by Kevin Tuohy. The workload is divided, with members taking on specialised areas. For example, for the 2009 ArtTrail Danny McCarthy organised the sound events and the editioning of a CD,

Open Shutter Document of the City Marlborough Street. Photo: ArtTrail

which was available to buy during the festival. The festival was co-ordinated this year and last by Kevin Tuohy and Sharon McCarthy.

The other members of the board are Elaine Coakley, Serge VandenBerghe, Moray Bresnihan, Danny McCarthy and Chris Clarke.

ArtTrail 2009 opened on Thursday 12 November, and ran over 10 days until Sunday 22 November (1). This year’s theme was ‘rediscovering locality’, which was open enough to encompass a broad range of work, whilst specifically allowing artists to focus on the connections between people, communities and the space, which they inhabit. Inhabited space, of course is not just a physical or geographical place, but can includes also the temporal, the psychological, memory, history, and tradition. ArtTrail was thus able to exhibit an extensive range of media and approaches, but also a breadth of concerns and platforms for discussion and debate. The festival was accompanied by a colourcoded catalogue containing a calendar of events, catalogue essay by a writer-in residence (2), maps which could be superimposed on the various categories, each of which had their own maps or starting points. It also included short texts relating to individual projects and the participating studio space. The catalogue divided the projects into four categories: ‘projects and exhibitions’; ‘open studios’; ‘pyschogeographic walks’; and’ talks and workshops’.

Several threads and sub-plots emerged thematically in the works.

One of these was the arbitrariness of location, which was manifested in several projects, including three of the ‘dérives’ organised for a series of ‘pyscho-geographical’ walks, which took place in the city. These walks involved being present in one space, while imagining or imaging other places. It’s Not Where I Am That Stays With Me, a walk project by Combination City, brought a group of 11 people around the city, armed with maps without street names. The route was designed to mirror the terrain covered in a similar project undertaken by the group in Amsterdam. The object of the walk in Cork was to find twelve posters, which described where you would be and what you would see at various points in the walk should you have been in Amsterdam and not Cork. As such this participants in this project experienced a slightly out-of –body feeling, and sense of alienation.

opening speech by Kevin Tuohy, where the names of everybody involved were recited aloud by all present.

Alienation and dislocation were some of the themes touched upon in Adham Faramawy’s four audio-video pieces, presented by The Black Mariah at Triskel. Faramawy’s works explored what it is that drives societies apart or alienates people from society, referencing mythology, allegory and ideologies from various cultures.

Many of the sound artists who performed at A Sonology of Cork Sound Art or who were represented on the ArtTrail CD, see sound as a language or alternative means of expression. The works explore diverse areas: composition; improvisation; vocal performance, breaking down the sounds or structure of language. Many look to interfere in existing structures. La Sociète des Amis du Crime explored how the city vibrates, feeding sounds taken from the city back into the city with electronics.

The festival hosted several talks, which gave a platform for various discussions and explorations. ‘Eye & Mind’, which took place at CIT Crawford College of Art and Design, considered themes of urbanism, locality and site-specificity from both an artistic and an academic point of view. ‘From Slack Spaces to Creative Cities’, presented

by The National Sculpture Factory for ArtTrail, discussed the use of empty buildings as temporary exhibition spaces – something that ArtTrail has been practising for some time.

ArtTrail showed over 70 artists in 13 group and individual studios in and around the city, along with many other projects, walks and talks. The diversity of the work and the level of organisation involved – managing smoothly such a large amount of people and projects – is a testament to the commitment and enthusiasm of the board. A publication fully documenting ArtTrail 2009 will be produced at the end February. This festival is always worth checking out and I recommend marking a few days in Cork for this November for this year’s ArtTrail.

Fiona Fullam Notes 1. www.arttrail.ie 2. The writer in residence for ArtTrail 2009 was myself. This text is in part informed by experience of working within the context of the ArtTrail project.

18

The Visual Artists’ News Sheet

March – April 2010

How is it made?

Brian Connolly performing at 'Accumulator'. Photo: Mark Durkan.

Alastair McLennan performing at 'Accumulator'. Photo: Mark Durkan.

Closing the Loop Edel Horan talks to Amanda Coogan about ‘Accumulator’ a performance Based exhibition curated by the artist at Visual, Carlow (24 Sept 2009 – 16 Jan 2010)

Amanda Coogan performing at 'Accumulator'. Photo: Mark Durkan.

minutes! These edited films were shown in the space as the afterlife of the performances – in-between and after the days that the artist’s performances took place.

All of the artists that I choose were all pretty much performancebased practitioners. Neva Elliot was the exception to some extent, but her work is performative and collaborative in a kind of relational mode.

Neva Elliott performing at 'Accumulator'. Photo: Mark Durkan.

Edel Horan: Can you tell me how ‘Accumulator’ came about and the ideas behind it?

Amanda Coogan: One of main interests is in performance in the context of the gallery. I am interested in working with structures of the gallery and bringing live performance into the ‘cannon’ of gallery-based work.

Carissa Farrell, the director of Visual approached me about making a show of my own. But I thought a group show, of a particular kind would work better. The model being that I would ‘throw the ball in the air’ and it would be caught by the next artist, she throws it and it is caught and on and on, for six artists. The artists being myself, Neva Elliot, Declan Rooney, Yingmei Duan, Brian Connolly and Alastair McLennan. In terms of the actual works, my interest was in the idea of living installations – rather than the idea of the live performance act as just the entertainment for the opening night of a given exhibition. I was looking for a much more sustainable form of live performance practice.

There was no specific conceptual premise to what the artists could do. I wouldn’t call myself a curator in the contemporary sense for this exhibition, I was more a facilitator. I had a deep trust in the artists and admired their practice. So I didn’t get involved in the conceptual constructions of the works. The ‘terms of engagement’ for the exhibition were much more my focus. These terms were that each artist would make a day’s performance – of six hours duration. They would have to work with the detritus and traces of the previous performances – and likewise deliberately leave detritus and traces for the following performers. The artists also had to agree to allow their live works to be documented by a filmmaker; and for the footage to be edited down to a 10-minute segment per artist. It was a big ask – I appreciate that it’s a killer for an artist to have made a six-hour performance and cut it to 10

EH: Talk me through the performances …

AC: I kicked things off; I did the first performance (24 Sept). Then came Neva Elliot (2 Oct), who made a kind of relational aesthetics performance involving the audience. Then there was Declan Rooney (17 Oct), who made this really abstract, fractured and challenging work, which really was a living installation – it was very image based and non-narrative in terms of dialogue or text. In fact nobody used the voice in narrative way except Yingmei Duan. Declan’s piece was a kind of loop. He did a quite scary thing – he had a very large mirror and came running at the audience with it. So the audience came into the space and they were confronted with their own image. He also had a very beautiful syncopated jazz drum solo – which came around every hour for about five or ten minutes.

Yingmei Duan, who is a Chinese artist from Beijing, performed on the (7 November). I was in college with her, as I was with Declan Rooney. She decided to take a completely different tack, and made work based on the idea of a gallery tour. She guided the audience through an imagined exhibition of hers. We attempted to structure the performances by booking in tours – she was present in the building for six hours. Her piece was both more focused on the audience and determined by the audience attendance.

Brian Connolly came down for the 21 November. He made a magnificent performance installation. He simply attempted – in the most precise and workmanlike way – to ‘levitate’ a table by lengthening the legs. It was such a beautifully simple action and narrative. And pardon the pun; it was full of dramatic highs and lows – the table wobbled, as it got higher off the ground. Brian had a ball in a silver tray on a sliver plate on top of the table – which acted like a spirit level. He also made some associated small gestures around this piece, cutting out the shapes of countries from the pages of burnt atlas. The significance of this wasn’t spelt out; it was like an open-ended question for the audience.

Alastair McLennan (28 Nov) made the most magnificent images.

He was sat in the gallery wearing two pairs of glasses, with ribbons hanging off them – so you could almost see the weight and energy of eyes streaming out into the room. The space itself was littered with a hundred pairs of shoes – which were sourced from people in Carlow.

Shredded paper was also scattered around the room and over all the previous artists detritus. There was also a sound element to the work –

recordings of rhythmical voices were played in the space during his performance. Alastair also made use of a large plank of wood, left by Brian, which at one point he balanced on his head, with pig’s ears on either end. The various possibilities of reading into work like that are just amazing.

The video loop of 10-minute representations – edited and filmed

by Paddy Cahill – of all six performances ran in the gallery space until 16 January. It wasn’t a ‘documentation’ as such, it was more like an alternative viewpoint of the project – Paddy’s eye examining and capturing the works; and then both myself and Paddy’s choices in terms of the edit. In fact we did invite the artists to contribute to the editing the film, but in the end it just wasn’t practical for everybody to sit in on the edit in such a short turn around. The live performances happened on Saturdays, we would edit on Sunday, master on Monday and have it back to the gallery by the Tuesday.

EH: Could you tell me some more about your performance – especially in terms of the fact that yours was the first ball thrown as it where …

AC: I had a completely fabulous time here when I made my performance!

I had just completed a 17-day durational performance six weeks previously and I hadn’t really come down from that energy. I made a longitudinal performance called The Fall in the Whitworth Gallery in Manchester, for an exhibition called ‘Marina Abramovic presents...’ as part of the Manchester International Festival. It was a really important piece of work. I had also made it at the Kevin Kavanagh Gallery in Dublin, prior to bringing it over to Manchester. The Whitworth cleared their galleries completely, collection and all, and installed 14 performance artists. We performed four hours everyday for 17 days, the length of the MIF festival.

For Cutpiece, the new performance I made for VISUAL, I wanted to close off The Fall and a run of work I had made using the colour yellow.

Cutpiece was an addendum to The Fall. For The Fall I jumped from the banisters of the main staircase in the Whitworth and landed on a large yellow mountain. I brought the material, a painted canvas, from the mountain installation back to Carlow and installed it in the Gallery, covering the majority of the floor of the room with the material. I installed myself in it, wearing it like a large skirt, referencing Beckett’s Winnie from Happy Days.

During the performance I cut myself out of the mountain, literally ripping up the fabric into shreds with my teeth and hands. The ripped canvas shreds were the residue I left for the other artists to work with.

Metaphorically, new work / new life emerged from killing the old piece.

It’s a very important piece for me, it allowed me to close the loop on what had been a very substantial durational performance and find a new piece of work. It was liberation.

EH: What are your reflections on the project now that it has run its course?

AC: First of all, to state the obvious, it was truly a process-based exhibition. We started off in September with pretty much an empty room, a long table with six white chairs – waiting for the six artists.

Each installation and live performance re-enlivened the exhibition as a whole. And each of the individual works was significant and substantial piece of the artist’s practice. Living installation practice, while filled with beautiful moments of chance and responding in the live moment is not an arbitrary form.

You can’t accomplish serious durational work like these works without a particular rigour in your practice and a deep investment in live and durational work. Process based work, and in particular live performance practice is a gamble and hats off to the artists, the works came together in a spectacular way. I feel there was still an energy in the place after each performance had been completed. The energy made up of the memories of the audiences and artists of the previous performances, the detritus and the film footage from each live performance.

While durational live performance has been present within the cannon of contemporary visual arts practice for at least 40 or 50 years (perhaps even longer) – I think we are now at a crucial moment, where performance is coming in from the outside. Art institutions are moving from ‘event’ or ‘happening’ models of presenting performance, and moving towards live work being shown in a far more sustainable and experiment way in galleries, ‘Accumulator’ was an experiment in how it might be possible to offer a sustained performance-based exhibition; that moreover used a range of exhibitory tools – photography, video, installation etc – in order to accumulate and reflect on the traces and aftermaths of those live actions.

The Visual Artists’ News Sheet

March – April 2010

19

Profile

Stephanie Syjuco, 'Unsolicited Fabrications: Shareware Sculptures', 2009. Installation view.

Gallery view, Pallas Contemporary Projects

Candice Jacobs Wood, 2007. Berndnaut Smilde Conditioner, 2009. Installation view 'Automatic'.

PCP seán o sullivan profiles pallas contemporary projects.

Pallas Contemporary Projects (PCP) (1) was established in 2007 and is located on the site of a disused milking parlour on Lower Grangegorman Road, Dublin. The gallery is an offshoot of Pallas Studios, a venture founded in 1996 by artists Mark Cullen and Brian Duggan. It comprises an oblong shaped space, 54 feet long, and 10 feet wide. Its closely-knit walls have been no stranger to capacity opening night crowds and unpredictable assortments of work. The premises also incorporate a series of artists’ studios. New visitors to the space are frequently directed to a neighbouring building, which features a massive neon sign reading ‘Italian Restaurant’.

Throughout their history Pallas Studios have occupied a number of spaces around the city. These have ranged from the former Pallas Knitwear factory, which gave them their name, to a municipal housing block that hosted studios and exhibition spaces under the name Pallas Heights. Thus far PCP has been most regular and stable environment that the group has inhabited throughout its 14-year history.

Pallas might be best thought of as ‘the thing that couldn’t die’, like a B-Movie monster it can pitch itself up from the earth, over and again, ready for the next round. Pallas co-director Gavin Murphy has described their operating methods as having “involved morphing with changes around it, and maintaining a level of originality.”(2) An example being the way in which Pallas Heights utilised a number of flats as gallery and studio space in a dilapidated housing-block on Buckingham Street. This venue hosted 18 exhibitions between 2003 and 2006. It was a challenging context; Mark Cullen recalled, “The project was highly site-specific. You couldn’t get away from the fact that you’re working in a domestic environment; you had failed social housing and a ghettoised area of the city. These were all concepts that you’d actually have to deal with, or ignore.” Public access was permitted only at predetermined times each week. Eventually, after a number of extensions to their temporary tenure from Dublin City Council, Pallas Heights was torn down; the building had been long-scheduled for demolition.

Mark Cullen and Gavin Murphy are the current directors of PCP, and work alongside studio-gallery manager and artist Fiona Chambers.

Both Murphy and Cullen recall the months following the departure of founding member Brian Duggan as a difficult period, having worked together across 49 exhibitions each had learned to do the other’s job.

They had progressed together from working low-paid jobs—Cullen in a restaurant and Duggan in a building site—to running PCP full-time.

Brian Duggan now sits on Pallas’ board of directors, but mainly pursues his own artistic endeavours.

PCP also employs seven interns, and since 2007 has seen 28 come and go in a consistent yearly turnover. Most have proceeded to either postgraduate studies or further work in the visual arts. Cullen, Murphy and Chambers divide what should be one person’s wage three ways.

The gallery itself is a not-for-profit, and has received support from the Arts Council. The directors note, with no small measure of gratitude, that their Arts Council funding has stayed roughly in line with inflation.

In curatorial terms, PCP focuses on three interrelating strata of art practice: established, emerging and international artists. A good example of this was their recent exhibition 'Paper Work' (4 – 19 December 2009). This show featured work by both established and emerging artists, from Ireland and elsewhere; the press release explained that the exhibition explored “the primacy of paper as a fundamental medium, [and] a celebration at the core of the transformative essence of artistic production.” (3) PCP definitively situates itself as a non-commercial artist-led space. Its yearly programme consisted of exhibitions of serious experimental endeavour—only once a year does it venture to deliberately produce a commercial show, which is designed as a fundraiser for the venue.

Nonetheless, Cullen and Murphy don’t see a massive schism between commercial and serious contemporary galleries. Murphy feels that “Irish art needs more of every stratum of art initiatives, to build up the whole landscape with quality—as well as quantity.” Both Cullen and Murphy noted Dublin’s Mother’s Tankstation as a commercial gallery that offers a particularly strong and nurturing foundation for its artists.

During the summer months PCP’s programme operates on an open submission basis. Artists and curators are invited to rent the space in weeklong blocks. The selected events are then managed and promoted by the gallery. Last year this system resulted in 10 exhibitions, three of which received reviews. Cullen remarked that this aspect of their programme is easily one of the most productive, since it allows artists access to a gallery in a managed and prepared way and it exemplifies the collaborative and open ethos that they strive for.

Overall the PCP programme stresses the importance of housing original, experimental work that has been nourished and produced on site. This can include studio space being provided for the artists making exhibitions in the space. Cullen explains, “The concept was developed from Pallas Heights, where two flats were used in tandem, to both show and produce work in situ, while one flat was showing an exhibition the other was been prepared for the following exhibition.

Indeed some of the most successful exhibitions have featured works tailored specifically to the space, and as a result artists being given the time to acclimatise themselves to context of the gallery.

Examples would include Stephanie Syjuco’s show ‘Unsolicited Fabrications: Shareware Sculptures’, in which the San Francisco-based Filipino artist worked on site to produce a series of installations inspired by architectural plans sourced from Google SketchUp (2 – 30 May 2009). Hito Steyerl and Manon de Boer’s (20th March – 19th

April) 2008 exhibition ‘2 Films From 2 Artists’ saw the gallery transformed into two purpose built screening rooms. While Clive Murphy’s Mono (7 September - 13 October 2007) saw the space dominated by a large-scale site-specific inflatable sculpture.

PCP Director Gavin Murphy travelled to Australia on an artist residency. Melbourne takes particular pride in its ARIs, or ‘artist-run initiatives’. Connections made by Murphy during this period resulted in a collaborative project between Pallas, Gertrude Contemporary Art Spaces in Melbourne and the Fire Station Artists’ Studios in Dublin. In the past Pallas have forged similar international allegiances, such as their partnership with Auto Italia South East, based in Peckham, London with whom they presented ‘Automatic’, a group show of International artists and two Irish artists, in 2009. PCP has also worked on an exhibition exchange with Project 304 in Bangkok, Thailand. In addition they have strong national relationships with 126, Galway and The Black Mariah, Cork—the latter of which they will collaborate with on an as-yet-unnamed project throughout March and April.

Pallas has produced three publications since 2007. The first, Pallas Heights 2003 – 2006, covers the ideologies and critical sensibilities that informed the project, it features essays by accomplished theorists covering fourteen of the exhibitions that took place, along with twenty artworks commissioned specifically for the book. Pallas Contemporary Projects: Year One, which, as its name suggests, documents the gallery’s first year. It includes an illustrated history of each show, with critical text by Limerick-based artist, writer and Visual Arts lecturer Jessica Foley. The most recent Pallas publication was produced to accompany ‘Automatic’ and included essays by Gavin Murphy and Chris Fite-Wassilak.

Pallas Contemporary Projects is currently hosting ‘The Problem With Stability’ (30 Jan – 13 Mar), an exhibition of architecturally influenced sculpture and installation produced on-site by Jen Berean and Pat Foster. The show comes at the end of a collaborative residency award offered in collaboration between Pallas Contemporary Projects, Fire Station Artists’ Studios and Gertrude Contemporary Arts, Melbourne (4).

Seán O Sullivan Notes 1. www.pallasprojects.org 2. All quotations from a conversation between the author and PCP Co-Directors Mark Cullen and Gavin Murphy, 15 January 2010.

3. The artists represented in Paper Work were: John Beattie, Mark Beatty, Anna Boyle, Gemma Browne, Niall de Buitlear, Karl Burke, Clare Cashman, Aoife Cassidy, Fiona Chambers, Gary Coyle, Mark Cullen, Anita Delaney, Vanessa Donoso López, Brian Fay, Alicia Frankovich, Mark Garry, David Godbold, Helen Horgan, Wendy Judge, Atsushi Kaga, Vera Klute, Nevan Lahart, Áine Macken, Alice Maher, Bea McMahon, Clive Murphy, Christophe Neumann, Isabel Nolan, Magnhild Opdøl, Sarah O Brien, Garrett Phelan, Ruth Proctor, Linda Quinlan, Gerard Shanahan, Sonia Shiel, Ivan Twohig, Lee Welch.

4. Further details on Jen Berean and Pat Foster’s Fire Station residency and PCP exhibition can be found in the article on page 15.

Anne Tallentire This, and other things 1999 - 2010 Backwater TWeNTy - 10

17 February - 3 May 2010

A celebrAtion of 20 years of bAckwAter ArtiStS GroUP StUdioS

MArch 11 - APril 10 crawford Art Gallery cork. emmet Place, cork, ireland. +353 (0)21 4805042 www.crawfordartgallery.ie

Ă ilĂŠar Crawford Chorcaigh

Drift: diagram xi, 2010, Anne Tallentire in collaboration with Dominic Stevens, Installation, metal poles and corrugated sheeting, single channel video on 8 LCD screens, dimensions variable, Courtesy The Arts Council of Ireland.

Discussion and Screening: Thursday 22 April Anne Tallentire will discuss works in the exhibition in the context of her overall practice in a conversation with Jake Irvine at IMMA. This will be followed by an outdoor screening of a series of single screen video works in Meeting House Square, Temple Bar. Please visit www.imma.ie for further information.

Irish Museum of Modern Art, Royal Hospital, Kilmainham, Dublin 8 t 01 612 9900 e info@imma.ie w www.imma.ie

22

The Visual Artists’ News Sheet

March – April 2010

HOw is it made?

Isabel Nolan Uplift 2009 balsa, jesmonite, paint, toughened glass, MDF object 50 x 16 x 16 cm base 31 x 40 x 30 cm

Isabel Nolan A better life. 2009 balsa, jesmonite, paint, toughened glass, MDF object 45 x 35 x 50 cm base 75 x 40 x 60 cm

Apparent Meaningfulness Isabel Nolan discusses the role of Intuition in her studio practice.

Often when exhibiting new work I find that it cannot be contained in a satisfactory net of expository words. Not the works or the exhibition. One explanation (or excuse) for this is that it can seem pointless and constraining to speak about the kind of event or object that is failing to some degree if it doesn’t ‘speak’ for itself.

Soon after ‘On a Perilous Margin’ at the Kerlin Gallery (27 Nov – 23 Dec 2009) had closed I was trying to marshal my thoughts and experiencing this difficulty in finding the words to describe why and how the show came to be. (I was about to meet someone to discuss it.)

An image of a stick-person-me standing beside the edge of a big, imperfect circle came to mind. Sometimes stick-person is busy working in the centre; sometimes stick-person paces the perimeter, or moves back and forth across the boundary line. This imaginary circle encompasses all the different backstage activities that constitute being an artist for me: the drawing, reading, painting, and sewing, thinking, sculpturing, etc. I made this circle myself and yet at that moment I was outside of it, trying to remember how and why the work got made.

Being consequent upon a studio practice that is at times very reliant on intuition, this tricky relationship to one’s own work is perhaps not so surprising. Broadly speaking, the up-side of this method of working is that instincts honed over a long time, uncertainty as regards desirable outcomes and intellectual flexibility are important for creative practices which are predicated (to draw a pointed distinction that is in practice quite spurious) on engendering rather than finding or achieving results. A work that seems successful in this instance emerges during the process of working. Intuition, experience, etc., (and sometimes visitors to the studio) will persuade me that here is a form that has got ‘something’. This form is no longer inert; it is a moment of significance. It is not merely a prop, rather it performs/ manifests certain mores that I believe are important to iterate.

One facet of this was alluded to in the press release accompanying the exhibition; I quoted C.S. Lewis who, railing against critics of the liberal arts, wrote “... the man of radically servile character will never understand. He will ask, ‘But what use is it?’”. Making work in the manner described can be a matter of defending endeavours that are ‘other’ than simply functional or useful, not didactic (or even educative?) and not productive according to the principles of capitalism. This is (sort–of) following in a long tradition of creative research and work that stands largely on qualities or merits that refuse to be bound to the need to be useful or applicable in practical or socioeconomic terms. The value of this kind of work is difficult to articulate without invoking hackneyed terms, but it has the potential to speak to us in innumerable ways and to produce things, research, information sensations or feelings that are compelling, important, worrying, unexpected, beautiful and exciting.

Whilst making work, the times when I precisely know the ‘why’ of a particular piece are relatively short-lived. Usually this feeling can last a few hours, maybe a few days, and occasionally for a longer spell – waxing and waning over a matter of weeks. In these times I know how to proceed with the making of the object(s); be it the beginnings

Isabel Nolan Something special in remembrance, 1881 2009 watercolour and waterbased oil on canvas 50 x 40 cm

Isabel Nolan In a space, intimately unrelated 2009 Metal, mixed fabrics, plaster, toughened glass, MDF object 26 x 30 x 30 cm base 91 x 50 x 40 cm

or the end stages – the logic of the work is apparent to me and it deems the work be one way and not another. These times feel very good. This way of working is hard to rationalize or explain and often I have the sense that the work underway at any given time is, metaphorically, just beyond my fingertips. Setting about making meaning out of form, or form into meaning, and further, making meanings that are relevant to the thinking you do; that perform the ideas that you hope to communicate, is not a straightforward process. I do this by physically crafting things, reworking them, messing them up and remaking from scratch; discarding certain things altogether, and returning to others after long intervals when they may have seemed inert. In doing this I

Isabel Nolan A fanaticism of sympathy 2009 mixed fabrics, paint, MDF swan 28 x 40 x 17 cm base 90 x 60 x 12 cm

have moments when the energy or rationale of the object becomes clear and the next step gets made (sometimes rightly, sometimes not).

The logic of making an exhibition is somewhat distinct from this process. After all, my stick-person ‘backstage’ circle is just a tiny circle contained in, overlapped and contiguous with innumerable other circles of activity: including the temporary rings drawn around a number of works to make an exhibition. A different order of intuition and reason necessarily come into play, and combine with an important moment of collaboration and discussion with other people, to bring the works into a performative relationship that makes a bunch of things into much more than the sum of its parts.

At the moment (my mind is changeable) I think that most of what gets said about an artwork by its maker is a matter of anecdote.

“It is about the...” “I saw this and thought of that”, “I read so –and – so and it led me to...” This is no doubt often very interesting and insightful but I am wary of the word ‘about’. What concerns me as an artist and as a viewer is effect. (I presume it is the same for most interested parties.) The question to be asked of an artwork is not, “What is it supposed to mean?” or “What is it about?” but rather; “What is it doing?”

I hope that the works in ‘on a perilous margin’ emerged from the process of being made to seem purposeful but recognising the contingency and profound instability of their meaning; perhaps by being evocative but inscrutable: that they are objects or images that aspire to meaningful connection but are (perhaps painfully) aware of the limits of communication.

Other things I can say about how the show evolved are of a much more anecdotal nature. It is hard to escape narrative and even the most abstract or ‘unfamiliar’ object takes on a set of anthropomorphic adjectives – I see various works as friendly, sad, playful, aspirational; thwarted, anxious, or excited. Someone told me the works were fiercely tentative - I like this description.

In the last few years I’ve made a number of paintings based on artworks, three were included in the show, Sad time 1862, Sad time 1439, and Something special in remembrance, 1881. I’ve done this because I had very strong responses to these works, sometimes in the flesh and sometimes as reproductions. These reactions stayed with me and I puzzled for a long time as to why they produced such powerful emotions. Not having reached a satisfying conclusion I decided to make correlative objects that would simply attest to those feelings.

Many of the titles of the pieces are taken from fiction – I try to put words with works that will add to their apparent meaningfulness and facilitate their need to communicate, titles that will lead but not dictate responses, that don’t close down the works or turn the objects into illustrations.

The struggle to find words can make it seem as though the work has escaped your grasp, and that its meaning is now exclusively the business of any audience it may have. Maybe what is important at this time is to both reflect and to start working again (perhaps leaving the apprehension of the finished work to its audience) and to trust that your intellectual or material compulsions will lead to or even make new lines to follow. Hopefully stick-figure-artist moves around and through, and in and out of many imaginary circles.

Isabel Nolan www.kerlin.ie www.isabelnolan.com

The Visual Artists’ News Sheet

23

March – April 2010

Opportunities communities of place and/or

organisations who wish to invite

Website

of work for exhibition on the

interest and artists, culminating

specialists from abroad to deliver

www.humanrightsfilmawards.

understanding that the gallery

in an artwork or a project in

high-level training or mentoring

org

will select one work for its

which the members of the

for the professional development

Deadline

collection. Costs associated with

community group and the artists

of artists and others working

31 March 2010

the exhibition will be borne by

work together in order to realise

professionally in the arts in

an artistic project or an event. A

Ireland (Travel & Training

Aesthetica Short Film

the production of a fully

new mentoring scheme is also

Outbound).

The Aesthetica Short Film

illustrated catalogue. The gallery

available in 2010 as part of this

award available is €12,000.

Competition

seeking

will also pay airfares and

award. For further information,

Applications should be made to

submissions of artists’ films as

accommodation for recipient

application forms or to book an

allow

for

well as drama, documentary,

artists to attend the opening

practitioners interested in being

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music video, animation, satire,

event and present their work at

placed on the panel of shortlisted

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Atkinson,

Project

before the travel or training is

comedy, etc. The award offers

the associated seminar. There

artists for participation in the

Support

&

due to start.

winners and runners-up a prize

will be six months between the

Culture Ireland

Visual Artists in Prison Scheme

Development, at:

Telephone

package that includes screenings

announcement

Culture Ireland aims to promote

to submit applications. This

Telephone

01 6180200

of your film at The National

recipients and the delivery of

and advance Irish arts in a global

joint-funded

01 4736600

1850 392 492

Media

works to the gallery. Application

Email

Rushes Soho Shorts Film Festival

forms are available online.

Opportunities FUNDING funding

scheme

allows

Professional

The

sufficient

maximum

time

the gallery, including freight and

is

Museum

(Bradford),

of

award

context by helping to create

artists to work with prisoners in

Email

international opportunities for

one of the country’s prisons or

support@create-ireland.ie

travelandtraining@artscouncil.

(London), Glasgow Film Festival,

Website

Irish

cultural

detention centres for a period of

Website

ie

Kerry Film Festival, Project Space

www.sheppartonartgallery.com.

practitioners with a view to

8/10 days and complements an

www.create-ireland.ie/profess

Website

Leeds and on the Aesthetica

au/exhibitionprogram/smfacaa

existing arts and education

ional-development/artist-in-the-

www.artscouncil.ie/en/available

website; £500 first prize, £250

Deadline

understanding between Ireland

programme taking place in the

community-scheme-2010.html

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runner-up;

12

months

2 April 2010

and

with

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artists

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Education Units within the

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membership

communities. Culture Ireland’s

prison system. The fee payable to

5pm, 25 June 2010

Ongoing

People; collection of film books

Szpilman Award

principal funding scheme is

the artist is €1,600 (or €2,000 if

from Wallflower Press; and the

The Szpilman Award is awarded

other

cultures

the participating artist lives over

Wellcome Trust Awards

ACNI Public Art

winner and 10 runners-up will be

each year to an ephemeral work

presentation and promotion of

80km from the prison or

The Wellcome Trust Arts Awards

The Arts Council of Northern

included on a DVD that will go

of art. The 8th annual Szpilman

Irish arts internationally. The

detention centre they are working

are open to residents of the UK

Ireland’s Public Art Programme

out to all Aesthetica readers.

Award for art that exists for only

next deadline for Culture Ireland

in). Artists interested in being

and Ireland and they aim to

aims

the

Films may be up to 20 minutes

a short period of time has just

funding applications for projects

placed on the panel of short listed

support

and

commissioning of new art for

long. For detailed guidelines and

been announced and entries will

and events taking place from

artists should contact Veronica

experimental arts projects that

public places in Northern Ireland

entry conditions visit:

be accepted from now until the

Hoen, Co-coordinator of AIP

investigate biomedical science.

and opens for applications on 22

Website

closing date. The Award is open

approaching. Details, guidelines

Scheme, at:

All art forms are covered by the

March 2010. Further information

www.aestheticamagazine.com/

to artists of any nationality and

and

Email

programme, including dance,

on ACNI’s Public Art Policy,

film_submissions.htm

the prizewinner will collect the

application process are available

veronica_hoen@eircom.net

drama, performance arts, visual

including guidelines on best

Deadline

Jackpot Stipendium (prize money

online.

Website

arts,

craft,

practice and documentation on

30 April 2010

raised during the year), a

www.artscouncil.ie/en/

photography, creative writing

projects that have received

www.cultureireland.gov.ie

available_funding.aspx

and digital media. The Small to

support, is available to download

Portrait Sculpture

Cimochowizna, Poland. For work

Deadline

Deadline

Medium-Sized Projects Award

from the ACNI website. The Arts

Portrait sculptors are invited to

to be eligible for entry it must be

15 May 2010

Ongoing

funds projects up to and including

Council of Northern Ireland

enter the Portrait Sculpture Open

created between 1 October 2009

£30,000. Funding can be used to

embraces a wide range of media

Exhibition organised annually

and 30 September 2010. To enter,

ACNI Project Funding

support the development of new

and art forms as part of this

by The Gallery in Cork Street,

send a completed application

The Step Beyond Fund supports

The Arts Council of Northern

project ideas, deliver small-scale

funding

including

London. Portraits may be of a

form (available online) plus

cross-border movement of artists

Ireland’s Project Funding scheme

productions

workshops,

painting, sculpture, photography,

head, bust or figure, and may be

significant documentation of

and

to

will be open for applications

investigate and experiment with

installation, video and new

either human or animal. An

your work by postal mail only

experience diversity and cross-

from 22 March 2010. The aim of

new methods of engagement

media, temporary works, crafts

exhibition of selected entries will

with SAE for return of same to:

this programme is to assist

through the arts, or to develop

and applied arts; and also accepts

take place at The Gallery at Cork

Address

European countries, including

organisations to deliver arts

new collaborative relationships

applications

permanent

Street from 10 to 15 May 2010.

Szpilman Award, Brunnenstrasse

those that are not currently

projects which contribute to the

between artists and scientists. For

single works, multiple linked

Prizes include the Freakley Prize

10, 10119 Berlin, Deutschland

members of the European Union.

growth of arts in the community

further information and to

works and integrated art projects.

(£2,500) for best 3-dimensional

Website

The fund will make a contribution

for new and existing audiences

download an application form

Information on applying online

human portrait; Tiranti Prize

www.award.szpilman.de

to travel costs, visa costs, and, in

and which reflect the diversity of

for the Small to Medium-Sized

and in hard copy format is

(£500) for best exhibit by sculptor

Deadline

Northern Ireland’s society and

Projects Award visit their website

available from:

age 30 or under; Olin-Stones

30 September 2010 (postmark)

costs of those awarded a grant.

culture. Applications may be

or contact the Arts Awards

Website

Award (£500) for best relief

For more information go online

made online or in hard copy and

Office:

www.artscouncil-ni.org/award/

portrait; and the Talos Award for

PhD Studentships

or contact Giusy Chierchia and

decisions will be announced on

Telephone

public_art.htm

a casting in bronze for best non-

The University of Aberdeen

Bertan Selim at:

23 July 2010. Full details are

0044 (0)207 6117222

Deadline

member newcomer. For entry

invites applications for PhD

available at:

Email

15 April 2010

forms contact:

Studentships in the Translating

Step Beyond Team, European

Website

arts@wellcome.ac.uk

Telephone

Culture: Visual Arts in a World

Cultural Foundation, Jan van

www.artscouncil-ni.org/award/

Website

0044 1962 860904

Context programme. Awards will

Goyenkade 5, NL-1075 HN

project_funding.htm

www.wellcome.ac.uk/Funding/

Email

cover fees at UK or overseas levels

Amsterdam, The Netherlands

Deadline

Public-engagement/Grants/Arts-

sps@portrait-sculpture.org

and the committee awarding

15 April 2010

Awards

ICCL Human Rights Awards

Deadline

studentships for the project will

Deadline

Following on from its inaugural

30 March 2010

also be able to allocate some

3 April 2010

2009 competition, the Irish

designed

August

to

support

2010

the

onwards

information

is

on

the

Website

Step Beyond Fund

cultural

workers

cultural cooperation between all

certain cases, accommodation

Address

Email stepbeyond@eurocult.org Website

Artist in the Community

www.eurocult.org/we-support-

Twice yearly, the Arts Council

cultural-cooperation/programm

offers grants managed by Create

es/mobility/apply-step-beyond/

imaginative

music,

film,

or

to

support

award

for

AWARDS Awards

challenge cup and a trip to

funds towards maintenance. The

Council for Civil Liberties (ICCL)

Shepparton Art Gallery

Translating Culture PhD aims to

Travel & Training Award

has launched its 2010 Human

Shepparton Art Gallery in

examine how the arts matter

to enable artists and communities

The Arts Council of Ireland’s

Rights Film Awards. Individual

Australia invites applications

internationally by taking up

Deadline

of place/interest to work together

Travel & Training Award provides

filmmakers and/or those with a

from international artists for the

central questions of translation

8 weeks before start of project

on projects. The Artist in the

visual artists with funding for

strong interest in human rights

new Sidney Myer Fund Australian

as it is understood through

Community Scheme 2010 is

training and other professional

are invited to submit an original

Ceramic Art Award. Open to

cultural exchange. Two overseas

Artists in Prison Scheme

open to artists from artform

development

opportunities

short film focusing on a particular

Australian and International

fees studentships are available,

The Arts Council of Ireland in

disciplines

including

abroad, where the focus is on the

human rights-related issue in, or

ceramic artists, the award selects

one starting in 2010 and the

architecture, street art, film,

development of the individual’s

related to, Ireland. Applications

three recipients of the award,

other starting in 2011. For more

Department of Justice, Equality

visual arts and traditional arts.

own arts practice (Travel &

are now open. Full details of the

each of whom will receive a

information, including contact

and Law Reform calls for

The aim of the scheme is to

Training Outbound), and also

competition and application

significant

of

details for the project team and a

applications from visual arts

encourage collaboration between

supports

packs can be accessed online at:

AUD$25,000 to produce a body

list of suggested research topics

partnership

with

the

Irish

individuals

or

stipend

24

The Visual Artists’ News Sheet

March – April 2010

Opportunities visit the University of Aberdeen

at:

Email

office@de-ateliers.nl

artists and curators for residencies

website.

Address

Source

buero@artistsunlimited.de

Website

in 2010. Elsewhere is set in a

Website

Bury Art Gallery, Moss Street,

Source magazine is researching

Website

www.de-ateliers.nl

3-storey former thrift store,

www.abdn.ac.uk/cass/graduate/

Bury, BL9 OBN, England

for future issues and wants to get

www.artistsunlimited.de/blog/-

Deadline

boarding house and warehouse

funding/research/translating-

Email

updated about new photographic

the-studio/

1 June

with one woman’s 58-year

cultures

t.trehy@bury.gov.uk

work being produced in Ireland.

Deadline

Deadline

Deadline

To let Source see work your work

1 April 2010

23 April 2010

29 March 2010

please send an email with a link

collection of American surplus, Art In Nature

thrift, and antiques. Residencies

Flintshire County Council is

invite experimental creators to

to an individual website or

EMPAC Residency

looking for three visual artists to

utilise the immense collection of

Research Scholarships

VA Convention Center

alternatively 6 screen resolution

New media artists and researchers

work in residence at Talacre

objects circulating internally as

UK and EU students with a 1st

The City of Virginia Beach seeks

images and a little background

are invited to apply for the

Beach and along the Flintshire

material or inspiration for site-

Class undergraduate degree or a

to commission a work of video or

text about a particular project.

researchers/artists-in-residence

Coastline in North Wales. Each

specific projects that become part

UK Upper 2nd Class Honours

new media art for display at the

Source is published quarterly and

programme at the Experimental

artist will work in a different

of an endlessly transforming

degree are invited to apply for

new Virginia Beach Convention

more details about the magazine

Media and Performing Arts

medium - land art, sculpture,

environment of objects and

one of two available Research

Center (VBCC) designed by the

is available online.

Centre (EMPAC) in Troy, New

painting, new media, print

works. Artists live and work

Scholarship awards for 2010/2011

architecture

Email

York. Residencies are dedicated to

making, textiles, ceramics, glass -

within interactive installations

leading to the degree of PhD in

Owings and Merrill, LLP. The

john@source.ie

advancing research and artistic

at a workplace/studio at Talacre

that provide evolving frameworks

Performance, Visual Arts and

work will be showcased on a

Website

production at the intersection of

Beach (to be confirmed) for 40

for investigating collaborations,

Communications

community

firm

Skidmore,

at

the

continuous span of four screens

www.source.ie

technology, media and the time-

days.

Leeds.

The

measuring 90 feet by 9 feet (total

Deadline

based arts (media arts, video,

facilitate 15 days of INSET

creative processes. Applications

scholarships will cover academic

of 360 feet wide by 9 feet high) in

Ongoing

music, dance, theatre). Residency

workshops for teachers that take

should be sent to:

fees and provide a maintenance

the expansive lobby of this public

proposals should be experimental

inspiration from the coastline.

Address

grant of £13,490 for full-time

building. The Convention Center

in nature and goals may turn out

Workshops should be adaptable

Elsewhere,

to be unobtainable artistic or

to also suit working with special

Greensboro, NC 27406, USA

technical dead ends. Prospective

needs and disabled groups, the

Email

University

study

of

(part-time

Residencies RESIDENCIES

Resident

artists

will

structures,

606

S

and

Elm

St

pro-rata).

and the video wall within it are

Applicants can expect to be

part of the City’s plan to foster

notified of the outcome of their

green design. Situated in close

HIAP

artists may apply for limited

elderly and foundation phase/

residencies@

application by the end of May

proximity to the Contemporary

Helsinki International Curatorial

travel

nursery

elsewhereelsewhere.org

2010. For more information visit:

Art Center of Virginia, the VBCC

Programme

offers

support, but also are encouraged

additional 10 days will be paid to

Website

Website

attracts a diverse audience of

curatorial residencies in Helsinki

to come with their own means of

the artists for attending meetings,

www.elsewhereelsewhere.org/

www.leeds.ac.uk/students/

450,000 visitors annually. The

for international visual arts

support. EMPAC offers residents

hanging exhibitions, research

programs/residencies

apply_research.htm

Purchase Award is $10,000 and

curators. The programme is a

the logistical support of experts

and preparation work. A fee of

Deadline

Deadline

offers up to $2,500 for travel

collaboration between Helsinki

in audio, video and stage

£7,500 will be paid to each

5pm, 31 March 2010

30 March 2010

expenses. Queries should be

International Artist-in-Residence

technologies, as well as critical

participating artist. For further

addresses to Natalie Bray, Guest

Programme (HIAP) and the

discourse

an

information and job description

ComPeung

London Scholarships

Curator, at:

Finnish Fund for Art Exchange

interdisciplinary curatorial team.

please contact Gwenno Eleri

ComPeung in Doi Saket, a small

Three International Graduate

Address

(FRAME). The aim of the

Application forms are online.

Jones, Arts, Culture and Events

town close to Chiang Mai city in

Scholarships are available to

Office of Cultural Affairs, City of

programme is to provide curators

Address

Manager, at:

China, seeks applications from

well-qualified

Virginia Beach, 201 Market Street,

with an opportunity to carry out

EMPAC, 110 8th street, EMPAC

Email

international artists for its 2010

students interested in working

Virginia Beach, VA 23462, USA

research on Finnish fine art, to

Building, Troy, NY 12180, USA

gwenno.e.jones@flintshire.gov.

Residency Programme. Visual

towards postgraduate study in

Email

build contacts with Finnish art

Email

uk

artists,

Art & Design or Fashion at the

nbray@vbgov.com

practitioners

empac_air@rpi.edu

Deadline

architects local artists are invited

University of the Arts London

Website

organisations and to develop

Website

22 March 2010

to apply for 1-month residencies

International

www.rhizome.org/announce/

international curatorial projects

empac.rpi.edu/residencies

Scholarships, two to be based at

view/54596

involving Finnish participants.

Deadline

Filmmaker Residency

ideas and experiences between

Central Saint Martin’s College of

www.vbfun.com/

Residencies include the cost of

Ongoing

Media artists and filmmakers are

local and international artists

Art & Design, and one at London

conventioncenter/

travel, studio accommodation

encouraged to apply for NEA’s

through the process of creating

College of Fashion. The awards

conventioncenter/

and a grant for expenses.

De Ateliers

4-week

artworks/conceptual

will cover tuition fees only for a

Deadline

Applications should be sent to:

De Ateliers is an independent

Artist/Filmmaker

Residency

and participating in workshops/

period of three years’ full-time

9 April 2010

Address

artists’ institute run by visual

programme funded by the

activities. Two 1-month grants

study. For more information and

Curatorial Residencies, FRAME

artists

The

National Endowment for the Arts

for 2010 are currently available.

an application pack contact:

Finnish Fund for Art Exchange,

organisation provides 23 studio

(NEA) in Buffalo, New York. The

The grant covers: return air fare

Cable Factory, Tallberginkatu 1 C

spaces to emerging local and

residency is aimed at media

from artist’s home country,

96, 4th floor, FIN-00180 Helsinki,

international artists for either 1

makers who are interested in

return

international

Graduate

publications PUBLICATIONS

Email phd@arts.ac.uk

currently

and

cultural

and

in

accommodation

with

Amsterdam.

age

children.

An

photographers

and

that aim to create an exchange of

International

Media

projects

transportation

from

Website

Paper

Finland

or 2 years. Applications are

learning new technologies (film

Chiang

www.arts.ac.uk/research/

Paper Visual Art Journal is an

Website

sought from artists who would

or digital) useful for their practice.

Airport, a small artist’s fee as well

Deadline

online

www.hiap.fi

like to combine a period of

The residency includes month

as studio space, accommodation

5pm, 15 June 2010

contemporary

Deadline

intensive, self-motivated work

access to 16mm production/post-

and 3 meals per day. For more

1 May 2010

with critical guidance from peers

production systems, film hand-

information contact:

and invited critics, curators and

processing facilities, Final Cut

Email

other arts professionals. Studio

Pro editing suite, video/film

compeung@yahoo.com

publication art.

for Paper

recognises the vacuum of critique and dialogue that exists for commissions COMMISSIONS

emerging artists and artist groups

Artists Unlimited e.V

Mai

International

between graduate and established

Artists of any nationality with an

facilities include wood and metal

cameras and equipment. The

compeung@gmail.com

Whitefield Park

art practice in Ireland. The

interesting,

and

workshops, black & white

Artist-in-Resident will receive

Website

Bury Council in Manchester,

emphasis, at outset, is to address

contemporary artistic practice

darkroom, basic video editing

accommodation, travel, and a

www.compeung.org

England is seeking to commission

this. Paper is always looking for

are invited to apply for a guest

equipment and a PC with internet

$1,000 artist’s stipend paid in two

Deadline

an artist to create a public artwork

people to contribute reviews,

artist residency opportunity to

connection. The residency year

instalments.

30 March 2010

in Whitefield Park a small urban

essays, and articles to the

live and work at Artists Unlimited

runs from 1 September to 31 May.

information visit:

local community park located

publication. Artists interested in

e.V in Bielefeld, Germany, for 3

Residents may work through the

Website

island6 Arts Center

next to Whitefield Metro Station

being considered for the ‘focus’

months (Feb-May, June-Sept or

summer months but there are no

http://squeaky.org/residencies/

island6 Arts Center is seeking

in Bury. The total project budget

section of the site should send

Oct-Jan). Artists Unlimited pays a

studio visits. A stipend of €9,350

international

applications from established

is

and

images, biography and a clear,

monthly grant of €550 per month

per year is paid to resident artists.

Deadline

and emerging artists, arts writers

implementation. Submissions

400-word explanation of their

to resident artists. Applications

Application forms are available

16 June 2010 (postmark)

or curators across the visual arts

and proposals should include up

work/work-in-progress to:

should include 10 images of your

online and submission should be

to 10 images of your recent work

Email

work, a short description of the

sent to:

Elsewhere Collaborative

would like to accomplish during

in disk or slide format with SAE

papervisualart@gmail.com

work you will carry out on the

Address

Elsewhere Collaborative, a living

a residency. Artists are selected

for return of same. To receive a

Website

residency (500 words) and CV.

de Ateliers, Stadhouderskade 86,

museum

based on the quality of their work

copy of the brief and further

www.papervisualart.com

Send applications with ‘Guest

1073

production

information, please contact Tony

Deadline

Studio Application’ in the subject

Trehy, Arts & Museums Manager,

Ongoing

line to:

£20,000

for

fees

dynamic

For

more

with a strong vision of what they

and

experimental in

and their interest in working in

Netherlands

Greensboro, North Carolina, is

Shanghai. The island6 residency

Email

now accepting applications from

programme provides residents

AT

Amsterdam,

The

environment

The Visual Artists’ News Sheet

25

March – April 2010

Opportunities with accommodation and studio

residency, which usually runs for

space in the city centre. island6 is

2 months, there will be a

located in the centre of M50,

presentation of the works or

Shanghai’s largest creative centre

research made during the period.

which hosts 50 contemporary galleries.

Ongoing

designers

and

cultural

583, 4305 Sandnes, Norway

entrepeneurs, located in the

Email

Nadine

Icelandic Visual Artists

former laboratory for physics in

postmottak@sandnes.

Curators, researchers, architects

The Association of Icelandic

the city centre of Groningen.

kommune.no

and artists working with painting,

Resident artists and researchers

Visual Artists (SÍM) manages

Through Foundation Cob10, Het

Website

drawing,

in

are provided with a small studio

nearly 100 studios for Icelandic

Paleis facilitates a residency

www.kinokino.no

performing art are invited to

silkscreen, metal welding, arch

space in the centre of The Hague,

artists and also provides 10

programme for international

Deadline

apply for residencies of 2 to 3

welding,

living

1 June 2010

months at Nadine in Brussels.

Workshops

film,

media

and

and

residency spaces for international

artists with the aim of generating

engraving, mould making, paper

access to an internationally-

artists in Reykjavik. The SÍM

new initiatives, ideas and a

cut, traditional Chinese painting

oriented network of artists and

residency apartment consists of

diversity of activities. 10 guest

Thinker in Residence

laboratory for contemporary

and oil painting are available.

creatives. Application forms are

two bedrooms for artists in

rooms available for resident

The Society for Curious Thought

artists; a place where innovative

Minimum duration 4 weeks.

available online.

residence and one guest-room for

artists and two studio spaces are

invites applications for The

work can be created, supported,

Applicants should send a CV,

Email

visitors on a shorter stay. The

available (55sqm and 26sqm).

Curious-thinker-in-Residence

and presented. Nadine wants to

comprehensive portfolio and a

email1646@hotmail.com

apartment has a small living

Artists should forward a project

Programme. The residency is

provide continuous support for

written proposal to:

Website

room, wi-fi, a fully equipped

proposal, CV, documentation of

open to artists, writers, scientists,

innovative projects that need the

Address

www.enter1646.com/residency

kitchen, washing machine and

previous work and a letter of

musicians and theologians and

right context in which they can

Deadline

dryer and a bathroom with

motivation to:

the central aim of the 3-week

thrive whilst developing their

Ongoing

shower. Each artist has their own

Address

programme is to give each

own methodology for artistic

island6

pcb

design,

Arts

CNC

Center,

50

Moganshan Rd, Bld 6, 2nd floor,

accommodation

Nadine is a transdisciplinary

private bedroom with two beds.

Het Paleis, Turftorenstraat 30,

resident the space and freedom

research and explicitly focusing

Telephone

Binger Film Institute

A common work space for

9712BR Groningen, Netherlands

to think, create, compose and

on the artistic process. Artists

0086 216227 7856

The Maurits Binger Film Institute

residents is provided between the

Email

invent. Residents will be provided

should send a short description

Email

is a post-academic development

rooms.

cob10@planet.nl

with live-work space in a wooden

of their project accompanied by

residency@island6.org

and training programme for

information on fees etc. at:

Website

cabin with internet access and a

visual material (video/DVD/

Website

international filmmakers in

Address

www.hetpaleisgroningen.nl

small library outside the village

photos) to:

www.island6.org

Amsterdam. Its aim is to increase

SÍM, Hafnaerstraeti 16, IS 101

Deadline

of Whaplode Drove in the

Address

Deadline

and perfect the skills of new

Reykjavik, Iceland

Ongoing

fenlands on the east coast of

Nadine, Herderstraat 30 rue du

Ongoing

professional filmmakers through

Telephone

England. Applications should

Berger, 1050 Brussel, Belgium

the development of a number of

00354 551 1346

german residency

include a CV and the names of

Telephone

Florence Workshops

film projects and focuses on

Email

Kunstlerdorf Schoppingen in

two referees along with one of

0032 2513 4104

Florence Workshops provides an

screenwriting, directing and

sim@simnet.is

Germany invites applications for

the following: short essay, short

Email

ongoing international residency

producing through a series of

Website

its residency scheme which offers

piece of fiction, poetry, series of

info@nadine.be

programme alongside taught

labs. The Institute offers guidance,

www.sim.is

12 scholarships for visual artists

photographs,

Website

courses in paintings, drawing,

coaching, and facilities for

Deadline

and 6 scholarships in new media

animation, musical composition.

www.nadine.be

black & white photography,

experimentation and practice on

1 April 2010

for a maximum of 6 months. A

Send applications as Word

Deadline

printmaking

digital

various aspects of the productions

stipend of €1,025 per month is

documents to:

Ongoing

photography for between 2 and

which are in development.

ArtistNe(s)t

provided which may be used

Email

12 weeks in the centre of Florence.

Selected

with

ArtistNe(s)t is an Artists-in-

towards payment of monthly

info@

Theme Polar Arts

Facilities include a computer lab,

professional experience will be

Residence programme created by

rent (accommodation and studio)

thesocietyforcuriousthought.

Theme Polar Arts Programme

internet access, reference library,

admitted for one or more

the Swiss Cultural Programme

and associated costs (approx. €90

com

provides

studios, black & white darkroom,

semesters and grouped into

Romania in four cultural centres

to

Website

photographers and filmmakers

printing presses etc. Housing in

creative teams for the duration of

in Romania: Cultural Centre

Accommodation for families is

www.

with the opportunity to take part

fully

apartments

each project. Submissions for the

Arcus; Cultural Centre George

also available. Application forms

thesocietyforcuriousthought.

in shipboard residencies in the

within walking distance of the

autumn 2010 programme are

Apostu in Bacau; Cultural Centre

are available online and should

com

Polar regions. Residencies usually

studio is available upon request

currently being accepted.

Rosetti Tescanu-George Enescu,

be sent to:

Deadline

run for periods of between 2

for an additional fee. Emerging

Address

Tescani

Address

18 March 2010

weeks and 1 month and residents

and established artists should

Maurits Binger Film Institute,

Cultural Centre Sinaia. Artists

Künstlerdorf

apply by submitting an up-to-

Nieuwezijds Voorburgwal 4-10,

from any country working with

Feuerstiege

date CV, 5-7 examples of recent

1012 RZ AMSTERDAM, The

drawing, painting, film, media

work in .jpeg format sent via

Netherlands

email, a proposal or outline of the project to be undertaken during

200060 Shanghai, China

and

furnished

filmmakers

Contact

and

SÍM

the

for

European

€200

per

month).

short

film,

registered

artists,

may also participate in art and

Schöppingen, MACBA Study Centre

photographic

Schöppingen, Germany

The Museum of Contemporary

onboard

art, multimedia and photography

Email

Art (MACBA) in Barcelona, Spain

photographic

Telephone

are invited to apply. Residents are

info@stiftung-kuenstlerdorf.de

invites

from

artist lectures and at sea art

0031 20 5309630

provided with accommodation,

Website

academic researchers and artists

projects. To be eligible for

the residency and preferred dates

Email

working space and financial

www.stiftung-kuenstlerdorf.de

for the MACBA Study Center’s

residencies artists must become

to:

info@binger.nl

support in the form of a monthly

Deadline

Guest Researcher Programme

members of Theme (AUD$90 per

Address

Website

grant, production budget and

Ongoing

from April 2010. Established to

year). Artist in residence fee of

Florence Workshop, Borgo Santa

www.binger.nl

travel allowance for a period of 4

foster research on contemporary

AUD$220 applies. Dates for

Croce 8, 50122 Florence, Italy

Deadline

weeks. Applicants should have at

KINOKINO

art practices, the Guest Researcher

residencies are listed in the Polar

Telephone

15 March 2010

least 3 years’ experience as

Sandnes

and

Programme provides four work

Arts Programme newsletter 6 to

professional artists and an

Rogaland County Council invite

stations to selected researchers

12

0039) 3349029153

City

6,

D-48620

Council

applications

workshops,

gallery

tours,

competitions,

months

in

advance.

Email

AoRTa Art Centre

interest in developing innovative

applications from artists working

for between 1 and 3 months.

Application

info@workshps.firenze-

The residency programme at the

artistic work within a foreign

in all artforms for the residency

Guest researchers have access to

available from:

artivisive.org

AoRTa Art Centre provides

cultural

programme at KINOKINO Centre

a

Address

Website

international artists working

applications to:

for Art and Film Residency in

internet connection as well as

PO Box 223, Thirroul, New South

www.workshops.firenze-

with media art, photography,

Address

Norway. Residencies usually last

preferential access to databases,

Wales, Australia

artivisive.org

sculpture and multimedia with a

Tescani 126 Beresti, 607521

for between 1 and 3 months and

collections, catalogues and other

Telephone

Deadline

live/work space in the centre of

Tazlau, jud. Bacau, Romania

artists are provided with a rent-

resources at MACBA, including

0061 24268 0948

Ongoing

Chisinau in Moldova. For more

Telephone

free studio, accommodation and

assistance from library staff.

Email

information on the residency

0040 234 353545

a stipend of €1,000 per month.

Applicants should send a letter of

artists@theme.com.au

1646

programme and applications

Email

Applications should contain a

application (outlining preferred

Website

1646 is an artists’ initiative/

contact:

tescani2001@yahoo.com

CV, project description, images of

dates), a description of the project

www.theme.com.au/site/polar/

project-space in the centre of The

Address

horisiali@yahoo.com

earlier works and preferably

you wish to pursue (max. 3,000

Artist_in_Residence_Program.

Hague, which promotes exchange

AoRTa Art Centre, Bulgara street

Website

some information about yourself

characters), and an academic and

html

between local, national and

39, MD 2001 Chisinau, Moldova

www.artistnest.ro

as an artist and your artistic

professional CV to:

Deadline

international artists and art

Email

Deadline

practice. Please send applications

Email

Ongoing

spaces. The aim is to create an

art-aorta@narod.ru

30 March 2010

to:

centredestudis@macba.cat

active research for current

sluik@gmx.net

developments in the shifting

Website

Het Paleis

landscapes of art, culture, and

www.art-aorta.narod.ru

Het Paleis (The Palace) is a

theory. At the end of each

Deadline

cultural

context.

Send

artists,

with

Banff Centre

www.macba.cat

The Banff Centre in Alberta,

KINOKINO Centre for Art and

Deadline

Canada is currently accepting

Film, Artist in Residence, PO Box

Ongoing

applications to a number of its

Sandnes for

computer

is

Website

Address

venue

personal

information

Municipality,

26

The Visual Artists’ News Sheet

March – April 2010

Opportunities 2010 and 2011 visual arts

Deadline

Weekends from November 2009

dedicated to emerging art and

entry fee. Submissions of short

description

Thematic Residencies as follows:

Ongoing

to April 2010. As well as the

design based in Toronto, Canada,

digital videos, Adobe Flash

photographic documentation to:

original

1. ‘Beyond Former Heaven (or the

PDFs

/

beside

is calling for submissions of web-

animations, Photoshop creations,

Email

Alley Theatre & Gallery

OneFiveSeven on Thomas Street,

based art from international

YouTube clips or entirely new

thereadingroomindex@gmail.

Olivia

The Alley Theatre and Art Gallery

there is also a site at the Watling

student and emerging artists to

interactive concepts are invited.

com

Plender, 5 July to 13 August 2010.

in Strabane, Co. Tyrone invites

Street wall of the Bank of Ireland

feature

website.

Work may be submitted by email

Website

Application deadline: 5 March

artists and art students to submit

on James’s Street. The Digital

Submissions may be made in any

to the address below and files and

www.thereadingroom-index.

2010. 2. ‘The distance between

exhibition proposals for the

Hub invites submissions for the

format as long as they can be

hyperlinks to works should be

com

our minds and thoughts equals

gallery’s exhibition programme

remainder of the 2009/2010

linked to from XPACE’s website.

easily viewable in a standard web

Deadline

the distance between our words

from September 2010 to July

series. If you have work that you

Please include a brief biography

browser

15 March 2010

and mouths’ with Jan Verwoert,

2011. Work in any artform,

would like to screen in public

and artist statement with your

common plug-ins such as Flash

13 September to 29 October 2010.

including

(any

URL and send submissions to:

or QuickTime. Every effort will

If…

Application deadline: 14 May

watercolour, textiles, installation

considered) please contact:

Email

be made to feature audio tracks

g39 in Cardiff, Wales, is calling

2010. 3. ‘Revolution 2012’ with

and

Email

matthew@xpace.info

that

with

for proposals for the use of the

Adrian Stimson, 5 January to 22

considered. For artists who would

exhibit@thedigitalhub.com

Website

submissions, however, inclusion

gallery’s ground floor space from

February

like to see the gallery space, a

Website

www.xpace.info

of audio will not be possible in all

artists, curators and other arts

deadline: 31 August 2010. 4.

360-degree

www.thedigitalhubexhibit.com

Deadline

cases.

professionals at any stage in their

‘What’s Love Got To Do With It?’

available on the Alley Theatre

Deadline

25 March 2010

Email

career who have an idea they’d

with Ashley Neese, 5 January to

and Art Gallery website and the

30 April 2010

22 February 2011. Application

space is open from 9am to 5pm

deadline: 31 August 2010. For

six days a week. Application

residency details contact The

Institute

of

Ethnography)’

Surrealist with

2011.

Application

oil

painting,

photography,

will

online

tour

be

is

screen

and

subject

or

discipline

on

its

and

are

launch

with

included

events@alysbeach.com

like to try out in a gallery

Filmarmalade

Website

environment or new work that

‘Game Play’

Marmalade, publishers of visual

www.digitalgraffiti.com/call-for-

they’d like to expose to a new

packs are available online and

Echotrope invites submissions

theory, invite artist filmmakers

entries/

audience. Successful projects

Banff Centre at:

from Jacqui Doherty at the Alley

from artists who are interested in

to submit film and video works

Deadline

presented as part of ‘If....’ will

Telephone

Theatre administration office on:

and inspired by games for ‘Game

for publication on their new

15 March 2010

alternate with g39’s exhibition

001 403 7626100

Telephone

Play’, a juried exhibition that will

artists film and video DVD label,

Email

0044 (0)28 71884760

take place at the Criss Gallery at

Filmarmalade.

arts_info@banffcentre.ca

Website

the University of Nebraska at

Filmarmalade will publish a

Website

www.alley-theatre.com/

Omaha’s Criss Library from 12

series of films selected through a

www.banffcentre.ca/va

exhibitions

April to 21 May 2010. Both digital

process of invited and open

ZOOart

opportunity does not include a

Deadline

Deadline

and non-digital work ranging

submission. Each DVD will

Art.ur and Cuneo City Council

preview event or technical

various

16 April 2010

from experimental to traditional

include one film only, however

invite submissions of work for

assistance so applicants should

approaches including drawing,

long or short, so as to maintain

ZOOart, an annual exhibition

be fairly self-sufficient. To apply,

painting, printmaking, book arts,

the individuality of each work,

dedicated to the promotion of

send an email outlining your proposal (max. 300 words) with

Ormond Studios

national exhibitions EXHIBITIONS IRELAND

Every

programme during the 2009-10

year

season international SHOWS EXHIBITIONS INTERNATIONAL

for

2-week

periods

including invigilators, publicity and a small project fee. The

Ormond Studios invites curators

sculpture, interactive works,

and will be published as a limited

work by emerging artists from

to submit proposals for its

video, artist designed games,

edition. For more information:

around the world. The location

three images in JPEG format

Signal Arts Centre

summer

character

game

Address

for the exhibition is the Fresia

(maximum size 1Mb per image),

Signal Arts Centre in Bray, Co.

Ormond Studios is a newly

modifications,

game

Marmalade Publishers of Visual

Gardens, originally the site of the

CV and statement and link to

Wicklow invites submissions for

established visual arts initiative

interventions and performance

Theory, Studio 4, 21 London

city zoo in Cuneo, Italy. The show

your website if you have one, to:

its 2011 exhibition programme.

comprised of 11 emerging artists,

documentation are welcome.

Fields Eastside, London E8 3SA,

will take place in July 2010 and

Email

Submissions should include 6

located on Ormond Quay, Dublin

Please send digital files (.jpeg

England

submissions of site-specific work,

mike@g39.org

images of your work (marked

1. Curators should submit the

format no larger than 1024 x 768,

Email

including painting, drawing,

Website

with your name and title of

following: images and statements

via www.yousendit.com if larger

post@gordonshrigley.demon.

sculpture, installation, video,

www.g39.org

picture) as photographs or on CD

from past shows, a

than 3MB), and a CV to:

co.uk

performance,

Deadline

(jpeg, max. size 5MB), submission

statement and a curator's resume.

Email

Website

photography and sounds art, are

proposal, artist CV, statement,

For more information about the

echotrope@yahoo.com

www.filmarmalade.co.uk

welcome. Full details of the

SAE for return of same. Exhibition

space please contact us by email.

Website

Deadline

submission procedure is available

Montehermoso Research

fee of €195 is payable if accepted.

Email

www.echotrope.org

30 March 2010

from:

The

Please feel free to drop into the

ormondartists@gmail.com

Deadline

Website

Montehermoso

gallery to see the space before

Deadline

15 March 2010

Visions from the Future

www.zooart.it/bando2010/

Gasteiz, Spain invites proposals

submitting

15 March 2010

2010

exhibition.

curator's

design,

new

media,

Ongoing

Centro

Cultural in

Vitoria-

Cronosfera Project and Sincronie

callforsubZOOart10.pdf

for Art and Research 2010. A

consideration. Submissions to:

CologneOFF VI

invite

Deadline

maximum of eight projects

Address

In 2010, CologneOFF, the Cologne

videomakers and audiovisual

5 April 2010

currently in pre/production will

Online

is

researchers for ‘IridescentWorlds’,

celebrating its 5th anniversary

the second edition of the Visions

The Reading Room

be

your

work

for

Signal Arts Centre, 1A Albert

NEW MEDIA new media

Road, Bray, Co. Wicklow

Film

Festival,

submissions

from

be selected from this open call to presented

as

part

of

Telephone

17 Days (and others)

with a new festival concept as a

from the Future festival of sound

The Reading Room is a curated

Montehermoso’s

01 2762039

The Atrium Gallery at the Gwen

networked

festival,

a

visions in Torino, Italy. The

archive of artist’s printed projects

programme in summer 2011.

Email

Frostic School of Art at Western

networked

jury,

networked

festival will take place from 28 to

based in Berlin, Germany. The

Individual,

signalartscentre@eircom.net

Michigan University seeks digital

contributions and a series of

30 May 2010 at Cinema Massimo

archive is influenced by former

collaborative projects will be

Deadline

video, film, animation and sound

networked

from

and Hiroshima Mon Amour.

institutional ‘reading rooms’ and

considered. Each selected project

5pm, 26 March 2010

art by moving image artists for

September to December 2010

Work inspired by cosmological

functions as such: it will be open

will receive a maximum grant of

with

screenings

group

annual and

various exhibition opportunities.

and beyond. The theme for

and

visions

for public viewing, with those

€10,000, with €7,000 for project

Waterside Theatre

Please send your work to:

submissions of video and film

exploring the alchemy of earth,

wanting to use it being required

production and €3,000 for

The Waterside Theatre in Derry

Address

work this year is ‘Let’s celebrate -

history,

to make an appointment and also

production fee and copyrights.

has over 32 metres of hanging

Adriane Little, (video submission),

memory and identity in an

spirituality and the mysteries

register

their

Application forms and further

space throughout the theatre and

Gwen Frostic School of Art, 1903

experimental context’. Open call

surrounding man is welcome. To

particular interested in the

information is available online.

is looking for new artists to

W. Michigan Ave, Kalamazoo, MI

for full-length work completed

download an entry form go to:

publications or project. Artists

Send

exhibit their work. Previous

49008, USA

between 2004 and 2010.

Website

are invited to submit printed

‘Montehermoso 2010 Art and

exhibitions

have

proved

cosmogonic social

evolution,

beforehand

submissions

marked

Email

Email

www.cronosferafestival.com

projects, zines, publications,

Research: Art Project Production’

successful and artists interested

adriane.little@wmich.edu

info@coff.newmediafest.org

Deadline

books and handouts that actively

to:

in submitting their work for an

Website

Website

23 April 2010

interrogate or reconsider the

Address

exhibition slot should contact

www.wmuvideo.wordpress.com

www.nmartproject.net/

published format, and that are

Centro Cultural Montehermoso

the General Manager, Mr Iain

Deadline

netex/?p=1907

Digital Graffiti

independent objects of artistic

Kulturunea, C/ Fray Zacarías

Barr on:

Ongoing

Deadline

Alys Beach in Florida will host

production. Selected publications

Martínez, 2, 01001 Vitoria-

5 April 2010

the third annual ‘Digital Graffiti’

will be kept in The Reading Room

Gasteiz, Spain

festival

video

for a minimum of 12 months.

Email

Telephone

for

outdoor

0044 2871 314000

Projected Weekends

Website

The Digital Hub in Dublin 8 is

XPACE Cultural Centre

projection work on Saturday 12

Before sending, please email a

comunicacion@montehermoso.

www.watersidetheatre.com

calling for submissions for a

XPACE Cultural Centre, a non-

June 2010. Over $10,000 in cash

brief abstract of your printed

net

second

profit membership organisation

prizes is available and there is no

project

site

for

Projected

including

a

text

The Visual Artists’ News Sheet

27

March – April 2010

Opportunities Website

of creative design practitioners

be interviewed from February

Deadlines

Website

www.montehermoso.net

and

2010. To apply, see:

30 April & 31 October 2010

www.cowhousestudios.com

Deadline

information and application

Website

31 March 2010

forms are available at:

www.interface.ulster.ac.uk/ma4/

Cow House Studios

Dartmoor School

academics.

Further

Website

www.interfacebelfast.com

Cow House Studios in Rathnure,

Emerging artists, students and

The Bristol Gallery

http://companions.napier.ac.

www.uupadb.com

Co. Wexford is enrolling for its

those with an interest in the

Emerging and experienced artists

uk/~create2009/Site/call.html

Deadline

2010 programme of workshops

creative process are invited to

are invited to submit work for

Deadline

Ongoing

and

consideration for the rolling

15 March 2010

Portfolio

enrol for the Dartmoor Arts

Preparation (5 to 11 April):

courses.

1.

Summer School, an intensive

programme of exhibitions at The

PhD, University of Ulster

Intensive 6-day course that will

week-long course of skills based

Bristol

PhD Research Opportunities in

establish the groundwork for

workshops including traditional

Art, Design and Cognate Areas

producing a portfolio of work

and new media taught by

are available at the University of

needed for entry to 3rd level

established artists taking place

Ulster for its 2010/11 intake of

colleges. 2. Life Drawing Weekend

from 25 to 31 July 2010. Courses

Gallery’s

5,000sqft

exhibition space on Bristol’s

COURSES Courses

Harbourside. Exhibitions run for between 6 and 8 weeks. Successful

VAI Workshops

applicants will be notified by

Visual

in

postgraduate research students.

(22 to 25 April) Suitable for adult

in

email within four weeks of

association with our partner

The Faculty of Art, Design and

students who have previous

(traditional cob techniques and

application. Email a brief CV,

organisations, will be presenting

the Built Environment invites

experience with drawing, this

ceramics), painting and drawing

short statement about your work,

a

applications

the

workshop focuses on capturing

masterclasses, spatial structures,

up to 6 small jpegs (including

Development Workshops in

topics advertised on their website

the form of the human body

photography and documentary

title, date, media, dimensions and

Dublin and various locations in

below. Applicants should indicate

through acute observation and

film making are available. Fees:

price) to:

Northern Ireland as part of our

the research area or project for

economy of means using a

£300-£400. A bursary scheme for

Email

Spring

Education

which they wish to be considered.

variety of painting and drawing

students will be available to

knowledge@thebristolgallery.

Programme. For full details and

Candidates should hold a first or

materials. 3. Painting Weekend (6

contribute towards course fees.

com

bookings please go online or

upper second class honours

to 9 May) Suitable for adults who

To register your interest email:

Website

contact:

degree in a relevant subject area.

have experience with painting

Email

www.thebristolgallery.com

Email

An MA is advantageous, but not

but would like to improve their

admin@dartmoorarts.com

Deadline

kate@visualaritists.ie

compulsory, for application.

technique and broaden their

Website

2 April 2010

Website

Prospective PhD candidates are

experiences.

www.dartmoorarts.com

www.visualartists.ie

advised

Artists

series

Ireland,

of

Professional

2010

addressing

the

Workshops are also available on

Deadline

Saturdays during September,

25 June 2010

Art to Heart

their chosen project at the

October and November. Contact

Art to Heart will run an 8-week

addresses provided online or Dr

Rosie O’Gorman at:

foundation training course for

Christa-Maria Lerm Hayes, Head

Telephone

University of Ulster

adults entitled ‘Working with

of Research Graduate School, in

053 9169567

The Annual Research Student

Children Through Arts’ at the

advance of their application at:

Email

Conference at the University of

Carmelite Centre on Aungier

Email

rosie@cowhousestudios.com

Ulster’s Faculty of Art, Design

Street, Dublin 2 on from 6.30 to

m.lermhayes@ulster.ac.uk

and the Built Environment will

9.30pm on Thursday evenings

Website

take place at the Golden Thread

from 6 April to 25 May 2010.

www.adbe.ulster.ac.uk/schools/

Gallery on Wednesday 24 March

Programme costs €500 / €350

graduate_school/phd/

2010 with a keynote lecture by

(students, unemployed, part-time

opportunities

Prof Victor Burgin at 12.15pm.

workers). Booking fee €50.

Deadline

The conference serves as a

Materials, tea and coffee provided.

26 March 2010

progress check for PhD students

A 1-week Story Making course

at the university and advanced

for adults working with children

PhD, Hague

PhD researchers will display

will also take place at Rockforest,

PhDArts offers an international,

research posters in the Belfast

Tubber, The Burren, Co. Clare

high-level doctoral programme

campus foyer area as an indicator

from 19 to 23 July 2010, 10am to

in visual arts and design that

or the breadth of PhD research

4pm daily. The course costs €350

aims to stimulate and facilitate

within the Faculty. For more

and

art

artist-researchers and to provide

information

materials, tea and coffee. Booking

a suitable research environment.

contact:

fee €50. To register please contact

Each doctoral course of study

Email

Jole at:

comprises individual research as

nc.dunbar@ulster.ac.uk

Telephone

well as a joint doctoral study

Website

085 1532220

programme.

www.adbe.ulster.ac.uk/schools/

Email

art_design/

jole@arttoheart.ie

Create10

MA Art in Public

Performing Arts and the Royal

conference

The MA Art in Public at

Academy of Art (KABK) in The

go

online

or

includes

training,

a

of

Creative

University of Ulster’s Belfast

Hague. The Ph.D. programme is

campus has evolved from current

partly organised in collaboration

digital

services,

complex concerns for the role of

with the Institute for Practice-

new

art/artists in a changing society.

Based Research in the Arts (IvOK)

interaction paradigms at New

The programme seeks to develop

of the K.U.Leuven. Applicants

Media Scotland’s Inspace in June/

testing modes of working that

must have a Master’s of Arts

July

are

participatory,

Degree or proof of study at a

participants. Undergraduate and

interventionist or collaborative

comparable level. The final

postgraduate students are invited

in intention and structure.

decision on admission rests with

to submit proposals for full

Throughout the programme

Leiden University, which will

papers,

short

students will work with formal/

also award the Ph.D. Applicants

presentations, demonstrations

informal external partners and

must put together a research

and exhibits, as well as interactive

be expected to develop self

dossier for their entrance exam.

artefacts, interfaces, installations

initiated, innovative practice

A form for this is provided

or experiences as part of a student

based

online.

design competition. The theme

programme is run over 3

Website

of the conference is ‘Transitions’.

semesters (18 months) including

www.phdarts.eu

Entries will be assessed by a jury

a summer break. Applicants will

environments

2010,

and

is

calling

workshops,

for

WATCH OUT We strongly advise readers to verify all details to their own satisfaction before forwarding art work, slides or monies etc.

Thanks A-N: The Artists’ Information Company; The International Sculpture Centre (New Jersey / USA) and the NSF Cork.

and

innovative

products,

art

PhDArts is a collaboration

interaction design, including

celebrating

earth

between the Leiden University Academy

Create10,

contact

casting,

supervisor(s) associated with conferences CONFERENCES

to

Children’s

iron

Don’t forget Do look at the advertisments in this VAN, also check our web site & subscribe to our e-bulletin for further opportunities.

dialogic,

approaches.

The

The Master Thief’s Secret Lair is a new artist-led space on Dublin’s South William St. We run an open-submission programme, offering a platform for emerging artists. We are receptive to all suggestions:

www.mtsl.ie

28

The Visual Artists’ News Sheet

Problems

Laughism

The Problem Page

Laughism

Our consierge / curator of agony responds to artworld dilemas

By Borislav Byrne

Closed for the Holidays Dear Concierge of Agony, It’s been a long winter hasn’t it? Sub-baltic weather conditions, major and minor roads impassable due to black ice or ominous melancholic fogs. Not to the mention breakdowns in our creaky national water infrastructure, of 19th century vintage, that has consigned a great many of us to frankly ‘continental’ levels of personal hygiene.

All this I could bear, believing that my soul and intellect would not suffer due to the nearish proximity of a spanking new regional contemporary art gallery – architectural award winning, an so on.

So out I rolled in early January, to seek some cultural stimulus and refreshment. After an hour long drive in my snowplough equipped SUV, I pulled into the venues beautifully manicured and landscaped surface car park to find it eerily empty.

Disembarking from my vehicle, I walked around the perimeter and outhouses of the cultural complex looking for signs of life and activity. To my dismay there were none. Upon reaching the glass and concrete entrance pergola (which can also host discussion hubs and function as a visiting curators project pod) I noticed a photocopied notice, clumsily blue-tacked to the inside of the glass door. Quelling my irritation at the crude and hasty typography, I was very distressed to note that it read, “Gallery closed, bud. Back in March. Off Skiing. Love, The Director”.

What do you think of that then?

Quiet shocking. Has no one in the organisation thought of the notion of operating according to a January sales model of opening hours? Is this venue at all serious about critiquing the commoditisation of everyday life under late capitalism, along with fostering resistance to the neo-liberal consensus? Gallery staff – at all levels – should be on the ‘shop’, sorry I mean exhibitionary floor, ready and waiting for the queuing masses from as early as Stephen’s Day, ready to accommodate the rush of culturebargain hunters, who are at almost frenzy like state of anti-materialism after being holed up over the holidays.

I’ve earned it right?

Dear Concierge of Agony, I’m in a brain lock. How does one distinguish between a plucky and resourceful artist self-initiated project; and just renting a big ****off venue for an embarrassingly vulgar and self-deluding vanity exhibition? The reason I ask is that I’ve been fortunate enough to be awarded a prestigious bursary. And on the strength of the conceptual rigour of the build-quality of my work, I hasten to add. Some of this money has been allocated for covering the costs and logistics of presenting my work in a suitable context of my own choosing. But I’m worried that all my artworld bezzie-mates will just be a bit sneary about the whole thing. I’ve tried pleading along the lines of “come-on guys, I had to satisfy a really tough panel to get the award, and I’ve been slogging away years at this – and you all say I am an artist's artist" – but I am starting to just getting blank dead-eyed looks from friends and colleagues.

This is a puzzler. I’d venture the solution to your dilemma it is to do with visitor comfort levels. If the venue is too plush – a hotel, or even an especially well-fitted out former underground car park, tongues will wag. And, yes even while they sup the champagne and graze on the molecular cuisine influenced finger good – provided gratis after hours of sponsorship

seeking by yourself and your interns, they will be griping. But fear not. You just need to bring things down a notch or two and you should be able to avoid the hoi polloi confusing merit and privilege in their little noggins. Insist on people bringing their own booze and peanuts. And utilise either a grimy un-restored locale – especially one that smells bad. Or just choose to show in a beyond-a-joke, hopelessly useless and unsuitable space. I’m thinking of the chintzencrusted wall of a B&B. But you know what tops this? Those really dodgy hybrid bar / foyer / atrium / janitors smoking lobby / gallery space’s in regional multi-purpose arts centres.One with yellow or green walls – and skirting boards and a ‘hanging system’. Hey, bear with me, these place are contexts too …

A Classic Dear Concierge of Agony, At what stage during the production process, should I introduce content and ideas to the ingredients of my artworks? As well as this, if possible could you recommend what store-cupboard standbys, in terms of ideas, that I should always have at hand?

A classic enquiry. Amongst artists, the jury is still out. I’ve even heard some claim that the making process ,is in itself a form of knowledge / idea production! However critics, curators and gallerists are almost totally united on this front – artists shouldn’t worry too much about this at all. The short answer to your enquiry would be “Never. At no point during the production process should ideas be introduced to the mix.

Ideas can and should be bolted on, as required, afterwards”.

As far as the critical cognoscenti and gallerinas are concerned, the more ambiguous, blank and amorphous your work is the better.

Their preference is for works that resemble – in conceptual and perhaps even sometimes physical form – blobs of playdoh; or a jumble of Lego bricks; or an assorted pile of pristine art materials, still in their wrappers. Such works allow the curator, critic or gallerist to put whatever spin of current philosophical and / or political debate onto your work, as they so wish.

So actually putting content into the artistic ‘cake mix’ could be a very bad thing. Someone might metaphorically break a tooth, or choke on it, while trying to digest and absorb your practice into their particular conceptual agendas.

But let me add a clarifying point. You should take a leaf out of their book. Do of course have some ideas at hand to apply to your works when chatting in professional career advancing / networking contexts. Just bear in mind, you are under no obligation to be consistent. You are entirely free to tailor the supposed content of your work to the expectations and wishes of your listeners.

Also, you are quite right in your concern to maintain some store-cupboard ideas and content in your studio. Nonetheless, I maintain that you keep the tins of ‘content syrup’ well away from your kunst-coldron of creation. Instead, there is no harm in maintaining a purely decorative shelf of theoretical and contextual texts in your studio.

Bookshelves are an essential studio-visit prop and many artists take great pride in ‘curating’ these displays. And don’t think you have to read these books. Broken spines look so scruffy. If your books are too well fondled, it is so much harder for important visitors to read the impressive looking titles and author’s names.

March – April 2010

The Visual Artists’ News Sheet

29

March – April 2010

PROFESSIONAL

NI Charities Regulation Alex Davis reports on the launch of the Charity Commission for Northern Ireland and some of the practical implications for arts organisations.

Many arts organisations, which have a public benefit aspect to their

their organisation’s aims are for the public benefit, as part of the

Cross Border & All Island

activities, are registered as charities for tax purposes. Until recently

application process. The CCNI will consider whether a body’s

Section 167 of the Act enables charities which are established outside

there has been no legal framework for the registration of charities in

purposes are charitable on the basis of how its purposes are set out in

Northern Ireland who wish to operate in the North to register with

the Republic of Ireland or Northern Ireland. To date it has been the

the existing or proposed constitution. In the case of a charitable

the Commission. There are a number of arts organisations, Visual

responsibility of the Office of the Revenue Commissioners and HM

company the constitution would refer to its memorandum and

Artists Ireland included, which operate across the island of Ireland.

Revenue & Customs to determine whether a body is entitled to

articles, in the case of a trust it will be the trust deed. A body meets

This can cause its own particular problems, especially in the border

charitable tax exemption. In recent years however, the charity sector

the charity test if its purposes consist of one or more of 12 charitable

region as you are dealing with two different tax regimes. There is a

has come under increased scrutiny following concerns that the sector

headings outlined in the Act and it provides public benefit in

UK & Ireland Regulators Forum which meets to discuss charity

lacked sufficient accountability and transparency. There has also

Northern Ireland or elsewhere. The relevant heading for the arts

matters between jurisdictions.

been international pressure to regulate the sector following the

sector is the ‘advancement of the arts, culture, heritage or science’.

September 11th attacks in New York, as there are concerns that money

The advancement of the arts covers art at a national or professional

There is also a cross border-monitoring group to ensure reporting of

funding criminal activity and terrorism has been passing through

level, as well as at a local or amateur level, the provision of arts

activities in each jurisdiction. For 167 organisations (charities that

bogus ‘charitable’ organisations.

facilities and encouraging high standards in the arts. For instance,

raise money, provide service or have an office in the NI but are not

bodies encouraging the appreciation of a particular art form, arts

registered there) reporting requirements will be a little lighter than

festivals or bodies aiming to improve facilities for the arts.

for other charities. These organisations will need to provide details of

The Charities Bill was signed by President Mary McAleese on the 28

what money was spent in Northern Ireland.

February 2009, however it will be another year or so before Ireland’s Charity Regulator is up and running. Things have progressed a little

Any private benefit must be secondary and/or necessary to provision

faster in the North and in June 2009 the Charity Commission for

of public benefit. Salaries for staff would be an example of a necessary

Timetable for implementation

Northern Ireland (CCNI) was established.

private benefit. Where access to benefits is restricted to a section of

■■

April 2010: First new registrations

the public, conditions on access cannot be unduly restrictive.

■■

October 2010: CIOs

Restrictions may be in place, eg. physical access (opening hours),

■■

April 2011: Public Collections

charges or fees, membership criteria etc, as long as they are

■■

April 2011: First Financial Returns and Reports Financial returns

reasonable and justifiable in the context of the purpose of the charity.

will be required from all charities however the type of accounts

required will depend on the turnover of the charity.

The Charities Act Northern Ireland has a relatively large voluntary and community sector, estimated to be around 4,700 organisations. The Charities Act (Northern Ireland) 2008 introduced a statutory definition of a charity.

When fully commenced, the Act will provide comprehensive

There is no presumption that a charity provides public benefit or that

■■ €100,000: Income & Expenditure Accounts signed by an

regulation for charities, with each required to register with the CCNI.

because it falls within one of the charitable headings that it is a

In addition, charities that fundraise directly from the public will be

charity. The CCNI must consider the private benefit versus the public

■■ €100,000 – €500,000: Accrued accounts signed by independent

expected to comply with detailed codes of practice, which are

benefit in all cases.

independent person such as bank or post office official. examiners / accountant.

■■ €500,000 + : Audited accounts signed off by an auditor.

currently being developed.

Charity Register The main provisions of the Charities Act are as follows:

One of the first tasks of the CCNI is to establish and maintain an

The CCNI will publish guidance in February 2010 so that charities

■■

Establishment of the CCNI.

accurate Charity Register of all charities operating in Northern

can become familiar with the process before the CCNI assumes

■■

12 Charitable headings.

Ireland. Currently the CCNI are in the process of setting up an

responsibility for determining applications for registration in April.

■■

Charity Test.

interim register and organisations that are already registered as

■■

Compulsory charities register.

charities with Customs and Excise will be transferred over to the

To obtain more detail on any particular point you should consult the

■■

All charities to make annual returns.

register. This does not imply that organisations entered in this

CCNI’s full public consultation document which is available through

■■

Regulation of professional fundraising.

interim register will necessarily meet the charity test. CCNI will

its website (www.charitycommissionni.org.uk ).

■■

Establishment of CIOs (Charitable Incorporated Organisation).

begin registering new charities from April 2010.

■■

Establishment of a Charity Tribunal.

Charity Commission for Northern Ireland, Fourth Floor,

The Charity Test

The Act provides for the constitution of Charitable Incorporated

24 – 26 Arthur Street,

The Act provides for a public benefit test to determine if the

Organisations (CIOs), a new legal entity for charities. Its purpose is to

Belfast,

charitable purposes of applicant organisations are for the public

avoid the need for charities that wish to benefit from incorporation

BT1 4GF.

benefit. The CCNI launched a public consultation phase in August

to register as companies and be liable to dual regulation. Charities

Tel: 028 9051 5490

2009. A number of road shows were held across Northern Ireland

can choose to set themselves up as a CIO, which gives the same

www.charitycommissionni.org.uk

during September and October to allow local charities to participate

protection as a private limited company. The regulations provide the

.

CIOs

in the consultation. Specifically, interested parties were invited to

means to transfer an existing charity into the new CIO, but this is

have an input into the formulation of the new public benefit test.

entirely optional.

Prospective charities will be required to pass the test to demonstrate

Ballynakill Artists School 2010 Rosleague Manor Hotel, Letterfrack, Connemara, Co. Galway.

April 11 – 16 Five day holiday painting workshop at one of Ireland’s premier hotels.Experienced professional tuition for all levels in all mediums, with well known artists Bridget Cox and Laureen Marchand.

Residential and non-residential course fees available.

For more information or to register: http://ballynakillartistsschool.wordpress.com email: ballynakillschool@yahoo.ie T: Mark @ Rosleague Manor Hotel 00+353+95+41101

Alex Davis

30

The Visual Artists’ News Sheet

March – April 2010

STUDIO PROFILE

Open Space Technology , 10 Year Plan Workshop. Facilitator: ADHOC Member Joanna Karolini.

Still from Not Squares Video filmed in ADHOC.

Sinead Conlon RE:rem (ADHOC Student Resident)

Open Space Technology , 10 Year Plan Workshop. Facilitator: ADHOC Member Joanna Karolini.

Constitutional Creativity James Hepburn profiles ADHOC Collective, Belfast.

ADHOC began back in June 2009, when by chance we viewed a warehouse hidden in a narrow Belfast street, close to the Cathedral Quarter, that was previously occupied by a print works. Having found the space we then drafted a business plan that incorporated our main aims and objectives; and our constitution was drawn up granting us charitable status. ADHOC’s constitution outlines the support provision that we offer to individuals and groups.

ADHOC’s spaces within the building include two large areas that function as substantial gallery spaces. In addition there are two smaller spaces, which we have dedicated for use as music rehearsal rooms.

They are currently occupied by two bands, Not Squares and Girls Names. On the first floor, there are 14 artists’ studios, which cater for artists at all stages in their careers. Our studio holders’ practices are varied, including media gaming; graphics; installation; sculpture; costume design and painting. We have also created a printing area and a small darkroom.

ADHOC also facilitates a two-month student residency programme. We will also be hosting an international exchange, as well as creating exhibition opportunities for emerging artists –both locally and internationally. In the future ADHOC will also provide workshop opportunities and develop an outreach programme.

Myself and co-founder Colm Clarke’s key aim for ADHOC was that it could be utilised by local artists, in an active and participatory way. With many artists in Belfast looking for space to show work, we set up the ADHOC collective, the remit of which is that each member commits to organising one show, event or workshop a year and are afforded creative freedom within the space to produce any viable project.

The ADHOC Collective members are: Laura Graham (Collective Chair), Doug Holton, Lisa Malone, Keith Winter, Brian Connolly, Acitore Artizione, Catherine Devlin, Barney, Eoin Smith, John Cashin, Charlotte Bosanquet, Angela Halliday, Jenni Hutchinson, Joanna Karolini. We opened our doors to the public on the 25 September 2009 as a participant of Culture Night Belfast – presenting a group show of collective and studio members. The exhibitions in the space have been through good will of the artists as we currently are unable to offer a fee

though provide full technical support and assistance with marketing etc. We constructed our website to promote the events and exhibitions which is a vital tool now in marketing and since our launch we have had some media attention and were invited onto Radio Ulster’s Drive time show and Arts Extra.

Each collective member has by now submitted an outline project proposal and this has enabled us to devise and cost a programme.

ADHOC has availed of the Social Entrepreneurship Programme, which has provided us with full business mentoring – with the aim being to make ADHOC a fully sustainable as a social enterprise. In addition one of the collective have sought individual funding for their projects and we are currently exploring the avenues of funding we are eligible to apply for.

Our first solo show by a collective member was an exhibition of two video works by Angela Halliday, a Belfast-based artist. (12 Nov – 2 Dec). The show consisted of large high-definition video projections – Helen (the library was my great project) and 1859.

Our first student residency was awarded to Sinead Conlon (12 Jan – 4 Feb), who had just completed an MA Art in Public at the University of Ulster. The gallery space in ADHOC gave Conlon the scope to construct a large-scale installation entitled Re:REM – which comprised a life sized wooden replica radio studio.

The weekend of the 16/17 January saw Joanna Karolini facilitate 'Ten Year Plan, an Open Space Technology Workshop'. The workshop gave people the chance to look ahead ten years and discuss the possible avenues of achieving their goals within the arts etc. This was the first of six that will happen in various arts organisations.

The recent Arts Birthday Celebration featured an anti-homophobic performance from Hugh O’Donnell and a video installation by Ally Mc Loughlin-Harte. The Sunday Strip Club were in residence for the evening, and featured Bored Housewives, Kitty and the Can Openers, and several comedians. The night was rounded with a DJ set from Not Squares.

During February (15 –18 Feb) ADHOC hosted an exhibition of work by students of Architecture and Visual Communication from the University of Ulster. The show will uses ADHOC as a base for project

Keith Winter (ADHOC Collective Member) Scopophobia at the Golden Thread Gallery

that will utilized empty retail units throughout the city – in Smithfield Market, Donegall Street. Royal Avenue, Millfield and Carrick Hill. The exhibition was run as part of ‘What’s Wrong with This Place?

Questioning and Exploring: Urban Research Belfast’ organised by PLACE: The Centre for Architecture and the Built Environment for Northern Ireland. Overall the project aims to challenge pre-conceptions about Belfast’s neglected urban centre through the visual and physical explorations of students in at the University of Ulster, Belfast. The collaborative project displays the results of teaching that researches ways to better engage students to participate with their wider community and the built environment.

Recently on show 18 – 25 Feb was a documentary film exhibition, focused on the subject of portraits of places and people called 'The Moving Portrait'. The key issues explored in the show included comparisons between journalistic documentary making and contemporary art practice; along with questions of truth and objectivity.

The works were created by past and present students from the MA Documentary Film course, at the University of Coleraine. Colin Graham who has organised the project showed a short film about the Belfast based performance artist Alistar McClellan. As part of the exhibition a panel discussion took place, featuring contributions from Mr Cahal McLaughlin and Dr Slavka Serekova (25 Feb). The event was focused on the subject of the display of film within a contemporary art gallery settings.

The rest of 2010’s programme will feature more projects devised by the collective’s members. These will include an installation of largescale paper sculpture; a sound art ‘open-jack’ night; contemporary theatre; roundtable discussions and critiques; photography exhibitions; along with presentations of work from our student residents. As well as this, later this year ADHOC will be sending representatives to attend and participate in a number of European events.

We hope that in the future, ADHOC’s enablement of a quick turnaround of exhibitions and events, will continue to help artists communicate the issues that are current in today’s society – as well as and artists in furthering their careers. Our ambition is that ADHOC remains an avenue for providing a high standard of creative projects and events in the city and provide further opportunities.

James Hepburn www.adhocbelfast.co.uk

The Visual Artists’ News Sheet

31

March – April 2010

ART IN PUBLIC: ROUNDUP

Art in Public: Roundup Recent public art commissions, site-specific works, socially engaged practice and other forms of art outside the gallery.

Exchange

Border Opportunities Project, The EU Programme, Create; Arts Council, Co-operation Ireland.

Main partners: A Cross border partnership with Women Making Waves, Co. Fermanagh and Women Independently Living in Leitrim working together since 2006.

Community Scheme managed by CREATE, and the Department of Social and Family Affairs, Launch date: 30th January; the short films were premiered at an event in RUA RED South Dublin Arts Centre, followed by the outdoor projection “i”.

The website and project was officially launched by Mayor Mick Duff – see www.click-click.ie

Fiona O'Dwyer Filmstar Helen Horgan & Danyel Ferrari Exchange. Installation/performance, books, camping supplies, ledger, sound. (27 Nov – 4 Dec). Library, Multyfarnham Friary, Westmeath.

Irish artist Helen Horgan’s and New York based Danyel Ferrari’s work Exchange was recently presented at Multyfarnham Friary, Westmeath (27 Nov – 4 Dec). The piece comprised an installation sited in the library of the Friary and was the outcome of the residency undertaken by Horgan and Ferrari at Multyfarnham during July 2009.

Kathy O' Leary 'I am' drawings from workshops

I. Outdoor projection, by young people from the Irish Wheelchair Association Youth Service and the Tallaghtfornia Foróige Club. In collaboration with Aileen Lambert. Installation photo: Michael Fortune.

Helen Horgan & Danyel Ferrari Exchange. Installation/performance, books, camping supplies, ledger, sound. (27 Nov – 4 Dec). Library, Multyfarnham Friary, Westmeath.

The artists constructed a two person ‘hermitage’ in the library – that inhabited for the duration for the project. As they put it, the work created “a social alternative to a space that is traditionally associated with isolation”.

As the library and the Friary at Multyfarnham itself are in a state of transition we wanted to work with the books in the library as a collection of attempts towards truth.

The artists performed what they termed “an ongoing meditative action – in which we created a ledger of the title, author, year and a spoken recording of a single line of each book, before transforming its value from one of language to one of material with which to construct. Through the work we are considered structures and processes of archival instincts, of taking accounts, and how they effect and alter economies of meaning. This is a work in process. Archiving each book as we went we constructed a new space for ourselves in the library over the week as a vocational work / life /art piece which became an expanded socially interactive space, openly inviting the other artists and making accessible its specific interests to the local community”.

Horgan and Ferrari are hoping to continue this project in other locations. Later in 2010 the project is scheduled for inclusion in a series of offsite projects organised by Daghda, Limerick.

Viewing Difference Artist: Kathy O’Leary Title: Liminality: Different Views / Viewing Difference Commissioning bodies: The EU Programme for Peace and Reconciliation (PEACE II); The Arts Council of Ireland (via CREATE’s Artist in the Community Scheme); Co-operation Ireland.

Date Sited / carried out: 9 June 2009. Leitrim Sculpture Centre, Manorhamilton. Oct 2009 – Jan 2010 exhibited at the LAPWD as part of the storytelling festival in Mohill. 5 February 2010 at the Higher Bridges Gallery, Clinton Centre, Enniskillen.

Travels to Eden Place Arts Centre, Derry and onto ADF Gallery, Belfast in May 2010 Budget for the project; €10,000 (over four years).

Commission type: Proposed project to Cross

Fiona O'Dwyer Cardigan Jumper Skirt

Kathy O' Leary 'I am' drawings from workshops

Description: Liminality: Different Views / Viewing Difference is the result of a cross-border project which began in 2006 with the partnering of Women Making Waves in Co. Fermanagh with Women Independently Living in Leitrim in Co. Leitrim, a sub-group of LAPWD. The project comprises an exhibition of photographic portraits of women with and without disabilities, which has been facilitated by Irish Visual Artist Kathy O’Leary.

Also part of the project are drawings completed during workshops based on the portraits, that include comments / thoughts / ideas by the women around what their conception of ‘peace’. The project features ceramics by Ann McNulty from Enniskillen Also included are two short documentary Films by Kathy O’ Leary and Róisín Loughrey. The theme and objectives of this project are: 1) To examine images of Women, Disability, The Troubles and the Peace Process 2) to empower women with disabilities in a post-conflict region to choose the imagery that represent themselves. The partnership would like to thank Sean O’Reilly, LSC, Diane Henshaw, Arts office, Fermanagh District Council and everyone else that got involved.

Click Click Artist: Aileen Lambert with Irish Wheelchair Association Youth Service and the Tallaghtfornia Foróige Club (supported by Tallaght Youth Service) Title: CLICK-CLICK Partners: CLICK-CLICK was initiated and supported by a cross-agency steering committee. Members of the steering committee represented St. Kevin’s Family Resource Centre; South Dublin County Council’s Arts Office; the Irish Wheelchair Association Youth Service and Tallaght Youth Service. Individuals from these organisations worked in partnership to support the collaborative working environment of the young people with the artist.

Funding: The Arts Council’s Artist in the

Need for Speed by young people from the Irish Wheelchair Association Youth Service and the Tallaghtfornia Foróige Club, in collaboration with artist Aileen Lambert. Still from stop animation sequence in short film.

Description: ‘CLICK-CLICK’ was an integrated youth arts project undertaken by young people from the Irish Wheelchair Association Youth Service and the Tallaghtfornia Foróige Club (supported by Tallaght Youth Service), in collaboration with artist Aileen Lambert. Meeting regularly on Saturdays in St. Kevin’s Family Resource Centre, Kilnamanagh from October 2009 – January 2010, the twelve participants developed skills in video, camera and stop-motion animation for this film and web-based project. The resulting works are featured on the website www.click-click.ie, which also features info on the participants and a collection of youtube clicks which they reviewed during the project. The outdoor video installation entitled “i” was screened on the wall of RUA RED on the evenings of Jan 30th and 1st to 3rd of February.

Strange the rooms we’ve all lived in Artist: Fiona O’Dwyer Title: Strange the rooms we’ve all lived in Commissioning Body: Clare Co. Arts Office.

Project Dates: September 2007 –October 2009 Location: Various Locations In Co. Clare Medium: Video/sound installation, print, drawing, photography and projection.

Commissioner: Fiona Woods and Siobhan Mulcahy /Clare Co. Arts Office Commission Type: Proposed by Fiona O’Dwyer and developed with Fiona Woods, Arts Co-coordinator for North Clare. The project ran for two years and was organised in three phases research phase, artists response and exhibition / screenings.

Additional Support: Desmond Davis, The British Film Institute, Maria Kerin, Local community, Fitzpatricks Supervalue and Patrick Egan.

Description: Taking as a starting point as the representation of Co. Clare (and by extension the rural west of Ireland) through films made in Co. Clare, the artist combined a personal, autobiographical link to these films with her own

practice as an artist/film-maker and sought to locate the impact of the films on local communities at the time of their making within an exploration of narrative and the nature of filmic representations.

O’Dwyer conducted this exploration, with particular focus on Desmond Davies's film I Was Happy Here (1965), through a series of events, processes and practices. The artist used the distinctive photographs and films stocks from the 1960/1970s that have specific character, texture and colour as a basis for etchings, drawings and re-staged, lens based works. The scripts and scores, in addition to the visuality of the films themselves, provided starting points for an unravelling of a complex discourse of film and place.

The final work featured a multimedia exhibition in The Courthouse Gallery, Ennistymon, various shop window installations, a series of projections /performances, an accompanying publication, an outdoor screening of I Was Happy Here and an exhibition of archive material. www.fionaodwyer.com www.fionaodwyerart.blogspot.com

YOUR WORK HERE !

If you have recently been involved in a public commission, percent for art project, socially engaged project or any other form of ‘art outside the gallery’ we would like you to send us images and a short text (no more than around 300 words) in the following format – Artists name; Title of work; Commissioning body; Date advertised; Date sited / carried out; Budget (NB artwork / site work); Commission type (eg direct invitation, open competition, limited competition, did you have to prepare a submission at a short-listing stage?); Who were the main partners for the project? (eg did you work with a local authority arts officer, community representatives, architects, engineers, project managers); Brief description of the work

32

The Visual Artists’ News Sheet

March – April 2010

Professional

Garda Vetting & The Arts The upcoming Garda Vetting Bill will make vetting compulsory for everyone working with children, young people and vulnerable adults and therefore will have implications for artists working in a variety of contexts. Arthur Duignan, Create’s Authorised Signatory, explains the procedure.

Most arts organisations are aware of their responsibilities and it

Artists regularly engage in collaborative work, e.g. through

Garda vetting is a procedure that employers use to certify whether or

has been Arts Council policy since 2007 that any organisation it

residencies or workshops and it is not always clear where responsibility

not an individual, who is being considered for work in a full-time, part-

supports to provide services for children or young people must have a

for vetting might lie - with the funder, commissioner, client group, or

time, voluntary or student placement capacity, has ever been convicted of a crime. The Garda Central Vetting Unit (GCVU) (1) provides the only

Protection Policy in place. Many local authorities are now insisting

venue. The artist is often left to sort this out. If this happens, you

that commissions and residencies, including engagements through

should request a copy of the organisation’s policy and point out that as

official vetting service in the Republic of Ireland.

the public libraries, are subject to vetting.

vetting is not available to individuals, it is the responsibility of the

What is Garda Vetting?

Anyone being appointed to a role that may give rise to substantial

Any organisation providing services to children, young people

or unsupervised access to children, young people and / or vulnerable

and/or vulnerable adults has a duty to take all reasonable steps to

Artists are increasingly mobile and likely to have lived and/or

adults might need to undergo vetting. In 2006, vetting became

ensure their welfare and safety. This includes safe recruitment and

worked for periods outside Ireland. Employers may seek verification

available to in education, justice, youth work, sport, and the arts,

selection methods, promoting awareness of potential risks, having

from other jurisdictions, such as proof of identity, and certificates of

including private tuition. Artists will encounter vetting in the

effective procedures for responding to concerns and complaints and,

good conduct or non-criminal conviction. This may not be

recruitment / commissioning / programming stages of collaborative

providing training and guidance for employees and volunteers.

straightforward, as every country is different and language can be a

arts projects and work in a social or community context.

Ultimately, it is the employer’s responsibility to decide whether

employer, not the employee/contractor;

barrier.

In a vetting application, the applicant authorises the disclosure of

or not a position requires vetting. Unlike the situation in the UK and

As an applicant, you should disclose details of any and all

information regarding convictions in court. It is up to the employer to

Northern Ireland, vetting in the Republic is only available to the

convictions regardless of their location or timing, including any you

decide the relevance and significance of any conviction. Within a

employer, and not to the individual.

might consider to be ‘minor’ or to have ‘timed-out’. Failure to selfdisclose is serious and may become an obstacle to employment.

natural justice framework, employers follow fair procedures and take into account the gravity, timing, significance, self-disclosure or not,

How does it work?

and subsequent work or rehabilitation record of the applicant.

As a vetting applicant, you will be asked to provide detailed personal

Getting information on vetting

It is important to say that vetting operates independently of an

information – names, dates, residential addresses, convictions and

The Arts Council has developed two sets of ethical guidelines - for

individual’s right to access any personal information held by a Garda

details of the position on offer. Your signature authorises the Vetting

station under a Freedom of Information request. It is not the same as a

Unit to check this information and share the results with the

artists working with children and young people and for artists recording and using images of children and young people (2). The

Certificate of Character, which can be sought from An Garda for work

employer.

Council encourages organisations to use and adapt its Guidelines on

or to start a business abroad. Neither of these are substitutes for vetting

The Vetting Unit has access to records in the Republic, Northern

Developing a Child Protection Policy. To date, a number of arts

and an employer that requests these checks as a substitute for Vetting

Ireland and the UK. In the future, it hopes to strengthen overseas

organisations have been registered as vetting agents, including Create,

may be in breach of employment law and/or constitutional rights to

clearance practices and to introduce electronic transfer procedures to

the Ark, the National Association for Youth Drama and Poetry Ireland.

privacy.

reduce the average time to return a result, which is currently six to

These can assist in getting information, in particular Create, which

eight weeks or longer if an applicant has had periods of residence

deals with organisations and communities that intend to engage

outside the state.

artists in collaborative contexts. It currently processes applications for

Why is vetting important?

Garda Vetting is a key element in the State’s provision for the

Within current disclosure policy, ‘hard’ information on

protection and welfare of children, young people and vulnerable

convictions and / or prosecutions, successful or not, pending or

about 60 arts organisations. Create has added an FAQ section on vetting to its website aimed at practitioners (3). Create advocates a Code

adults. Vetting is becoming an element of good employment practice.

completed, in the State or elsewhere may be disclosed. There have

of Practice on vetting for the arts – including a common approach to

Employers have a duty of care for client groups and vetting ensures

been calls to allow ‘soft’ information to be shared (suspicion of posing

handling applications, dealing with disclosures, resolving disputes,

that someone convicted of a serious crime is not employed or offered

a risk, cautions, allegations, inquiries, arrests, charges pending, etc.).

and protecting sensitive personal information. This would allow the

a position of responsibility that involves substantial or unsupervised

Expect to hear more on this in the debate on the upcoming

arts to make an even greater contribution to the protection and

contact with at risk groups. For the artist – whether an employee,

constitutional amendment on children’s rights.

welfare of those in our care.

contractor, volunteer or student placement - vetting offers some reassurance that an employer takes protection and welfare issues

Artists should know that…

seriously and operates practices and procedures that ensure a safe

Despite a positive policy backdrop and an enthusiasm for vetting in

environment.

the arts, there is no common approach and a general lack of clarity is

vetting@create-ireland.ie www.create-ireland.ie Arthur Duignan, Assistant Director Create and Authorised

creating concern and confusion.

It is not clear who is responsible in situations where an artist is

Signatory of Create

The National Guidelines for the Protection and Welfare of Children

self-employed or freelance. Vetting is not available to individuals and

(1999) make it clear that organisations have a moral obligation to

separate status as an ‘organisation’ is not provided by simply being

provide the highest standard of care and a civil or legal responsibility

registered as ‘self-employed’.

Notes 1. The Garda Vetting Unit is located in Thurles, Co. Tipperary and can be contacted at 0504 27300.

2. Guidelines for Taking and Using Images of Children and Young People and Solo Practitioner Code of Practice are available online at www.artscouncil.ie/Publications.

3. See www.create-ireland.ie/projects-and-initiatives/garda-vetting-faq.html

Who is responsible for vetting?

for any failure to offer adequate safeguards. The employer has a dual

Artists often engage others in their work, including as mentors

responsibility then, in respect of both its employees and its service

and in other support roles. It is not clear if this constitutes being ‘an

users. In terms of any potential civil liability, it is the vulnerable person

employer’ in the sense of having a duty of care for protection and

that is of central concern.

welfare issues.

ENNISKILLEN VISUAL ARTS OPEN 2010 Applications sought from artists working in any medium including painting, print, photography, sculpture, installation, video, light, sound, performance and multimedia and applied arts.

Works will be sited in a range of public spaces and venues throughout Enniskillen during The third Enniskillen Arts Festival, (29th September – 3rd October 2010).

Site-specific and performance work is particularly welcome.

Applicants should email an expression of interest to Diane Henshaw, Arts Officer, Fermanagh District Council, Town Hall, Enniskillen, Co. Fermanagh, BT74 7BA, N. Ireland not later than 12pm on 26th March 2010 For further information contact: ) (028) 6632 5050 ext. 245 * diane.henshaw@fermanagh.gov.uk www.enniskillenartsfestival.com

HEALTH SERVICE EXECUTIVE PUBLIC ART COMMISSION The HSE invites submissions under the Public Art – Per Cent for Art Scheme for artworks for the new Cardiac Renal Centre at Cork University Hospital. The artwork(s) may be of any discipline, design or media.

The total budget is circa €62,000 to cover all costs associated with the artwork(s).

The competition for the artwork(s) will be a two stage process. Stage 1 will require outline concept proposals and Stage 2 will require detailed proposals from those artists who are shortlisted. A site visit will be arranged for artists interested in submitting for competition.

Artists should register with the undersigned if they wish to attend. The latest date for registration is Wednesday 10th March 2010 . No access is available on an individual basis.

Further details and project brief are available from the Irish Government Public Procurement Website www.etenders.gov.ie or from the undersigned Marion Geary, HSE Estates, Unit 2A South Ring Business Park, Kinsale Road, Cork . Tel: +353 (0) 21 492 7236 or Email: marion.geary@hse.ie

Deadline for Stage 1 submissions: Monday 12th April 2010 at 17:00.

Submissions received after this date and time will not be considered.

Sean Scully: Works From The 1980s February 6 – May 1 2010

The Carlow Art Collection February 6 – March 11 2010

Douglas Gordon & Philippe Parreno Zidane: A 21st Century Portrait, 2006 February 6 – March 11 2010

Noughties But Nice April 2 – May 8 2010 An Arts Council of Ireland Touring Pilot in the Visual Arts

VISUAL Centre for Contemporary Art & the George Bernard Shaw Theatre, Old Dublin Road, Carlow Tel: Fax:

059 917 2400 059 914 1503

www.visualcarlow.ie Sean Scully, Mexico, 4.6.88

Breath 27th Feb 2010 - 24th March

Photo/montage 27th March - 27th April Sean Hillen

Take Hold 1st May - 26th May Patricia McKenna

Isabel Nolan, Cliona Harmey Felicity Clear & Helen Hughes

Marianne Keating, girl 2, screenprint on aluminium

Eileen McDonagh, Gabhann Dunne, Alison Kay, Marianne Keating, Michael Fortune, Brian Connolly

29th May - 23rd June

Curated by Cliodhna Shaffrey.

For more information contact: Bluewall Gallery, Corracanvy, Cavan, Co. Cavan, Ireland tel: +353 (0)49 436 1627, mob: +353 (0)86 290 2493 email: joe@bluewallgallery.com, www.bluewallgallery.com

contemporary art gallery & sculpture garden

DESIGN CONTEST NOTICE TO ARTISTS Commission of public art at Ballycastle Seafront and Rathlin Island Foreshore, Ballycastle Moyle District Council wish to appoint an outstanding artist to design, and arrange the production, delivery and installation of one piece of public art at Ballycastle Harbour and one piece of public art at Rathlin Island Harbour, Ballycastle. It is anticipated that this project will be completed by January 2011.

The budget for the project is £100,000.

Artists wishing to participate in the contest must submit a Pre – Qualification Response document. The selection of a minimum of five and a maximum of eight artists shall be

invited to prepare concept sketch designs on the basis of the information given in this document.

Pre-qualification Response documents which must be returned by Friday 16th April 2010, and can be obtained by telephoning Moyle District Council (028) 2076 2225 or emailing kmcgonigle@moyle-council.org mmcconaghy@moyle-council.org or in writing to Ballycastle & Rathlin Public Art, Moyle District Council, Sheskburn House, 7 Mary Street, Ballycastle, Antrim, BT54 6QH.

Signed: R.G. Lewis, B.Sc. (Econ), C.P.F.A. Clerk and Chief Executive.

“This project has been part funded through the Northern Ireland Tourist Board’s Tourist Development Scheme and the Arts Council for Northern Ireland”.

FLEXIBLE STUDY OPPORTUNITIES IADT’s vision is to be at the forefront of teaching, research and innovation at the convergence of the arts, technology and enterprise, and to contribute to Ireland’s development as a creative knowledge economy.

Applications are invited into year 1, and directly into years 2, 3 and 4 of: • BA (Hons) in Visual Arts Practice Applications are also invited to the following postgraduate programmes: • MA in Visual Arts Practices • Postgraduate Diploma in Business in Cultural Event Management For information on these and other programmes and application forms, please visit www.iadt.ie

Dun Laoghaire Institute of Art, Design and Technology Kill Avenue, Dun Laoghaire, Co. Dublin t: (01) 239 4621 Email: admissions@iadt.ie www.iadt.ie

Open Evening: 22nd April 2010 (6pm - 8pm)

The Linenhall Arts Centre

Joe Wilson High Landscapes 5 March – 3 April

CALL FOR ENTRIES RDS National Crafts Competition 2010

John Brady BRADY/PRADO 9 April – 1 May John Brady, Untitled, oil on canvas

Open to professional and amateur Irish craft designers based in Ireland and abroad.

www.rds.ie/crafts

The Linenhall Arts Centre invites submissions from artists of all disciplines wishing to exhibit as part of our ongoing Visual Art Programme. Proposals should be accompanied by a CV, examples of work, a statement of intent and any other relevant information.

Linenhall Arts Centre, Linenhall Street, Castlebar, Co. Mayo ( 094 902 3733 * linenhall@anu.ie www.thelinenhall.com

Deadline

In association with:

MAY 17

DetAil fRoM iMAge bY: www. pASChhOFF .COm MAkeR: DIARmuID muRphy

Joe Wilson, Maam Turks, Connemara , oil on constructed board

All forms of Metalwork and Sculpture commissions undertaken

Bronze Foundry

Available from Local Authority Arts Offices in Clare, Donegal, Galway, Mayo, North Tipperary, Roscommon, Sligo, GMIT and arts@clarelibrary.ie

New works recently finished at the foundry

verge critical reflection symposium GMIT 19 April 2010.

Admission Free (but places are limited) Full details from: Deirdre.Omahony@gmit.ie

Paddy Campbell Lar na Pairc

Chris Wilson Oceans Edge

CAST BRONZE FOUNDRY Located in the Liberties area of Dublin, we provide a total sculpture service to artists and commissioning bodies. We pride ourselves in providing a comfortable, welcoming working environment. Our multi-skilled team brings personalised attention to every bronze casting project.

Cast Ltd, 1a South Brown St, Dublin 8. www.cast.ie info@cast.ie Tel: +353 (0) 1 453 0133 Contact Leo or Ray for your next project

Temple Bar Gallery & Studios Open Call for Artists Studios 2010

Centrally located in Dublin's cultural quarter, Temple Bar Gallery and Studios is one of Ireland's leading contemporary art venues.

TBG&S wishes to inform artists that we are now inviting applications from Irish and international artists for use of Membership and Project studios from 2010/2011.

Applications are also invited for the Art Curator/Critic’s Studio, in support of the research, planning and development of new creative projects in 2011 Closing date for receipt of applications is Wednesday 28th April 2010 at 5pm.

Applications can be downloaded from www.templebargallery.com or by contacting Claire Power tel. 671 0073 or e. claire@templebargallery.com Temple Bar Gallery & Studios 5 - 9 Temple Bar, Dublin 2, Ireland Tel: +353 1 671 0073 Fax: +353 1 677 7527 Email: info@templebargallery.com Website: www.templebargallery.com